Relics of the Past tells the story of antiquities collecting, antiquarianism, and archaeology in Peru and Chile in the second half of the nineteenth and the early twentieth century. While the role of foreign travellers and scholars dedicated to the study of South America's pre-Columbian past is well documented, historians have largely overlooked the knowledge gathered and the collections formed among collectors of antiquities, antiquaries, and archaeologists born or living in South America during this period. The landed gentry, the clergy, and an urban bourgeoisie of doctors, engineers, and military officials put antiquities on display in their private mansions or bestowed them upon the public museums that were being formed by municipalities and governments in Santiago de Chile, Cuzco, or Lima. Men, and some few women, gathered antiquities on their journeys 'inland' and during sociable weekend excursions, but also on quotidian commercial voyages or in military campaigns. They bartered antiquities with their fellow collectors or haggled about their price on the antiquities market. In their hours of leisure, they marvelled at them, wrote about them, and disputed over their meaning, age, and interest in learned societies, informal gatherings, and at meetings in universities and public museums. This volume unveils a hitherto largely unknown world of antiquarian and archaeological collecting and learning in Peru and Chile.

The untold chronicles of the looting and collecting of ancient Mesoamerican objects. This book traces the fascinating history of how and why ancient Mesoamerican objects have been collected. It begins with the pre-Hispanic antiquities that first entered European collections in the sixteenth century as gifts or seizures, continues through the rise of systematic collecting in Europe and the Americas during the nineteenth and twentieth centuries, and ends in 1940—the start of Europe’s art market collapse at the outbreak of World War II and the coinciding genesis of the large-scale art market for pre-Hispanic antiquities in the United States. Drawing upon archival resources and international museum collections, the contributors analyze the ways shifting patterns of collecting and taste—including how pre-Hispanic objects changed from being viewed as anthropological and scientific curiosities to collectible artworks—have shaped modern academic disciplines as well as public, private, institutional, and nationalistic attitudes toward Mesoamerican art. As many nations across the world demand the return of their cultural patrimony and ancestral heritage, it is essential to examine the historical processes, events, and actors that initially removed so many objects from their countries of origin.

DigiCat Publishing presents to you this special edition of "Prehistoric Structures of Central America: Who Erected Them?" by Martin I. Townsend. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

"Evans has meticulously researched his subject and writes in an elegant and clear prose style that makes his book a pleasure to read.... In short, this is an outstanding scholarly book that should be of interest to Mayanists, art historians, and students of American literature and history." —The Americas "Romancing the Maya will be required (and enjoyable) reading for students of the Maya. And its careful analysis of visual expositions—including the subjective uses of photography—makes it especially appropriate for the undergraduate classroom." —The Journal of Latin American Anthropology "This work will appeal to general readers because of its subject: ancient Mexico and its first investigators. The archaeologists treated here are some of the most fascinating and rakish in the history of the field. Some were real Indiana Jones types." —Khristaan Villela, Director, Thaw Art History Center, College of Santa Fe During Mexico's first century of independence, European and American explorers rediscovered its pre-Hispanic past. Finding the jungle-covered ruins of lost cities and artifacts inscribed with unintelligible hieroglyphs—and having no idea of the age, authorship, or purpose of these antiquities—amateur archaeologists, artists, photographers, and religious writers set about claiming Mexico's pre-Hispanic patrimony as a rightful part of the United States' cultural heritage. In this insightful work, Tripp Evans explores why nineteenth-century Americans felt entitled to appropriate Mexico's cultural heritage as the United States' own. He focuses in particular on five well-known figures—American writer and amateur archaeologist John Lloyd Stephens, British architect Frederick Catherwood, Joseph Smith, founder of the Church of Jesus Christ of Latter-Day Saints, and the French migr photographers Dsir Charnay and Augustus Le Plongeon. Setting these figures in historical and cultural context, Evans uncovers their varying motives, including the Manifest Destiny-inspired desire to create a national museum of American antiquities in New York City, the attempt to identify the ancient Maya as part of the Lost Tribes of Israel (and so substantiate the Book of Mormon), and the hope of proving that ancient Mesoamerica was the cradle of North American and even Northern European civilization. Fascinating stories in themselves, these accounts of the first explorers also add an important new chapter to the early history of Mesoamerican archaeology.