Realizing the Illustration Potential of Digital Models and Images: Beyond Visualization

PA ST PR ESENTED

Archaeological Illustration and the Ancient Americas

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Series EditorJoanne Pillsbury

Editorial BoardElizabeth Hill Boone

Tom CumminsDavid Webster

PAST PR ESENTEDArchaeological Illustration and the Ancient Americas

JOANNE PILLSBURYEditor

DUMBARTON OAKS R ESEARCH LIBR ARY AND COLLECTION

Washington, D.C.

!is publication was made possible in part by a gi" from the estates of Milton L. and Muriel F. Shurr.

© 3453 Dumbarton OaksTrustees for Harvard University, Washington, D.C.All rights reserved.Printed in China by Everbest Printing, Ltd.

56 57 58 59 53 5 3 9 8 7

Library of Congress Cataloging-in-Publication Data

Past presented : archaeological illustration and the ancient Americas / Joanne Pillsbury, editor.p. cm. — Dumbarton Oaks Pre-Columbian symposia and colloquiaIncludes index.0+$) :;<-4-<<843-9<4-; (hardcover : alk. paper)5. Indians—Historiography—Pictorial works. 3. Indians—Antiquities—Pictorial works. 9. Archaeology—America—Pictorial works. 8. America—Antiquities—Pictorial works. I. Pillsbury, Joanne.-7<.,3; 3453:;4.448':;—dc39 34554968<;

Volume based on papers presented at the symposium “Past Presented: A Symposium on the History of Archaeological Illustration,” held at the Dumbarton Oaks Research Library and Collection, Washington, D.C., on October :–54, 344:.

Series Editor: Joanne Pillsbury Art Director: Kathleen SparkesDesign and Composition: Melissa TandyshManaging Editor: Sara Taylor

Jacket illustrations: =&()' .(>-&: Henry Warren, Broken Idol at Copan, from Frederick Catherwood, Views of Ancient Monuments in Central America, Chiapas, and Yucatan, 5<88. ?%.* .(>-&: Stela D, Copan, from John Lloyd Stephens, Incidents of Travel in Central America, Chiapas, and Yucatan, 5<85.Frontispiece: Francisco Laso, Inhabitant of the Cordillera of Peru, !"##, oil on canvas, 597 @ <6 cm, Pinacoteca Municipal “Ignacio Merino,” Municipalidad Metropolitana de Lima, Lima.

www.doaks.org/publications

vi i

/0+' (= 0//"+'& %'0()+ | ix ,& -=%.- % ) ! %.* )(A /-!B# -) '+ | xix5 Perspectives: Representing the Pre-Columbian Past | 5

Joanne Pillsbury

3 European Antiquarianism and the Discovery of the New World | 8:Alain Schnapp

9 Ce First Steps on a Long Journey: Archaeological Illustration in Eighteenth-Century New Spain | 6:

Leonardo López Luján

8 Ce Uncanny Tombs in Martínez Compañón’s Trujillo del Perú | 54;Lisa Trever

7 Beyond Stephens and Catherwood: Ancient Mesoamerica as Public Entertainment in the Early Nineteenth Century | 589

Khristaan D. Villela

6 Antonio Raimondi, Archaeology, and National Discourse: Representations and Meanings of the Past in Nineteenth-Century Peru | 5;9

Luis Felipe Villacorta Ostolaza

; Nineteenth-Century Photographs of Archaeological Collections from Mexico | 34;

Adam T. Sellen

< Drawing Glyphs Together | 395Byron Ellsworth Hamann

: “Unavoidable Imperfections”: Historical Contexts for Representing Ruined Maya Buildings | 3<9

Scott R. Hutson

54 “Wings over the Andes”: Aerial Photography and the Dematerialization of Archaeology circa 5:95 | 95:

Jason Weems

C ON T E N T S

vi i i .()'-)'+

55 Printed Pictures of Maya Sculpture | 977Bryan R. Just

53 Telling It Slant: Imaginative Reconstructions of Classic Maya Life | 9<;Stephen D. Houston

59 Realizing the Illustration Potential of Digital Models and Images: Beyond Visualization | 859

John W. Rick

58 Beyond the Naked Eye: Multidimensionality of Sculpture in Archaeological Illustration | 88:

Barbara W. Fash

.() '& 0$" '(&+ | 8;5 0 ) !-D | 8;;

ix

5.5 Hubert Robert, !e Temple of Saturn and the Opening of the Cloaca Maxima, 5;<4s 3 5.3 Detail of the Codex Huamantla, 57:3 7 5.9 Maarten van Heemskerck, Torso Belvedere, Fragment of an Obelisk, ca. 5793–5796 6 5.8 Pirro Ligorio, Map of Ancient Rome, 5779 ; 5.7 Rodrigo Caro, Antigüedades, y principado de la ilustrissima ciudad de Sevilla, 5698 < 5.6 Giambattista Nolli, Map of Ancient Rome, 5;8< : 5.; Huaca sita en el cerro nombrado Tantalluc, from Baltasar Jaime Martínez Compañón,

Trujillo del Perú, 5;<5–5;<: 54 5.< Antonio Bernasconi, Elevations of the Temple of the Inscriptions and Temple of the Cross,

Palenque, 5;<7 55 5.: Engraving of an Aztec temple, from Francesco Clavigero, Storia antica del Messico, 5;<4–5;<5 55 5.54 Charles-Marie de La Condamine, Plan and Elevation of Ingapirca, from “Mémoire sur quelques

anciens monumens du Pérou,” 5;86 53 5.55 Frontispiece of Charles-Marie de La Condamine, Journal du voyage fait par ordre du roi,

a l’équateur, 5;75 59 5.53 Pencil sketch for a vignette, from Charles-Marie de La Condamine, Journal du voyage

fait par ordre du roi, a l’équateur, 5;75 59 5.59 Illustrations of Cholula and Xochicalco, from Alexander von Humboldt, Vues des cordillères,

et monumens des peuples indigènes de l’Amérique, 5<54 58 5.58 Genre portrait of an Inca royal family, from Amédée François Frézier, Relation du voyage de la

Mer du Sud, 5;56 57 5.57 Illustration of the Mitla ruins by José Luciano Castañeda, from Guillermo Dupaix, Antiquités

mexicaines, 5<47–5<4; 56 5.56 Illustration of a Egurine by José Luciano Castañeda, from Guillermo Dupaix, Antiquités

mexicaines, 5<47–5<4; 5; 5.5; Cleomenes the Athenian, Medici Venus, Erst century $. 5; 5.5< Jacques-Louis David, Death of Socrates, 5;<; 5< 5.5: Jean-Frédéric Waldeck, !e Beau Relief, Palenque, 5<93 5: 5.34 Stela D, Copan, from John Lloyd Stephens, Incidents of Travel in Central America, Chiapas,

and Yucatan, 5<85 34 5.35 Henry Fuseli, !e Artist in Despair over the Grandeur of Antique Remains, 5;;<–5;<4 35 5.33 Pachacamac, from Mariano Eduardo de Rivero y Ustáriz and Juan Diego de [Johann Jakob von]

Tschudi, Antigüedades peruanas, 5<75 33 5.39 View of Chan Chan, from Charles Wiener, Pérou et Bolivie, 5<<4 39 5.38 George de Forest Brush, !e Sculptor and the King, 5<<< 39

I L LU S T R AT I ONS

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5.37 Francisco Laso, Inhabitant of the Cordillera of Peru, 5<77 38 5.36 Chromolith depicting mummy bundles in situ, from Wilhelm Reiss and Alphons Stübel,

!e Necropolis of Ancon in Peru, 5<<4–5<<; 37 5.3; Chromolith depicting mummy bundles, from Wilhelm Reiss and Alphons Stübel,

!e Necropolis of Ancon in Peru, 5<<4–5<<; 36 5.3< Claude-Joseph Désiré Charnay, View of the Eastern Facade of the Fourth Palace

(Also Known as the East Building in Quadrangle F), Mitla, Mexico, 5<7: 3; 5.3: Ephraim George Squier, Sun Temple at Ollantaytambo, 5<67 3< 5.94 Georges B. von Grumbkow, Alphons Stübel en la Puerta del Sol, Tiahuanaco, 5<;; 3: 5.95 Gateway of the Sun, Tiwanaku, from Ephraim George Squier, Peru: Incidents of Travel

and Exploration in the Land of the Incas, 5<;; 3: 5.93 Augustus Le Plongeon photographing the east facade of the House of the Governor,

Uxmal, photograph by Alice Le Plongeon, 5<;6 94 5.99 Panorama of the south half of the east facade of the House of the Governor (detail),

photographs by Alice and Augustus Le Plongeon, 5<;6 94 5.98 Josef Albers, Pared con grabado, Chan Chan, Trujillo, Peru, 5:79 93 5.97 Glyph B"", Lower Ica Valley, Peru, photograph by Edward Ranney, 5::9 99 5.96 Maya polychrome vessel 98 5.9; Rollout photograph of a Maya polychrome vessel, by Justin Kerr, 5:<7 98 5.9< Moche vessel showing the “Burial Ceme,” photograph by Christopher Donnan, 5::: 97 5.9: Rollout drawing of a Moche vessel showing the “Burial Ceme,” by Donna McClelland,

ca. 5::: 97 5.84 Iconographic kinship chart, from Miguel Covarrubias, Indian Art of Mexico and

Central America, 5:7; 9; 5.85 Middle Horizon resources utilization, Basin of Mexico map, from William T. Sanders,

JeFrey R. Parsons, and Robert S. Santley, !e Basin of Mexico, 5:;: 9< 3.5 Tumulus in the village of Zaventem, near Brussels, before excavation, from Jean Lemaire

de Belges, Des anciennes pompes funeralles, 574; 73 3.3 Tumulus in the village of Zaventem, near Brussels, aGer excavation, from Jean Lemaire

de Belges, Des anciennes pompes funeralles, 574; 79 3.9 Site of Jelling, Denmark, showing ancient mounds, runic stones, and church in 57;<, from

Peter Lindeberg, Commentarii rerum mirabilium in Europa ab anno octuagesimo sexto, usq, 57:5 78 3.8 Foundation of the city of Tenochtitlan, from Diego Durán, Historia de las Indias de

Nueva España e islas de la tierra #rme, ca. 57<5 7< 3.7 Drawing of the Castillo of Chichen Itza, from Diego de Landa, Relación de las cosas de Yucatán,

ca. 5664, copy of a ca. 5766 original 64 3.6 Drawing of pre-Hispanic remains at Izamal, from Diego de Landa, Relación de las cosas de

Yucatán, ca. 5664, copy of a ca. 5766 original 65 3.; Drawing of an architectural complex at Tiho (Mérida), from Diego de Landa, Relación de las

cosas de Yucatán, ca. 5664, copy of a ca. 5766 original 63 3.< Cuzco, from Pedro de Cieza de León, Parte primera de la chronica del Peru, 5779 69 3.: Stratigraphic section, from Olof Rudbeck et al., Olf Rudbeks Atland eller Manheim

[Atlantica], 56;:–5;43 68 9.5 Computer drawing of a hypothetical reconstruction of the Templo Mayor, Tenochtitlan,

by Tenoch Medina, 344: ;4 9.3 Cree-dimensional terrestrial scan of the monolith of the goddess Tlaltecuhtli, Tenochtitlan,

by Guido Balzani and María Sánchez Vega, 344< ;4 9.9 Mapa de San Francisco Mazapan, Teotihuacan, ca. 5;44 ;3 9.8 La ciudad de Tzintzuntzan, Patzquaro, y poblaciones de alrededor de la laguna y la traslacion

de la silla a Patzquaro, 5;;< ;9

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9.7 Códice de Teotenantzin, Sierra de Guadalupe, commissioned by Lorenzo Boturini Benaducci, ca. 5;96–5;89 ;8

9.6 Guillermo Dupaix, Reliefs on Zacahuitzco Hill, Sierra de Guadalupe, ca. 5;:5–5<48 ;7 9.; Diagram of the Códice de Teotenantzin, Sierra de Guadalupe, by Julio Romero, 344: ;6 9.< Diagram of the Plano topográ#co de la Villa de Nuestra Señora de Guadalupe y sus

alrededores en $%&$, Sierra de Guadalupe, by Julio Romero, 344: ;6 9.: José Antonio de Alzate y Ramírez, Temple of the Feathered Serpent, Xochicalco, 5;;;–5;;< ;: 9.54 Copperplate engraving of a plate of the Matrícula de Tributos, from Francisco

Antonio Lorenzana, Historia de la Nueva España, 5;;4 <4 9.55 José Antonio de Alzate y Ramírez, Bas-Relief of a Man Being Attacked by a Bird of Prey,

Xochicalco, 5;;;–5;;< <5 9.53 Lithograph of the bas-relief on the atrium wall of the church of San Hipólito, Mexico City,

from Jesús Sánchez, “Notas arqueológicas 0>: El sueño de Motecuhzoma,” 5<<6 <3 9.59 A Facade of the Temple of the Feathered Serpent, Xochicalco, 5;<8–5;:5, from José Antonio

de Alzate y Ramírez, Descripcion de las antiguedades de Xochicalco, 5;:5 <9 9.58 Copperplate engraving of various reliefs, Xochicalco, from Pietro [Pedro] Márquez,

Due antichi monumenti di architettura messicana, 5<48 <9 9.57 !e Pyramid of the Niches, El Tajín, from Anonymous, “Papantla,” 5;<7 <7 9.56 Guillermo Dupaix, Pyramid of the Niches, El Tajín, ca. 5;:5–5<48 <7 9.5; Copperplate engraving of the Pyramid of the Niches, El Tajín, from Pietro [Pedro] Márquez,

Due antichi monumenti di architettura messicana, 5<48 <6 9.5< Coatlicue and the Border of the Sun Stone (Calendar Stone), Tenochtitlan, 5;:4, from

Antonio de León y Gama, Descripción histórica y cronológica de las dos piedras que con ocasión del nuevo empedrado que se está formando en la plaza principal de México, 5;:3 <:

9.5: Sun Stone (Calendar Stone), Tenochtitlan, 5;:4–5;:5, from Antonio de León y Gama, Descripción histórica y cronológica de las dos piedras que con ocasión del nuevo empedrado que se está formando en la plaza principal de México, 5;:3 <:

9.34 Guillermo Dupaix, Archaeological Collection of Vicente Cervantes, Mexico City, ca. 5;:5–5<48 :4 9.35 Guillermo Dupaix, Archaeological Collection of Ciriaco González de Carvajal, Mexico City,

ca. 5;:5–5<48 :4 9.33 Guillermo Dupaix, Archaeological Collection of Guillermo Dupaix, Mexico City, ca. 5;:5–5<48 :5 9.39 Sculpture of the Goddess Chalchiuhtlicue, Mexico City, 5<48–5<54, from Alexander von

Humboldt, Vues des cordillères, et monumens des peuples indigènes de l’Amérique, 5<54 :8 9.38 Plan of the Palace, Mitla, 5<43–5<54, from Alexander von Humboldt, Vues des

cordillères, et monumens des peuples indigènes de l’Amérique, 5<54 :7 9.37 An Elevation of the Palace, Mitla, 5<43–5<54, from Alexander von Humboldt,

Vues des cordillères, et monumens des peuples indigènes de l’Amérique, 5<54 :7 9.36 Benito Moxó’s personal museo, 5<48–5<47, from Benito María de Moxó, Cartas mejicanas, 5<9; :6 9.3; José Antonio Polanco, Indio triste (Sad Indian), 5;:8 :; 8.5 Plan of the ancient Chimú city of Chan Chan, from Baltasar Jaime Martínez Compañón,

Trujillo del Perú, 5;<5–5;<: 54< 8.3 Plan of a palace of Chan Chan, from Baltasar Jaime Martínez Compañón, Trujillo del Perú,

5;<5–5;<: 54: 8.9 A wrapped Peruvian mummy with a small camelid, from Baltasar Jaime Martínez

Compañón, Trujillo del Perú, 5;<5–5;<: 554 8.8 Tomb of an indigenous lord, from Baltasar Jaime Martínez Compañón, Trujillo del Perú,

5;<5–5;<: 555 8.7 Archaeological illustration of a Moche burial in Huaca del Sol excavated by Charles Hastings

in 5:;3, from Christopher B. Donnan and Carol J. Mackey, Ancient Burial Patterns of the Moche Valley, Peru, 5:;< 553

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8.6 Funerary objects, a South American mummy, and an Egyptian mummy, from Adam Olearius, Gottor#sche Kunst-Kammer, 56;8 559

8.; Artistic reconstruction of Tomb 3 at Sipán at the moment of interment, by Percy Fiestas, ca. 5::9 559

8.< Two Chimú ceramic bottles, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 5;<5–5;<: 556

8.: Chimú ceramic bottle in the shape of a shrimp from Trujillo 55; 8.54 Rear view of entombed lord depicted in Figure 8.8, from Baltasar Jaime Martínez Compañón,

Trujillo del Perú, 5;<5–5;<: 55: 8.55 Costume of an unmarried woman from Barcelona, from Christoph Weiditz, Trachtenbuch,

573: 534 8.53 Rear view of the costume of the woman seen in Figure 8.55, from Christoph Weiditz,

Trachtenbuch, 573: 534 8.59 Indian warrior, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 5;<5–5;<: 535 8.58 Costume of a warrior of Florida, from Cesare Vecellio, Habiti antichi, et moderni di tutto

il mondo, 57:< 533 8.57 Chimú tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 5;<5–5;<: 539 8.56 Chimú tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 5;<5–5;<: 538 8.5; Chimú tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú, 5;<5–5;<: 537 8.5< Chimú or Chimú-Inca tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú,

5;<5–5;<: 53; 8.5: Chimú or Chimú-Inca tomb, from Baltasar Jaime Martínez Compañón, Trujillo del Perú,

5;<5–5;<: 53< 8.34 A highland funerary building and a Recuay or Moche staF Enial, from Baltasar Jaime

Martínez Compañón, Trujillo del Perú, 5;<5–5;<: 594 8.35 Annibale Carracci, Mary Magdalene in a Landscape, ca. 57:: 595 8.33 Ce wake of an Indian wearing a Franciscan habit (Indio velándose), from Baltasar Jaime

Martínez Compañón, Trujillo del Perú, 5;<5–5;<: 593 8.39 José del Castillo, Sister Juana Magdalena, 5;6: 599 7.5 Agostino Aglio, Installation View of the Exhibition Ancient Mexico, Egyptian Hall, Piccadilly,

London, ca. 5<38 587 7.3 Cast of the Aztec Calendar Stone made in Mexico by William Bullock, 5<39 586 7.9 Panoramic View of the Valley of Mexico from Tacubaya, frontispiece of William Bullock,

Six Months Residence and Travels in Mexico, 5<38 586 7.8 Agostino Aglio, Installation View of the Exhibition Modern Mexico, Egyptian Hall, Piccadilly,

London, ca. 5<38 58; 7.7 Agostino Aglio, View of the Falls at Tivoli, 5<48 58< 7.6 Agostino Aglio, Standard-bearers and Figures Seated in a Circle with God Image at Center,

detail of an Aztec migration panoramic drawing, ca. 5<37 58: 7.; Standard-bearers and Egures seated in a circle, 5<94, from Lord Kingsborough, Antiquities

of Mexico, 5<95–5<8< 574 7.< Agostino Aglio, Sojourn at Tula, detail of an Aztec migration panoramic drawing, ca. 5<37 575 7.: !e Palace at Palenque, 5<94, from Lord Kingsborough, Antiquities of Mexico, 5<95–5<8< 575 7.54 Design for the Rotunda, Leicester Square, London, from Robert Mitchell, Plans and Views

in Perspective of Buildings Erected in England and Scotland, 5<45 573 7.55 Chr. V. Nielsen, Viewing Platform with Spectators and Detail of Panoramic View of

Constantinople, 5<<3 579 7.53 Robert BurfordHand John Burford, Key to Panorama of Mexico City from the Pamphlet

Accompanying the Exhibition, Leicester Square, London, 5<36 578 7.59 View of Catherwood’s Panorama Building in New York, 5<9; 576

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7.58 Robert Burford, Key to Panorama of Jerusalem from the Pamphlet Accompanying the Exhibition, 5<9: 57;

7.57 Frederick Catherwood, Study for Maya Monument, ca. 5<83 57< 7.56 Henry Warren, Broken Idol at Copan, from Frederick Catherwood, Views of Ancient

Monuments in Central America, Chiapas, and Yucatan, 5<88 57: 7.5; House of the Governor, frontispiece of John Lloyd Stephens, Incidents of Travel in Yucatan, 5<89 564 7.5< Karl Friedrich Schinkel, Native American Fire Temple from Set Design for the Opera

Fernand Cortez, 5<5< 563 7.5: Jean-Frédéric Waldeck, Ideal'Reconstruction'of a Ceremony, ca. 5<6; 569 6.5 Frontispiece of Mariano Eduardo de Rivero y Ustáriz and Juan Diego de [Johann Jakob von]

Tschudi, Antigüedades peruanas, 5<75 5;6 6.3 Sacsahuaman, from Mariano Eduardo de Rivero y Ustáriz and Juan Diego de

[Johann Jakob von] Tschudi, Antigüedades peruanas, 5<75 5;; 6.9 Vista de la Calle de Mercaderes, 5<69, from Mariano Felipe Paz Soldán, Atlas geográ#co

del Perú, 5<67 5;< 6.8 An Indian, from Mariano Felipe Paz Soldán, Atlas geográ#co del Perú, 5<67 5;: 6.7 Map of Peru, from Mariano Felipe Paz Soldán, Atlas geográ#co del Perú, 5<67 5<4 6.6 Photograph of Antonio Raimondi, ca. 5<<4 5<5 6.; Antonio Raimondi, Corpus Christi Dancer, 5<7: 5<3 6.< Antonio Raimondi, Botanical Illustration, 5<78 5<9 6.: Antonio Raimondi, Pre-Hispanic Burial Chamber, 5<7; 5<8 6.54 Antonio Raimondi, San Antonio Petrogylphs, 5<68 5<7 6.55 Alfred Dumontel, Mummy Bundle, 5<;8 5<< 6.53 Alfred Dumontel, Copper Object Found at Pacasmayo, ca. 5<;8 5<: 6.59 Alfred Dumontel, Stone Carvings from Chavín de Huántar, ca. 5<;8 5:4 6.58 Alfred Dumontel, Stone Sculptures from Ancash, ca. 5<;8 5:5 6.57 Alfred Dumontel, Stone Sculptures from Ancash, ca. 5<;8 5:5 6.56 Alfred Dumontel, Stone Sculptures from Ancash, ca. 5<;8 5:3 6.5; Map of the Geographical History of Peru, 5<;7, from Antonio Raimondi, El Perú, 5<;6 5:8 6.5< Map of the Geographical History of Peru (detail), 5<;7, from Antonio Raimondi, El Perú, 5<;6 5:7 6.5: Map of the Geographical History of Peru (detail), 5<;7, from Antonio Raimondi, El Perú, 5<;6 5:6 6.34 Engraving of Atahualpa’s chamber, from Antonio Raimondi, El Perú, 5<<4 5:< 6.35 Engraving of Sacsahuaman, from Antonio Raimondi, El Perú, 5<<4 5:: 6.33 Alfred Dumontel, Pongo de Manseriche, from Antonio Raimondi, El Perú, 5<<4 5:: 6.39 Antonio Raimondi, Map of Peru, 5<<;–5:44 344 ;.5 Archaeological collection of Auguste Genin, ca. 5:44 34< ;.3 Archaeological collection of Fernando Sologuren, ca. 5:44 34: ;.9 Page 386 from El museo mexicano, 5<84 355 ;.8 Emanuel von Friedrichsthal, Maya Censer, 5<84 353 ;.7 Désiré Charnay, Objects from Tenenepanco, 5<<4 358 ;.6 Etching of objects from Tenenepanco, from Désiré Charnay, “Mis descubrimientos en México

y en la América Central,” 5<<8 357 ;.; Désiré Charnay, Collection in the Museo Nacional, Mexico City, 5<<4 356 ;.< “Carte-de-visite” of Eugène Boban, ca. 5<67 35< ;.: Frontispiece of Eugène Boban, !e Boban Collection, 5<<6 35< ;.54 Zapotec urn from the Eugène Boban collection with notes by W. H. Holmes, ca. 5<<; 35: ;.55 Labeled objects in the Fernando Sologuren collection, ca. 5:44 334 ;.53 Label on object from the Manuel Martínez Gracida collection 335 ;.59 Eduard Seler in the Hacienda del Cacique, Oaxaca, 5<<6 333

xiv 0//"+'&%'0()+

;.58 Objects shown in Figure ;.59 now located in the storeroom of the Ethnologisches Museum, Berlin, 3454 333

;.57 Archaeological collection of Gustave Bellon, ca. 5<:< 339 ;.56 Marshall H. Saville’s reordering of the Gustave Bellon collection, ca. 5<:< 338 ;.5; Gold and silver artifacts from Oaxacan collections, from Nicolás León, “Arqueología

zapoteca,” 5:54 337 <.5 System for the classiEcation of k’atun groups, from Léon de Rosny, Essai sur le déchi(rement

de l’écriture hiératique, 5<;6 399 <.3 Mexican numbers, from Manuel Orozco y Berra, “Códice Mendozino,” 5<;< 398 <.9 Details from the Codex Dresden, from Paul Schellhas, “Die Maya-HandschriG der Königlichen

Bibliothek zu Dresden,” 5<<6 397 <.8 Examples of the Feathered Serpent, from Alfred P. Maudslay, Biologia Centrali-Americana,

5<<:–5:43 396 <.7 Comparative chart of ancient Mexican shields, from Antonio PeñaEel, Indumentaria antigua,

5:49 39; <.6 Examples of sculpted feathers, from Herbert Spinden, A Study of Maya Art, 5:59 39< <.; Portrayals of Iowers at Tulúm and highland Mexican depictions of aromatic Iowers,

from Karl A. Taube, “At Dawn’s Edge,” 344: 39< <.< Shields from the Codex Mendoza and other Aztec pictorials, from Patricia ReiF Anawalt,

“A Comparative Analysis of the Costume and Accoutrements of the Codex Mendoza,” 5::3 39: <.: Representations of vision in the Mixtec screenfolds, from Byron Ellsworth Hamann,

“Seeing and the Mixtec Screenfolds,” 3448 384 <.54 Pieces of wood viewed under a microscope, from Anthony Leewenhoeck, “An Abstract

of a Letter from Mr. Anthony Leewenhoeck of DelG to Mr. R. H.,” 56<9 38; <.55 Two plants, from Dr. Sloane, “An Account of Two Plants Lately Brought from the Cape

of Good-Hope,” 56:9 38< <.53 Anatomy, from Denis Diderot and Jean Le Rond d’Alembert, Encyclopédie, 5;75–5;;3 [5;63] 374 <.59 Natural history, principles of botany, Linnaean system, from Denis Diderot and Jean Le Rond

d’Alembert, Encyclopédie, 5;75–5;;3 [5;6<] 375 <.58 Two water lilies, from Commission des Sciences et Arts de l’Égypte, Description de l’Égypte,

5<4:–5<5< [5<4:] 373 <.57 Hieroglyphic inscriptions and hairstyles copied at Denderah, from Commission des Sciences

et Arts de l’Égypte, Description de l’Égypte, 5<4:–5<5< [5<33] 379 <.56 Scales of Coleoptera, from George Dimmock, “Scales of Coleoptera,” 5<<8 378 <.5; Maya and central Mexican hieroglyphs, from Eduard Seler, “Does Cere Really Exist a

Phonetic Key to the Maya Hieroglyphic Writing?,” 5<:3 377 <.5< Numeric characters and symbolic Egures, from Francesco Saverio Clavigero, Storia antica

del Messico, 5;<4–5;<5 376 <.5: Hieroglyphic Egures from the Mendoza collection, from Alexander von Humboldt, Vues des

cordillères, et monumens des peuples indigènes de l’Amérique, 5<54 37; <.34 Single text-embedded hieroglyphic details, from Léon de Rosny, “Les sources de l’histoire

Anté-Colombienne du nouveau-monde (3a article),” 5<;6 37< <.35 Text-embedded images of whole artifacts, from Edward Tylor, Anahuac, 5<65 37: <.33 A single text-embedded hieroglyphic detail and a linear dictionary of central Mexican

hieroglyphs, from J. M. A. Aubin, Mémoire sur la peinture didactique et l’écriture #gurative des anciens mexicains, 5<<7 [5<8:] 364

<.39 Plants of central Mexico, from Francesco Saverio Clavigero, Storia antica del Messico, 5;<4–5;<5 365

<.38 Bambus !ouarsii, from Alexander von Humboldt and Aimé Bonpland, Botanique, 5<3: 369

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<.37 Microscopic characteristics of the scales of various reptiles, from A. L. Herrera, “Aplicaciones del microscopo a la clasiEcación de los vertebrados,” 5<:4 368

<.36 Cree species of Cerdia, from W. Botting Hemsley, Botany, vol. 8 of Biologia Centrali- Americana, 5<<6–5<<< 367

<.3; Plate 34, from Eduard Seler and Caecilie Seler, “Plantae Selerianae I,” 5<:8 366 <.3< Plate 5 of the lithographic edition of the Lienzo de Tlaxcala, from Alfredo Chavero,

Homenaje á Cristóbal Colón, 5<:3 36: <.3: Lienzo de Tlaxcala, digitally reconstituted from the 5<:3 lithographic edition, 3454 3;4 <.94 Pages 8–6 of the Codex Borgia, showing two styles of page-dividing red grids 3;5 <.95 Red-and-black grid of signatures at the end of a 578; document from Toluca 3;5 <.93 Ce two centers of the Lienzo de Tlaxcala 3;3 :.5 Map of Copan, from George B. Gordon, Prehistoric Ruins of Copan, Honduras, 5<:6 3<8 :.3 Map of a portion of the ruins of Chunchucmil 3<7 :.9 Mounds represented with prisms, proEles, and hachures 3<; :.8 Schematic illustration of how hachures record both the length and steepness of slope 3<< :.7 Tzacauil Acropolis, showing prismatic convention superimposed on 4.7 m contour lines 3<: :.6 Egyptianized illustration of a temple at Palenque by José Luciano Castañeda, from

Guillermo Dupaix, “Monuments of New Spain,” 5<95 3:5 :.; Prismatic representation of the Temple of the Magician at Uxmal, from Jean-Frédéric

Waldeck, Voyage pittoresque et archéologique dans la province d’Yucatan, 5<9< 3:3 :.< Map of Uxmal (detail), from John Lloyd Stephens, Incidents of Travel in Yucatan, 5<89 3:3 :.: Map of Chichen Itza (detail), from John Lloyd Stephens, Incidents of Travel in Yucatan, 5<89 3:9 :.54 Map of Copan (detail), from John Lloyd Stephens, Incidents of Travel in Central America,

Chiapas, and Yucatan, 5<85 3:9 :.55 Map of Uxmal, from Désiré Charnay and Eugène E. Viollet-Le-Duc, Cités et ruines

américaines, 5<69 3:8 :.53 Map of Ake, from Désiré Charnay, !e Ancient Cities of the New World, 5<<; 3:7 :.59 Map of Copan, from Alfred P. Maudslay, Biologia Centrali-Americana, 5<<:–5:43 3:6 :.58 Map of Topoxte, from Teobert Maler, Explorations in the Department of Peten, Guatemala,

and Adjacent Region, 5:4< 3:; :.57 Map of Group II, Holmul, from Raymond E. Merwin and George C. Vaillant, !e Ruins

of Holmul, Guatemala, 5:93 3:< :.56 Map of Santa Rita Corozal, aGer Comas Gann, Mounds in Northern Honduras, 5:45 3:< :.5; Map of Seibal, from Teobert Maler, Explorations of the Upper Usumatsintla and Adjacent

Region, 5:4< 3:: :.5< Map of Teotihuacan, from Désiré Charnay, !e Ancient Cities of the New World, 5<<; 944 :.5: Map of Uxmal, from William Henry Holmes, Archaeological Studies among the Ancient

Cities of Mexico, 5<:7–5<:; 945 :.34 Map of Uxmal, from Sylvanus Morley, !e Ancient Maya, 5:8; 94: :.35 Panorama of Uxmal, from William Henry Holmes, Archaeological Studies among the

Ancient Cities of Mexico, 5<:7–5<:; 954 54.5 Robert Shippee and George R. Johnson, !e Great Wall of Peru, Like !at of China, May

Have Repelled Invasions, 5:95, from Robert Shippee, “Aerial Adventures in Peru,” 5:99 934 54.3 Robert Shippee and George R. Johnson, Uncut Stones Cemented with Adobe Form the Forts

along the Great Wall, 5:95 935 54.9 Robert Shippee and George R. Johnson, A Section of the Wall near Its Western End Showing

the Character of Construction, 5:95 935 54.8 !e Port of Supé [sic], Peru, ca. 5:3<–5:3:, from George R. Johnson, Peru from the Air, 5:94 93; 54.7 Sugar Plantation, Peru, ca. 5:3<–5:3:, from George R. Johnson, Peru from the Air, 5:94 93;

xvi 0//"+'&%'0()+

54.6 Peruvian Mountains, ca. 5:3<–5:3:, from George R. Johnson, Peru from the Air, 5:94 93< 54.; Forested Mountains, ca. 5:3<–5:3:, from George R. Johnson, Peru from the Air, 5:94 93< 54.< Chan Chan, ca. 5:3<–5:3:, from George R. Johnson, Peru from the Air, 5:94 93: 54.: Colca River Valley, ca. 5:3<–5:3:, from George R. Johnson, Peru from the Air, 5:94 994 54.54 Diagram showing how stereographic pin-points are photographed, from Dache Reeves,

Aerial Photographs: Characteristics and Military Applications, 5:3; 993 54.55 Diagram showing the inclination of a camera when taking an oblique, from Dache Reeves,

Aerial Photographs: Characteristics and Military Applications, 5:3; 999 54.53 Photomosaic map of the Andagua Valley, from Robert Shippee, “Lost Valleys of Peru,” 5:93 999 54.59 Plan of the Inca Fortress of the Sacsahuaman, from Ephraim George Squier, Peru: Incidents

of Travel and Exploration in the Land of the Incas, 5<;; 996 54.58 Part of the Fortress of the Sacsahuaman, from “!e Seat of the Inca,” from Ephraim George

Squier, Peru: Incidents of Travel and Exploration in the Land of the Incas, 5<;; 99; 54.57 Salient Angle of the Fortress, from Ephraim George Squier, Peru: Incidents of Travel and

Exploration in the Land of the Incas, 5<;; 99< 54.56 Section of the Walls of the Fortress, from Ephraim George Squier, Peru: Incidents of Travel

and Exploration in the Land of the Incas, 5<;; 99< 54.5; Modern Peruvian Head, from Ephraim George Squier, Peru: Incidents of Travel and Exploration

in the Land of the Incas, 5<;; 99: 54.5< Gate-Way at Cemetery—Front View, from Ephraim George Squier, Peru: Incidents of Travel

and Exploration in the Land of the Incas, 5<;; 984 54.5: Plan of Temple of Pachacamac, from Ephraim George Squier, Peru: Incidents of Travel and

Exploration in the Land of the Incas, 5<;; 985 54.34 Robert Shippee and George R. Johnson, View from the North of the Ruins of Pachacamac in the

Lurin Valley, 5:95 985 54.35 Ce shadows of objects, from Dache Reeves, Aerial Photographs: Characteristics and Military

Applications, 5:3; 988 54.33 Robert Shippee and George R. Johnson, Oblique Aerial View of Pachacamac, 5:95 986 54.39 Robert Shippee and George R. Johnson, A Stairway at Pachacamac, 5:95 98; 54.38 Robert Shippee and George R. Johnson, Vertical Survey View of the Colca Valley, 5:95 98; 54.37 Robert Shippee and George R. Johnson, Oblique Aerial View of the Pre-Hispanic Site of

San Antonio, Colca Valley, 5:95 98< 54.36 Robert Shippee and George R. Johnson, Oblique Aerial View of the Towns of Yanque

(foreground) and Ichupampa, Colca Valley, 5:95 98: 55.5 Stela B (east face), Copan, Honduras, from John Lloyd Stephens, Incidents of Travel in

Central America, Chiapas, and Yucatan, 5<85 97< 55.3 Stela N (south face), Copan, Honduras, from John Lloyd Stephens, Incidents of Travel in

Central America, Chiapas, and Yucatan, 5<85 97: 55.9 Pier E, House A, Palenque, Mexico, from John Lloyd Stephens, Incidents of Travel in

Central America, Chiapas, and Yucatan, 5<85 964 55.8 Stela E (north face), Quirigua, Guatemala, from John Lloyd Stephens, Incidents of Travel in

Central America, Chiapas, and Yucatan, 5<85 965 55.7 Southeast Corner of Monjas Building, Uxmal, Mexico, from John Lloyd Stephens, Incidents

of Travel in Yucatan, 5<89 963 55.6 Facade of the House of the Masks, Kabah, Mexico, from Désiré Charnay, Les anciennes villes

du nouveau monde, 5<<7 968 55.; Facade of the House of Masks, Kabah, Mexico, from John Lloyd Stephens, Incidents of Travel

in Yucatan, 5<89 967 55.< Désiré Charnay, Facade of the House of the Masks, Kabah, Mexico, 5<<3 966 55.: Lintel )*, Yaxchilan, Mexico, from Désiré Charnay, Les anciennes villes du nouveau monde, 5<<7 96;

xvi i0//"+'&%'0()+

55.54 View of the Main Plaza, Copan, Honduras, from Alfred P. Maudslay, Biologia Centrali- Americana, 5<<:–5:43 96<

55.55 Stela A (south side), Copan, Honduras, from Alfred P. Maudslay, Biologia Centrali- Americana, 5<<:–5:43 96:

55.53 Two Views of Cast of Stela E (north face), Quirigua, Guatemala, from Alfred P. Maudslay, Biologia Centrali-Americana, 5<<:–5:43 9;5

55.59 Lintel $, Yaxchilan, Mexico, from Teobert Maler, Researches in the Central Portion of the Usumatsintla Valley, 5:45–5:49 9;9

55.58 Stela $ (back), Piedras Negras, Guatemala, from Teobert Maler, Researches in the Central Portion of the Usumatsintla Valley, 5:45–5:49 9;8

55.57 Stelae ), +, and %, Piedras Negras, Guatemala, from Teobert Maler, Researches in the Central Portion of the Usumatsintla Valley, 5:45–5:49 9;7

55.56 Hieroglyphic Stairway, Structure 54L-36, Copan, Honduras, from George B. Gordon, !e Hieroglyphic Stairway, 5:43 9;6

55.5; Hieroglyphic Stairway, Structure 54L-36, Copan, Honduras, from George B. Gordon, !e Hieroglyphic Stairway, 5:43 9;;

55.5< Altars from Copan, Honduras, from Sylvanus G. Morley, !e Inscriptions at Copan, 5:34 9;< 55.5: Series of stelae from Copan, Honduras, from Herbert J. Spinden, A Study of Maya Art, 5:59 9;: 55.34 Maya carving developing to Late Classic styles, from Tatiana ProskouriakoF, A Study of

Classic Maya Sculpture, 5:74 9<4 53.5 Rollout painting of a Maya vessel, by Mary Louise Baker 9:4 53.3 William Henry Holmes, Grand Canyon at the Foot of the Toroweap—Looking East, 5<<3 9:9 53.9 Panorama of Chichen Itza, from William Henry Holmes, Monuments of Yucatan, 5<:7–5<:; 9:8 53.8 William Henry Holmes, Field Sketch of Copan Structure )%, 5<:7 9:8 53.7 Cross Section of Tower, Palenque, from William Henry Holmes, Monuments of Yucatan,

5<:7–5<:; 9:7 53.6 “Denuded” Tower, Palenque, from William Henry Holmes, Monuments of Yucatan, 5<:7–5<:; 9:6 53.; Adela Breton, Annexe of the Casa de las Monjas and the Iglesia, Chichen Itza, ca. 5:44 9:; 53.< Adela Breton, Colonnaded Building, Ake, ca. 5:45 9:< 53.: Adela Breton, Avenue of the Dead, Teotihuacan, 5<:6, from “From Moon Pyramid,

S. Juan Teotihuacan 57.3.:8” 9:< 53.54 Panoramic View of San Juan Teotihuacan—Looking South, from William Henry Holmes,

Monuments of Yucatan, 5<:7–5<:; 9:: 53.55 George de Forest Brush, An Aztec Sculptor, 5<<; 844 53.53 Composite Fiction by Henry Sandham of Buildings, Artifacts, Sculpture, and People at

Copan, from George B. Gordon, “Ce Mysterious City of Honduras,” 5<:< 845 53.59 Herbert Herget, Young Woman !rown into Well at Chichen Itza, 5:96 843 53.58 Roy Andersen, Young Widow at Early Classic Entombment, Río Azul, 5:<6 849 53.57 Peter E. Spier, View of Tikal, 5:;7 848 53.56 Tatiana ProskouriakoF, Acropolis, Piedras Negras, 5:9; 847 59.5 Illustration of a cornice fragment from Chavín de Huántar, from original digital photograph

by John W. Rick, 3449 833 59.3 J!& image of Chavín de Huántar under night lighting, by Mathew C. Rick, 344: 839 59.9 &'0 of bronze Etruscan mirror, by Mark Mudge, 3454 837 59.8 0*()(+ satellite image of the area surrounding Chavín de Huántar 836 59.7 !-# of area surrounding Chavín de Huántar, by James Rohr, 3444 83< 59.6 View of ancient roadway (red line) leading from Chavín de Huántar to Olleros within

the surfaced !-# of Figure 59.7, by James Rohr, 3444 83: 59.; Landscape of and surrounding Chavín de Huántar over time, models and images by

Daniel Contreras, 344; 894

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59.< Basic architectural map of the site of Chavín de Huántar and environs based on total station data and generated with Surfer program, by John W. Rick, 344< 895

59.: Two photographs of Chavín de Huántar taken from behind the Falcon Portal, by John W. Rick, 5::; 893

59.54 View of .%! (MicroStation) model of Chavín de Huántar, looking toward the southwest, by John W. Rick, 5::6 899

59.55 Isometric view of .%! (MicroStation) model of the major construction blocks of Chavín de Huántar, by Silvia R. Kembel, 344< 898

59.53 Solid model of Chavín de Huántar calculated from high-density, high-resolution B,+ coordinates, by William C. Poe, 5::< 898

59.59 Surface and subsurface image of three-dimensional-coordinate point cloud of Chavín de Huántar gathered by Cyrax scanner, looking toward northeast, by John Ristevski, 3447 897

59.58 Image from three-dimensional-scan point cloud of the interior of Rocas Canal, primary drain of Chavín de Huántar, by John Ristevski, 3447 897

59.57 Surfaced and texture-mapped image of .%! model of Chavín de Huántar, looking west 896 59.56 Eastward rendering of the Crone Room of the Northwest Palace, Nimrud, Iraq 89; 59.5; Image of post–Chavín-period structures found in the Circular Plaza of Chavín de Huántar,

by Michelle Touton, 3447 89< 59.5< Renderings of .%! (MicroStation) model showing sunrise light in the Circular Plaza of

Chavín de Huántar, by John W. Rick, 3448 89: 59.5: Fence model of resistivity line images from the Square Plaza of Chavín de Huántar,

assembled in SketchUp, images from Nigel Cook and model by Daniel Contreras, 344: 89: 59.34 Model of the Lanzón, Chavín de Huántar, created from three-dimensional scanner data,

by John Ristevski, 3447 884 59.35 Images of a quartzite stone core tool (Preceramic period, 9444 $.) from below the modern

Plaza de Armas, Chavín de Huántar, by John W. Rick, 344: 885 59.33 Four views of a stamped pottery sherd from Chavín de Huántar, by John W. Rick, 344: 883 58.5 Drawings of Zoomorph P, Quirigua, by Annie Hunter, from Alfred P. Maudslay, Biologia

Centrali-Americana, 5<<:–5:43 874 58.3 Front and side views of Zoomorph P, Quirigua, from Alfred P. Maudslay, Biologia

Centrali-Americana, 5<<:–5:43 875 58.9 A camera lucida and sketch showing its use 878 58.8 Examples of Tatiana ProskouriakoF ’s sculpture renderings from Veracruz on coquille board, 5:78 877 58.7 Stipple drawing of a carved jade from the cache beneath the Hieroglyphic Stairway, Copan 87; 58.6 Artist Citlali Coronel of the Proyecto Pinturas Murales at the Universidad Nacional

Autónoma de México practicing a Eeld line drawing at Yaxchilan, Chiapas 87< 58.; Barbara Fash drawing Stela 53 in the Copan Valley with epigrapher Berthold Reise 87: 58.< A fallen sculptural facade from Structure 54L-3: and its reconstruction in the Copan

Sculpture Museum 87: 58.: Comparison of a traditional photograph, line drawing, and three-dimensional scan

(presented two-dimensionally) of Step VII of Structure 99, Yaxchilan 864 58.54 Testing the three-dimensional scanning application on Maya sculpture from Copan’s

Hieroglyphic Stairway at the Peabody Museum 863 58.55 A three-dimensional virtual model of Copan’s Hieroglyphic Stairway created from 5::< scans 863 58.53 Inked line drawing of Lintel 59, Yaxchilan, from Ian Graham, Corpus of Maya Hieroglyphic

Inscriptions: Yaxchilan, 5:;; 869 58.59 Cree views of a three-dimensional model of a Hieroglyphic Stairway block from Copan

shown with lighting cast from diFerent angles 868 58.58 Alexandre Tokovinine and Honduran team, Erasmo Ramírez and Adelso Canan, at work

scanning Copan’s Hieroglyphic Stairway 866 58.57 Beatrice Viramontes recording a painted mural at the Templo Mayor 86;

xix

This volume initially took shape as a symposium organized by the Pre-Columbian Studies program at Dumbarton Oaks. Entitled “Past Presented: A Symposium on the History of Archaeological Illustration,” it was held on October : and 54, 344:. Ce gathering was intended to bring together scholars from a variety of disciplines to consider the intellectual and social history of representations of the ancient Americas and the ways in which such images shaped, and continue to shape, understandings of the Pre-Columbian past.

I am grateful to many individuals for their participation in the organization of the symposium and their sup-port of the present volume. In particular, I would like to thank the director of Dumbarton Oaks, Jan Ziolkowski; William L. Fash; and the members of the board of senior fellows, including Barbara Arroyo, Elizabeth Boone, Tom Cummins, Virginia Fields, Charles Stanish, Gary Urton, and David Webster. Two papers presented at the symposium, by Peter Galison and Daniel Schávelzon, were not available for publication in this volume. For Alain Schnapp’s paper, the French was translated by Cécile Morrisson, Miriam Doutriaux, and Alexandre Tokovinine, while Emily Gulick Jacobs prepared additional translations of the Spanish texts. I am grateful to the interns who participated in the symposium, including Lucia Abramovich, Ari Caramanica, Emily Kline, and Hillary Olcott. Marco Curatola, Jean Frisbie, Bridget Gazzo, Norman Hammond, Reiko Ishihara-Brito, Natalia Majluf, Alexandra Méndez, Juan Antonio Murro, Deborah Stewart, Parker Van Valkenburgh, Janne Weissman, and Steve Wernke provided additional assistance at various stages of the project.

Two anonymous reviewers provided helpful advice on an early draG of this volume, and I am very grateful for their suggestions. Ce publication of this volume would not have been possible without the assistance of Ari Caramanica and Emily Gulick Jacobs. Ari’s insightful, substantive contributions and tireless eForts in acquiring images and rights contributed signiEcantly to the improvement of the volume. Emily’s hard work, good judgment, and creative ideas were evident, as is always the case, at every stage of this project, and I remain greatly in her debt. I also owe my thanks to Ben Benus, who provided key assistance in the Enal publication stages.

I conclude by oFering my deepest thanks to Kathleen Sparkes, the director of publications at Dumbarton Oaks, and Sara Taylor, art and archaeology managing editor. I am grateful to Sarah Soliz for her Ene copyedit-ing and Melissa Tandysh for her elegant design.

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PR E FAC E A N D AC K NOW L E D G M E N T S

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J O H N W . R I C K

Realizing the Illustration Potential of Digital Models and Images

Beyond Visualization

13

Illustration serves a number of purposes in archaeology. Most obvious is representation—the act of transmitting information through the illustration to increase the knowledge of others. Illustration usually refers to a dimensionally accurate image of something material: a region, a site, a structure, an artifact, or a detail of an item. I follow this de$nition by focusing exclusively on representational illustration rather than on what I call derived illustrations, such as graphs, charts, and other forms in which there is no direct resemblance between the illustration and any physical subject matter. What is abundantly clear from the chapters in this volume is that there are many pathways to achieving representational information transmission. %ere is an assumed responsibility on the part of the archaeologist/illustrator for “getting material across” to the viewer, and thus the ability of the illustration to transfer this information is critical. A photograph, for instance, may or may not convey the desired information. “Simple” visual realism may not aid comprehension. Some objects may not be clear to the unaided eye, even in the best of light. Some understandings of an object may derive from particular perspectives or pro-jections, deviating notably from a normal or even possible view of the item. Drawings or other forms of more perception-mediated illustration—though even photographs or digital models are $ltered through lenses or digital processes—have the capacity to emphasize or even distort aspects of subjects that are not easily transmitted otherwise. We have limited tolerance for the alteration of the subject, however. Making an object more understand-able by altering color or enhancing shadows may be acceptable, but dimensional distortion takes us from representation to a form of caricature. But if the e&ectiveness of information transmission within certain standards of $delity, especially dimensional accuracy, is the

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essence of the quality or value of the illustration for understanding what is being displayed, then digital methodologies have much to o&er.

An important caveat is that with certain forms of digitally aided illustration, the illus-trator may become a machine operator, short-circuiting the important process that results from human intervention in comprehending a subject. %is caveat highlights the idea that illustration, in the process of focusing attention on an object, can be an act of discovery that provides the very basis for the emphases that illustrations can achieve. In many senses, the illustrator is transferring an understanding of a subject as much as its representation. %is conjunction of comprehensions is altered in digital illustrations whose dimensional-ity and quality are heavily dependent on machine processes. Even if some qualities of the illustration are improved by digital production, there may be sacri$ces that argue against digital methods, especially as a unique pathway to illustration. Time may be saved with digital illustration, but if perceptions and learning are reduced, then the balance sheet of an illustration’s costs and bene$ts may not always prove positive. Yet it is clear that digital illustration has a large role to play in archaeology’s future.

%is chapter is not a catalog of 'ashy digital images in archaeology or a comprehensive guide to all available digital approaches or a complete literature review. My goal is to por-tray digitally produced illustration as a strong force in archaeology, loaded with motivations, rewards, and limitations and frequently implying a signi$cant, rather than super$cial, change in approach. %e proportion of illustrations deriving from digital data and digital production is exploding in archaeology and seems unlikely to diminish in the foreseeable future. I will be arguing that this trend is not just the advent of a “better drawing pen,” but rather a major shi( as illustrations are becoming an integral part of a di&erent research process, with all the growing pains expected from such a change. A further goal here is to re'ect on how to mini-mize the discomforts and extend the bene$ts of digital methods more broadly.

On the way, I hope to emphasize that digital illustration can blur the distinction be -tween illustration and active research, a factor making digital methods worth their costs. Illustration gains value by promoting learning and information transmission, but there has traditionally been a relatively static, noninteractive relationship between observer and image. True, the illustrator-as-learner function shapes the understanding of the creator as a representation takes form, but the form, once achieved, is nondynamic and generally two-dimensional. Perhaps one of the greatest potentials of digital illustration is that the product can itself be a dynamic research object of more than two dimensions, and the published con-dition of the illustration need not be its $nal state, if the publication itself is digital (Frischer )**+). %us, an illustration derived from a three-dimensional model can be seen as merely one state of that model, a model whose dimensionality can be immediately active—and capable of readdressing the issue it was made to illustrate—along with countless others.

In some senses, this makes digital model–derived illustration the equivalent of a rela-tional database—in which all queries refer back to a single complex data source, merely sampled or sliced in di&erent ways. Perhaps an ideal world of digital illustration would be a virtual region, populated by virtual sites with virtual features and virtual objects inte-grated into a scalable, dimensionally accurate visual relational database representing reality. %ere are still limitations in the acquisitional, relational, and computational aspects of this dream; for instance, photorealistic, accurate, measurable three-dimensional representation of objects within sites within regions probably is outside of realistic expectations for current

! ",Realizing the Illustration Potential of Digital Models and Images ! ",

computing, although advances in gaming and production of virtual reality make this goal closer than might be imagined. Although currently we may not be able to span all levels of scale in a single model, we may be as restricted by our ability to imagine the possible appli-cations of current methodologies as by the actual limitations of technology.

Digital techniques, one way or the other, can move us in the direction of more closely approximating reality or even a super reality—that is, one that is more amenable to our perceptions—in part because they provide e-cient, and unlimited, access to a subject. For instance, while physically present at an archaeological site, I can measure and comprehend reality directly, but I am frequently hampered by the physicality of the context—some mea-surements or photographs may be impeded by the di-culty or impossibility of $nding the appropriate position or by the opacity of objects or even by the presence of impediments like tourists. %e surrogate digital reality model has the potential to reduce these limitations, and illustrations from it are o(en assumed to o&er an intrinsically greater level of accuracy and realism. Digital models may enhance interpretation and even aesthetic appreciation, and such models may, by design, emphasize certain aspects of reality. As we will see, how-ever, re-creations of past realities through physical models can be problematic when they extend into conjecture.

Framing Perspectives—A Brief History

Archaeology is making ever-greater use of dimensional digital models as a direct outcome of the growth of computer capabilities, particularly those of microcomputers. %e general role of computers in archaeology is the subject of a mushrooming literature (e.g., Eiteljorg and Limp )**+; Evans and Daly )**.; Lock )**#; Lock and Brown )***), but here I review this role with a particular eye toward illustration capabilities, clearly a subset of computer potentials. Many archaeological methods track evolving computer potentials, and some models for this relationship have been proposed (Lock )**#:/). Most of the $rst uses of computers had relatively little potential for representational illustration: $rst, because most early data were numerical and not particularly capable of representing physical subjects; second, because the various output devices—displays, printers, plotters, and so forth—were not capable of publication-quality output; and third, the hardware and so(ware for detailed and demanding dimensional analysis did not exist. But soon, relational information became possible, such as databases that could show articulations between the data being recorded, but these connections put little emphasis on dimensionality. In e&ect, models existed only in a very schematic sense—for the maintenance of orderly connectedness of data attributes.

Digital computational abilities opened the door to complex analyses of derived data—particularly in the realm of statistics. Classi$ed sites or objects, and attributes thereof, or locations of objects and sites in largely nonvisualized two-dimensional space were the data for characterization, summary, and comparisons, and the speed, ease, and accuracy of such numerical work were revolutionized. Even dimensional analyses, however, were based on discrete and usually modest numbers of measures.

A Rubicon was crossed as computers became graphically capable of dealing with information-rich media—in e&ect, dimensional data, including photographs and detailed images—and taking advantage of high-resolution input and output devices, including

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scanners and, eventually, digital cameras. Initially, three-dimensional data were largely reduced to two dimensions, but soon technology allowed e&ective generation and analysis of three-dimensional models of various scales of material. At this point, digital dimensional illustration began to have potential, and I emphasize that this was in close linkage to the analytical process. Prior to this point, the linkage between illustration and computation was rather limited, and manually produced illustrations were necessary to show the detail required for publication. %e $rst changes occurred in derived illustrations. Charting and graphing so(ware evolved in synchrony with numerical and statistical techniques and was o(en limited by resolution and graphical processing possibilities. %ere was also a limited acceptability of digital media for publication, in part awaiting the development of paral-lel publishing so(ware and hardware and also due to the conservatism of an industry that may have had presentiments about the eventual impacts of these developments. %e abil-ity of digital media to achieve and then exceed the resolution of traditional images, the advent of vector-based graphics that were not inherently limited by resolution at all, and the ability to deal with the display, manipulation, and, less commonly, the physical output of three-dimensional models were major milestones.

%ese changes in digital capabilities are at least somewhat predictable and, in a sense, incremental. But the implications for archaeology in general, and illustration in particular, are revolutionary. Far beyond some simple geometric increase in resolution, accuracy, or some other quality, the move into dimensional modeling capabilities has the potential to change modes of data acquisition, analysis, illustration, and publication, and indeed the overall structure of the research process (Forte )**+).

A question remains as to whether the purpose of illustration is to represent reality faith-fully or to present an interpretation of reality. In the past, this question was not necessarily meaningful; illustrations were interpretations because they were dra(ed by human beings and subject to the vision (and other senses), comprehension, and abilities of the illustrator. Humans will always be involved at some level in shaping the rendition of reality found in illustrations, but digital media move toward a more direct, less-modi$ed representation of reality. %is is not to say that digitally based illustration cannot be manipulated, especially at late stages in production, to emphasize desired aspects, and outright distortion of reality is no less possible than in manual dra(ing or photography. %e issue of alteration of real-ity in illustration emphasizes di&erences between art and illustration, although these are not clear-cut. But digital techniques, by their nature, have an output of great accuracy in ever greater masses of detailed data. %is output, a(er all, is what permits detailed three-dimensional models. %us, the potential to more accurately represent reality is a driving force in digital analysis and illustration.

Potentials and Pitfalls

Before presenting examples of digital illustration, I want to present a perspective on digital advances in general, since the attitudes we take about our methods are o(en as in'uential as the methods themselves. I argue that motivations to use digital techniques in archaeology go far beyond potential increases in scale, accuracy, or other parameters of direct research results. %ere is a sense of newness surrounding computational archaeology, something

! "0Realizing the Illustration Potential of Digital Models and Images ! "0

that depends on being on the cutting edge of hardware and so(ware breakthroughs and the inevitably limited access to them, advances made professionally e&ective by exclusiv-ity. %is $eld has a relation to the satirical “hammers” concept of James Moore and Arthur Keene ("/+#), in which innovative methodologies are seen as short-term interests bound to be quickly cast o&, but with a critical edge—the self-promotional positioning of archaeolo-gists among themselves in relation to a rapidly expanding $eld of potentials. %e motivat-ing force can thus be seen in some ways as negative, since the archaeologists’ competitive aspirations would not be very supportive of, and would even counter, the production of archaeological knowledge. Jockeying for position and laying claims to methodological space, especially when linked to claims to exclusive knowledge or resources, seems like illegitimate game playing for a $eld like archaeology.

Other motivations, however, derive more healthily from a shared fascination with tech-nology and its potentials, and the desire for new and breathtaking vistas and realizations—something not foreign to acts of discovery in archaeology. %e desire for intellectual space does not always engender exclusivity and may also entail the lonely thrill of realization of new knowledge. But practices will rapidly expand with the quick dissemination of results though digital media and channels allied to the digitally dependent methods. Large num-bers of naive-but-sophisticating, initially bumbling, and outright nonadept users become creative thinkers, almost inevitably. %is is not a paradigm change; this is the discovery and rapid populating of a new methodological world. %e optimist’s view, which I share, is that the end e&ect is, in fact, an increase not only in the knowledge, but also in the knowability, of the past as potentials are realized.

As one of those who has been repeatedly involved and as an advocate, I $nd the litera-ture of this revolution daunting given the volume of formal, and increasingly informal, digitally published material. People are beginning to re'ect on the methods, to $nd patterns in their spread, and even to see predictability in the directions they may take in the future. Not merely measured in terabytes of information or real-time rotational capabilities, the more comprehensive and structural changes are becoming a subject matter of inquiry and careers themselves: the metastudy of scholars examining themselves or, really, studying the revolution. %e content of this chapter clearly identi$es me, momentarily, as one of those.

Some dangers are implicit in these major changes. Primary among them is di&erential access to resources—the cutting edge is fueled, for only some, by access to very costly meth-odologies and equipment, by a major reliance on specialized devices and so(ware, and by a parallel dependence on outside experts to create spectacular results that are unobtainable by the overwhelming majority of the profession. Avoiding this style of research and devel-opment entirely would diminish methodological potentials of the future, but, at the same time, the competent, results-producing projects that are using accessible, more-than-once-trod pathways should be recognized. %e very danger of hyper-technicalization is o&set by democratization. Computers, for instance, will soon be more common among archae-ologists worldwide than professional dra(ing tools and technical drawing pens ever were. %us, the “means of production” are becoming available to most, and how we use the tools is more a matter of degree, especially the a&ordable technologies that reward the e-cient and the clever as much as the extravagant.

Highly related to illustration is the issue of mode of publication. If illustration implies traditional publication and other forms of extensive distribution, then the digital situation

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is notably more complex (Richards )**.). %e phrase “publish to the web” implies a level of availability, but a very di&erent one from “published article.” Beyond the simple sense of paper versus digital media, and thus how one views the publication, there is the unitary sense of “a publication”—that is, an item that is separable, transferable, storable, referable, and at least somewhat stable. Web journals can provide continuity and location, but ide-ally the articles thus published should be stand-alone documents, as separable from their media home as a reprint is from a paper journal. %is has led to a dilemma for such web-distributed documents. While their digital origin implies the capability of displaying illus-trations, including, for instance, three-dimensional models, the necessity of adopting a standard document format has generally disallowed such inclusion. But hybrid journals in allied disciplines are $nding ways to allow multimedia illustration in web editions, notably the Journal of the Society of Architectural Historians. Not surprisingly, but potentially of great signi$cance, some formats such as the reasonably standard 123 (Portable Document Format) are now capable of displaying active three-dimensional models as illustrations within a document (see also Fash, this volume). %e implication is that the viewer becomes the user and has the potential to continue the research that the author illustrates or, alter-natively, to use the model to go in di&erent directions. %is technology has initiated a new era of illustrations as data that are accessible and transferable in ways not possible in non-digital media. %e models that serve as illustrations are not limited to the views, scales, or dimensionalities chosen as arguments or display by the authors, as is the case in paper media. But nonetheless, we must realize that digital illustration is always going to be more at home in a digital world, and its capabilities will be hampered, although many times still e&ective, on paper alone.

In a nutshell, what are the qualities that digital illustration provides, with or without digitally enabled publication? In terms of image quality, it is easy to produce, reproduce, manipulate, and evaluate e&ectively unlimited colors and color ranges objectively and accu-rately; this adds utility to a dimension of illustration that was less tractable previously. Digital representations or models also have the potential to be used at a very wide range of scales, something quite important given the currency of multiscalar approaches. %is potential is partially due to ever-higher-resolution digital photographs and other bitmaps, which can be blown up considerably before they break up at high magni$cations, but also vector graphics, in which there are no e&ective resolution limits and the bounding lines delimiting objects take their form from mathematical de$nitions rather than from pixels within a $nite grid. Note that scalability implies accuracy; if a model remains valid when highly enlarged, it must have a high level of accuracy.

As mentioned, the advent of three-dimensional graphic capability enabled experiential realism, as computers could in various ways represent the world as we know it, in three dimensions. While a sense of three-dimensionality has always been present in illustration, digital capabilities make model manipulation in real time practical and user controlled. Temporality is crucially important: the actual perception of dimensionality is compar-ative in many ways, and three-dimensional vision is heavily augmented by motion or change over time in the subject that demonstrates depth. Directional temporality consists of before-and-a(er states, an ordering in time that de$nes one type of four-dimensional model. Additional dimensionality can be portrayed in models, but only with the e-cient and dynamic display enabled by computers can this be practical for on-demand use.

! "/Realizing the Illustration Potential of Digital Models and Images ! "/

Digital illustration allows for high levels of communicability. It is notable for its poten-tial for reproduction; exact copies of original images, or the models they come from, are not only possible but almost inevitable, especially with digital publication. Similarly, digi-tal media can be made available and easily transferred in ways that are more inexpensive, rapid, and e&ortless than paper publications. Distribution can be undertaken fairly easily by individuals and potentially reach around the world.

In terms of speed and e-ciency, some aspects of digital illustration production can be done quickly through automated production of repetitive features, text, or modi$cation of previous illustrations. Since many illustrations are generated through models, incremental features or details can be added or subtracted and previous versions of models maintained to allow multiple pathways to illustration. Costs can also be reduced: some forms of illus-tration can be undertaken by those with less training and experience compared with many traditional techniques, and materials and supplies are generally not required beyond com-puters, whose costs are declining.

%ere are, however, limitations and drawbacks to digital illustration, such as change itself. Until recently, digital illustrations looked di&erent, and some make use of unaccus-tomed reading methods. %ey frequently require di&erent approaches and data, and they involve training costs and at least initial equipment expenditures. Beyond these, the imper-manent, dynamic digital world is constantly changing—obsolescence is intrinsic to equip-ment and so(ware and, as I have stated, is created by various forces that drive change in cutting-edge approaches. Standards become rapidly outdated, and even the readability of illustrations may su&er from the reduced time that a familiar format or convention lasts; worse yet, a work can become unreadable if formats change su-ciently.

A theme previously mentioned is the reduction in $rsthand familiarity with a subject as devices increasingly intervene in illustration. Less time is spent concentrating on and interpreting the subject, and more is spent on running equipment or on massive alterations that rely on so(ware instead of interpretive talent, which itself is in danger of being reduced. Publication in digital media may not require any form of peer review, and thus the reliabil-ity, accuracy, cogency, or even authenticity of what is broadly available is not assured. %e democracy of the internet requires greater $ltering and discrimination at the personal level.

Digital illustrations bring into play additional considerations and challenges, including the representation of unreliability. Digital illustration o&ers greater ease, 'exibility, and plu-rality in reconstructing the represented subject, especially for architectural reconstructions where wall foundations can be projected, at the very least, to full height, be that known or unknown. %is has raised the issue of how to show uncertainty in model-based visualization so that the reader does not put undue con$dence in the o(en beguiling reconstruction. With the advent of highly convincing, digitally derived, photorealistic images of past and originally incomplete subjects—the domain of many virtual reality e&orts—the issue becomes particu-larly acute. We must remember, though, that this problem has existed in reconstructions as long as archaeologists have articulated architectural visions of the past (e.g., the renowned Maya reconstructions of Tatiana Proskouriako& ["/!.; see also Villela )***]). %us, both the potential for misinterpretation and the corresponding potential for widely distributing a means of displaying unreliability place particular responsibility on the digital illustrator.

In parallel with the uncertainty, documenting the actual process of how a digital model or image was conceived, formulated, and brought to fruition, typically through the use of

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metadata, can be seen as both a responsibility and a strong advantage of digital methods. Understanding how a digital illustration came to be may be more important than for manu-ally produced images given the myriad contributing sources and e&ects and certainly will be useful to those trying to replicate the result. Again, paper-published illustrations have rarely given equivalent background information (see also Houston, this volume).

With the richness of digital data, there is an ever-greater potential for further use, and the illustrations (and research) rarely exhaust the potential of the gathered data. %is sug-gests an increased responsibility to archive and make data available into the future (Grew )***). %e higher level of detail recovery in some forms of digital recording makes the digi-tal record very important in the event of loss of the material past itself. %e issue of seeking stable data formats that are not susceptible to obsolescence is certainly a major one, and it directly concerns illustrations because not only can original data become inaccessible, but also digital publications can su&er the same fate, as I have mentioned.

Finally, there are intrinsic con'icts between digital potentials and simplicity. Solutions will always have to be sought for how to maintain practicable, a&ordable, realistic pathways to data collection, storage, reproduction, analysis, and illustration in a technological realm with ever-greater data depth.

Not surprisingly, these themes have been the subject of thoughtful re'ection within the community using digital methods. Perhaps the most central document is the London Charter (Denard )**/), which “de$nes principles for the use of computer-based visualiza-tion methods in relation to intellectual integrity, reliability, documentation, sustainability and access.” %is document in many ways gives a thoughtful response to digital challenges.

Directions and Examples

Here I present some examples of di&erent classes of digital illustration spanning a wide variety of methodologies and emphasizing results that would be di-cult to obtain from nondigital approaches. In general, these will start with simpler techniques that require less sophistication on the part of the illustrator, although that, of course, can vary for any group of methods. I am intentionally emphasizing approaches that can result in e&ective paper-published results but will note particularly valuable types of illustration that require com-puter-based delivery. %e examples are primarily from the research and conservation work of my project at Chavín de Huántar in highland Peru, a three-thousand-year-old World Heritage site. %is monumental center was the focus of elaborate rituals critical to the estab-lishment of authority in this early complex society. Representing the physical dimensions and growth of the site’s architecture (Kembel )**", )**+), the designed spaces and potential experiences of those within the site (Rick )**,), the artifacts of the period, and even the aural qualities of the environments (Abel et al. )**+) has special importance to this project. As I believe that the design of spaces, objects, and experiences had a desired outcome in antiquity, their representation is essential for scholarly communication. I will also include a few examples from elsewhere. What I present are neither results of particularly cutting-edge technology nor representative of the whole range of such products; to the contrary, they are what we have been able to do on very limited budgets, with a limited number of specialists, and with limited forays into an, at times, highly specialized literature. Also, our adoption

!)"Realizing the Illustration Potential of Digital Models and Images !)"

of so(ware has occurred over nearly twenty years. Some programs that work well have been grandfathered into the project, although they may no longer o&er the most e-cient current solutions: caveat emptor!

Bibliographic comprehensiveness is not my goal here. %e literature on many of these techniques, their applications, and produced images is exploding in both print and digi-tal form. %e interested reader can go to a number of important journals and conference series available online (see also Richards )**.). %ese include Computer Applications and Quantitative Models in Archaeology (455); the Eurographics: European Association for Computer Graphics website and digital library; Electronic Imaging and the Visual Arts (675) conferences; Internet Archaeology; 7589 International Symposium on Virtual Reality, Archeology, and Cultural:Heritage conferences and proceedings; Virtual Reality; Visual Resources; and especially the proceedings of the annual Siggraph conference. %is latter, while quite technical at times, gives one the sense of the pulse of advances in digital graphics.;

Digital Photography and Related Approaches

%is is such a well-known area, covered by many authors, that I will only touch on a few less commonly undertaken approaches. Digital photograph editing is accessible to the average person, spans a much greater range of techniques, and is much more e-ciently achieved than in $lm photography. Many more choices are involved, even in such basic issues of resolution, compression, contrasts, color, and shade range. %us, there is considerable room for image manipulation, including emphasizing features of interest but ranging into dis-tortions that violate basic principles of intellectual honesty, building on the potentials of traditional media (see Pillsbury, this volume).

%e digital photography emphasized here can be broken down into that dealing with single photographs versus that involving multiple related images. We must remember that digital photographs are integral inputs to many seemingly nonphotographic methods, espe-cially three-dimensional scanning, and although that input is frequently accomplished with no conscious photographer or photograph manipulator, it is perfectly possible to edit the photographs produced automatically by scanners. %at these photographs are frequently referred to as “texture maps” is a $ne example of obscure, exclusionary terminology.

An example of single-photograph manipulation easily done with digital photography is distortion correction. A documentation photograph of an excavation unit’s horizontal surface, for instance, will su&er various degrees of distortion depending on the lens and angle of the shot. Simple distortion can be largely removed by three-dimensional rotation in any major photo-editing so(ware (e.g., Adobe Photoshop or Corel Photopaint); more sophisticated correction can be accomplished through referencing of unit corners or known datums in geographic information system (<=8) so(ware or rubber sheeting—stretching and compressing the photograph. Similarly, drawings can be made from photographs of $eld records with digitizing programs such as Golden So(ware’s Didger, which uses the corner coordinates of a digital or $lm-based photograph to give site coordinates to all the objects traced in the photograph.

Digital photography has also proved useful in producing black-and-white (not grayscale) drawings of objects that up until recently have been much more cheaply and accurately

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reproduced in paper publication. %is is the realm of the traditional, talented $eld artist, but in their absence hybrid photographic–line drawing illustrations can o&er both a fair amount of dimensional accuracy (assuming the photograph had an accompanying scale) and a photorealistic sense of the original. A cornice fragment discovered in "//+ at Chavín was digitally photographed and the photograph’s contrast increased and otherwise manip-ulated until all gray shades were eliminated. Where outlines of the original $gure were clear, they were augmented with lines overdrawn on the digital image, and the inset background was painted with a black stipple-like spray, accentuating depth by assuming a light direc-tionality and consequent shadowing (Figure "#."). Cracks, textures, and worn or chipped surfaces of the stone art in this case came directly from the original elevated contrast pho-tograph, without a need for drawing. %is process gives a good idea of an object’s original condition where the original surface is missing, information notably absent in some earlier drawings of Chavín lithic art.

Illustrative material based on multiple related photographs involves allied techniques and conceptual similarity. Simple in concept is high dynamic range imaging (>2?). In direct language, this consists of making a range of exposures of the exact same subject,

!"#$%& '(.'Illustration of a cornice

fragment from Chavín de Huántar. Corel Photopaint image from original digital

photograph by the author, !""#.

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!)#Realizing the Illustration Potential of Digital Models and Images !)#

!"#$%& '(.*$%& image of Chavín de Huántar under night lighting; the bottom image is much more complete and properly exposed. Photographs and $%& image by Mathew C. Rick, !""'.

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thus allowing the accurate rendition of areas that would be over- or underexposed in a single shot. %ese images are then combined through so(ware, such as Photoshop, that allows desirable aspects of the various shots to be di&erentially emphasized. Although hardly sci-enti$c documentation, these types of images of Chavín under recently installed night light-ing, which rescue highly contrasting dark and light areas of the images, not only give a more information-rich and attractive view, but actually look much more like the dynamic range that human vision perceives (Figure "#.)).

A much more technically advanced photographically derived method is interactively relighted re'ection transformation imaging (?9=), a technique in which multiple exposures of a subject, typically an object, are taken from the same camera position under lighting coming from a variety of directions (Happa et al. )*"*). %ese multiple photographs are used to derive the surface normal, or angle to the viewer, of each pixel in the frame, which provides true three-dimensional information about the part of the object facing the camera. %is information is used to allow relighting of the surface—knowing the direction each pixel faces allows virtual light to be brought to the digital surface from any direction, allowing the surface detail of the object to be clearly perceived, and appropriately simulated lighting can be chosen for static images to maximize the desired detail in the $nal image. %is method requires a somewhat more sophisticated setup of photographic lighting than with >2? but produces images of immensely greater utility for perceiving dimensionality and surface detail. ?9= usually is not used to build a three-dimensional model of an object, although it has the potential to calculate three-dimensional geometry. Other methods that collect three-dimensional coordinate point locations (see what follows) may be more appropriate for that goal. %is technique allows the visual manipulation of an image that goes beyond simple lighting issues and allows for a portrayal of dimensionality and detail that is in many ways an interesting and potentially e-cient hybrid of rapidly collected matrix data (pixel grids in a digital photograph) and actual three-dimensional information. %is is useful for both paper and digital delivery in the form of optimized photograph-like and derived images and user-tuned relighting controls of an otherwise static image (Figure "#.#). A similar but less manipulable non-three-dimensional digital output can be achieved by a dynamic control that recombines, in real time, the light from a number of sources under user control (Akers et al. )**#).

Both of these techniques rely on overlays of similar images; another series of techniques involves overlapping photographs stitched together to give three-dimensional senses of spaces and objects (Rick and Hart "//0). O(en referred to as QuickTime Virtual Reality (@97?) or panoramic virtual reality photography, photographs taken in regular rotational progression outward from a center point can be blended together to create a panoramic #.*-degree (or lesser, if preferred) image. %is image can be continuously rotated around the observer, who can also zoom in or out, and when linked with a number of panoramic nodes, gives one the feeling of being present and moving around the context. Similar use can be made of multiple views taken of a rotated object, which are simply joined as the frames of a short object movie. When played forward or backward on demand, the rotation gives a sense of three-dimensional viewing and increases perception of the dimensionality of an object. Both of these techniques $nd their primary output and utility through computer so(ware, not paper media, and both of them su&er a drawback: although zooming may be possible, scaling of the subjects is di-cult, and meaningful dimensional measurement within the images is not easy.

!),Realizing the Illustration Potential of Digital Models and Images !),

%e practice of photography from directly overhead has long been a playground of archaeological illustrators, involving suspended, mostly radio-controlled cameras li(ed by small model aircra(, balloons, or kites. Digital approaches become important in the fairly complex issue of merging multiple photographs, something almost always necessary to obtain desired coverage and di-cult with $lm-based photographs. %e ability to produce digital composite photos allows cameras to be mercifully ever-closer to the ground, o(en simply suspended from a handheld device. In practice, much of the same so(ware that is used to join images in panoramic virtual reality can be used for 'at subject matter as well. %e same pixel color matching and accommodation features will allow a full blending of images, even when angle, scale, and direction are somewhat di&erent between adjacent and overlapping photographs. %is requires e&ectively converting photographs to an ortho-graphic projection, in which distance from the camera does not change the scale of the objects, allowing adjacent, overlapping photographs to not only be matched along some edge, but integrated also over the area of overlap.

Aerial and satellite photography are subject matters unto themselves, and these are not exclusively digital realms (Palmer )***). One problem of $lm photography that is partially

!"#$%& '(.(&() of bronze Etruscan mirror from the Worcester Art Museum, Worcester, Mass. *e le+ portion of the image shows the original &() input photograph, while the right portion employs specular mathematical enhancement. Images by Mark Mudge, !",".

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overcome with digital approaches is resolution. While large-negative air photos have the potential to produce enlarged prints, the cost of large-area coverage of substantial survey tracts can be prohibitive, and in most cases it is either impractical or impossible to obtain and use original negatives. Although sometimes demanding high processor speeds, very high-resolution air or satellite digital images can serve for a variety of scales and can be printed in full or in detail in the $eld from simple printers. At Chavín a single =ABCB8 satel-lite image of approximately "),",) D +,),. pixels was donated by a local mining corporation and covered an area of about ninety-six square kilometers surrounding the site. Portions of this single image have been used at a wide variety of scales in many di&erent illustra-tions—directly or “draped” over various spatial models (Figure "#.!).

!"#$%& '(.))-./.0 satellite image of the area surrounding Chavín de Huántar. *e top le+ shows coverage of the

original high-resolution image; the top right shows enlargement while

maintaining high-quality resolution; and the bottom shows the satellite image draped over the %12 shown

in Figure ,#.3 using Arc4)0 and ArcScene programs. Bottom image by

Daniel Contreras, !""5.

!)0Realizing the Illustration Potential of Digital Models and Images !)0

Dimensional Models

Most of the remaining digital sources for illustrations come from models assembled from coordinate data; these may be both two-dimensional and three-dimensional, and the data can come from many data collection procedures. A resource of great potential is pho-togrammetry, in which multiple photographs of the same landscape or object (typically, although other two-dimensional sources can be used) taken at contrasting angles with common, known points identi$ed between the photos can produce three-dimensional coordinates for those and other points chosen (Eisenbeiss et al. )**,). To achieve accuracy, sophisticated calculations are required (usually using existing so(ware) to produce three-dimensional models of objects and site-scale subjects. Given a sophisticated optical/geo-metric calculation involving the lens length, the $eld of view, and the camera sensor size, the original camera location is determined. %en the matching points in di&erent photo-graphs are used to calculate the geometry of many, perhaps the majority, of pixels matching between photographs, producing a three-dimensional model. Falling under the rubric of geomatics, these are hybrid models in which the basic data are photographs, but the out-puts are points located in three dimensions. %e accuracy of these models is clearly scaled to the resolution of the photographs, but this can be a particularly e-cient way to collect data, and coming directly from a photorealistic source, the points are known locations. %e degree of detail that can be achieved may be limited, but it is useful particularly where a moderate-scale subject is to be modeled, rather than a large-area coverage. Where there is uncertainty about whether the data will be needed—for instance, sites visited brie'y on survey—rapid photography would allow for a fairly simple three-dimensional model to be created at a later date with little investment. As this chapter goes to press, I am success-fully using new photogrammetric so(ware that requires no manual point identi$cation, producing very useful and detailed three-dimensional models of objects and excavation contexts from around twelve to $(y relatively low resolution photographs.

Most digital models, however, are derived from direct recovery of surface point coor-dinates. Traditional non-electronic survey instruments of various types can produce three-dimensional points, but rarely in su-cient density for the data-rich requirements of most models detailed enough for illustration. In addition to photogrammetry, the most common point recovery methods use total station electronic theodolites, <18 (Global Positioning System) locating procedures, and scanners capable of mapping both objects and sites in three dimensions. %ere are far too many data acquisition pathways to detail here, but the methods vary notably in the density and character of data that they produce. Most surveying-related methods produce a moderate number of data points, usually around )**,*** or fewer, given that points are usually individually shot and o(en specif-ically identi$ed or coded. <18 instrumentation can produce either single location coor-dinates or streams of incoming data tracking mobile receivers, whereas scanners usually produce massive three-dimensional arrays of points in photograph-like views radiating out from the instrument location. %ese latter methods, but particularly scanning, typi-cally produce individual scans with a million points, and full #.*-degree sweeps, car-ried out from a fair number of locations and can produce staggering quantities of points that can be viewed, given su-cient computing power, as virtual photographs assembled from the scanned three-dimensional “shots.” Two important di&erences emerge from

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these di&erent data densities: $rst, specialized so(ware is required to reduce the scanned data to manageable amounts and then allow it to be viewed and manipulated; second, and methodologically, scanned data produce a skinlike surface with few if any speci$-cally identi$ed points, while the more sparse theodolite-type data produce point $elds including many known, identi$ed locations. %ese latter can be used to produce surfaces but may be particularly valuable when objects or features need to be identi$ed or sepa-rately modeled.

Proceeding from large-scale to smaller-scale illustrations, I would like to o&er some examples literally drawn from digital data.

R EG IONA L SC A LE

Most archaeological $eldwork does not produce original, dense point-data at the regional scale. Instead, points can also be obtained from sources such as publicly available topographic maps, with the contour lines traced as point streams that create a 26E (digital elevation model) using points of common altitude classes, which can then be visualized as a surface model. Undoubtedly there will be an increase in the sources of ready three-dimensional data for the earth’s surface, and these can allow fairly easy model formulation, especially at larger scales. In our work at Chavín, James Rohr converted local topographic maps to a nearly regional-scale digital elevation model in <=8 so(ware, which has proved useful in depicting the nature of the landscape surrounding Chavín (Figure "#.,). As the elevation model was

!"#$%& '(.+%12 of area surrounding Chavín

de Huántar. *e model, which has no vertical exaggeration, is derived

from digitized topographic maps and shows the archaeological site of Chavín de Huántar as the pink

spot in lower center and 460-located waypoints on an ancient roadway as red dots along right

side. Image by James Rohr, !""".

!)/Realizing the Illustration Potential of Digital Models and Images !)/

created from geo-referenced topographic data in geographic coordinates, Rohr easily used <18 coordinates to locate his position on the model’s landscape and output illustrations of the trail on a crude but e&ectively rendered landscape (Figure "#..). %e use of <=8 so(ware is now becoming quite standard in archaeology (Connolly and Lake )**.; Wheatley and Gillings )**)), and the illustration-generating capabilities of this so(ware are great. Particularly notable is viewshed analysis, in which the intervisibility of points on the landscape can be assessed and displayed in map form, a prime example of two-dimensional display of an intrinsically three-dimensional analysis (e.g., Llobera )**", )**0).

LO C A L SI T E CON T E X T

Using some of the same data in an augmented and more localized <=8 model, Contreras ()*"*) was able to contrast the modern land surface in and around the site of Chavín with a reconstruction of its topography prior to the ancient monumental construction (Figure "#.0). To depict this contrast accurately in a perspectival illustration, he used digi-tal methods to e-ciently create the illustration; in the absence of computer capabilities, its production would be e&ectively unimaginable. Like many such outputs, however, the digital process of creating surfaces does not easily allow degrees of con$dence or points of solid evidence to be portrayed.

!"#$%& '(.,View of ancient roadway (red line) leading from Chavín de Huántar to Olleros within the surfaced %12 of Figure ,#.3. Image by James Rohr, !""".

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SI T E SC A LE

At the scale of most sites, a wider variety of technologies of data capture and model genera-tion becomes practicable. At Chavín we have used three primary methods of obtaining data: electronic theodolite, high-resolution <18, and F=GHI- or Cyrax-type three-dimensional scanning. %e reasons for collecting these data were various, but all included goals of dimensional analysis, mapping, and visualization.

For two-dimensional map output, it made sense to use fairly simple, cost-e&ective, easy-to-learn so(ware such as Surfer, which is capable of dealing with three-dimensional data but has limited three-dimensional display and output abilities. In practical terms, our

!"#$%& '(.-Landscape of and surrounding Chavín de Huántar over time:

a) the landscape prior to Chavín-and-later constructions and earth

movements, compiled by evaluating sediment depths then interpolating from a modern to an ancient digital

elevation model with Arc4)0; and b) the change in altitude with

addition or subtraction of material from construction or natural

processes. Models and images by Daniel Contreras, !""5.

LP-! LandscapeElevation (m)High: "#$%."#

Low: "&'%.(

Landscape Change (LP-! to Modern)Cumulative Change (m)High: )' m — *Low: -"% m

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A

B

!#"Realizing the Illustration Potential of Digital Models and Images !#"

methodology for primarily two-dimensional mapping was to do a fairly detailed total sta-tion survey of the site’s surface and visible architecture, taking many shots per architectural stone (Rick et al. "//+). %ese points were paper printed in the horizontal plane on sheets covering areas of either $ve or ten square meters; we then returned to the $eld and drew the detailed outline of stone architecture over the theodolite points, stone by stone. %ese plot sheets were later digitized using Didger so(ware; the stones of the Chavín architecture were thus represented by individual digital objects. Tracing so(ware of this type allows cali-bration with precisely known points—in this case, the corner locations of our square plots. %e points composing the traced objects are thus referenced within the original coordinate system of the site. %e assembled plots produce a map composed of the rocks of individual walls, plus the easily interpolated contour intervals. Because the map comes from a source with very $ne detail, and because the digital medium is very scalable, the same multisca-lar model can be used to produce maps at the level of the site, will not lose resolution until reaching extreme magni$cation, and can easily produce a detailed map of a two-square-kilometer area (Figure "#.+).

To deal with the intrinsically three-dimensional character of Chavín—construction across signi$cant level di&erences that ranged from tall structures to underground spaces

!"#$%& '(..Basic architectural map of the site of Chavín de Huántar and environs based on total station data and generated with Surfer program, which produces topographic lines and the dark architectural outlines of buildings that are groups of individually represented wall stones; the inset map shows a blowup of the eastern staircase of the Plaza Mayor, illustrating the scalability of the map down to 7ne levels of detail. Map and image by the author, !""8.

!#) !"#$!#)

!"#$%& '(./Two photographs of Chavín de Huántar taken from behind the Falcon Portal: a) digital photograph taken with ," mm 7sh-eye lens, subsequently recti7ed toward linearity in Corel Photopaint; and b) photograph taken within 9:% (MicroStation) model from similar position with a virtual rectilinear ," mm lens; note the identical disposition of architectural features. Model, photograph, and image by the author, ,''5.

!##Realizing the Illustration Potential of Digital Models and Images !##

in the form of galleries and canals—a more three-dimensional approach was needed for both analysis and representation. For our three-dimensional site model, 452 (computer-aided design) programs were more appropriate than <=8 so(ware. 452 is capable of the accurate metric placement of objects in three-dimensional space as well as measurability of direction, angles, and distances; layering of elements; and surface rendering and texturing, to mention just a few of its features. While it can produce very photorealistic and detailed images of use for illustration, at Chavín we tended to use it as an analytic tool for test-ing ideas about the site’s con$guration, evolution, and design. Rather than make the site images photorealistic, we avoided surfacing of the site or its architecture precisely to allow the intervisibility of features through what were actually solid and opaque constructions. %is e&ective research tool allows what we have termed “virtual $eldwork”: the e-cient measurement of countless relationships within the site. At the same time, the virtual site we were creating had great illustrative potential, and we began producing visual results. For instance, virtual cameras, and lenses of almost limitless variability, can be precisely placed within the model, producing images that replicate those taken in the present day. In one case (Figure "#./), we could take pictures with the #, mm–camera equivalent of a "* mm super-wide-angle lens, but in the nearly limitless character of the virtual world, we used a rectilinear non-barrel-distorting lens, a process that would require a $sh-eye lens in the real world. We can thus generate illustrations of digital models that have no real world equivalent. In another 452 example, a sector of Chavín was sampled with relatively small test units (Mesia )**.), but the relationships within its complex stratigraphy were di-cult to envision. 452 helped resolve this problem by visually interconnecting the strata in three-dimensional perspective, allowing the contour of past land surfaces to be com-prehended (Figure "#."*).

!"#$%& '(.'0View of 9:% (MicroStation) model of Chavín de Huántar, looking toward the southwest; the model has a crudely triangulated surface that is broken to show the placement of the Laberintos Gallery. Gallery modeling by Silvia R. Kembel; overall site model by the author, ,'';.

!#! !"#$!#!

Probably the most notable use of 452 modeling at the site scale came with Silvia Kembel’s ()**", )**+) analysis of construction sequence using data from both the exterior and sub-terranean surfaces of Chavín in a carefully controlled comparison of architectural growth evidence. Although the details of this analysis are beyond the bounds of this chapter, she was able to create solid models of the incremental blocks of construction that both served in the analysis and could be displayed for any stage of the site’s growth as easily output 452-based illustrations (Figure "#."").

!"#$%& '(.''Isometric view of 9:%

(MicroStation) model of the major construction blocks of

Chavín de Huántar, according to the architectural sequence

proposed by Kembel (!"",, !""8). Model and image by

Silvia R. Kembel, !""8.

!"#$%& '(.'*Solid model of Chavín de Huántar calculated from high-density, high-resolution 460 coordinates. Model and image by William C. Poe, ,''8.

!#,Realizing the Illustration Potential of Digital Models and Images !#,

!"#$%& '(.'(Surface and subsurface image of three-dimensional-coordinate point cloud of Chavín de Huántar gathered by Cyrax scanner, looking toward northeast; Building A is in foreground, lighter part of point cloud in center is the Doble Mensula Gallery. Model and image by John Ristevski, !""3, courtesy of Cyark.

!"#$%& '(.')Image from three-dimensional-scan point cloud of the interior of Rocas Canal, primary drain of Chavín de Huántar; inset enlargement illustrates the dense three-dimensional points that compose the photograph-like image. Model and image by John Ristevski, !""3, courtesy of Cyark.

!#. !"#$!#.

Work by William Poe ("///) at Chavín produced massive amounts of three-dimensional surface data collected with high-resolution base-station-corrected <18 units and rendered visually attractive models compatible with our lower-density total station data (Figure "#.")). But the lack of satellite contact in underground spaces limited the technique’s appli-cability for parts of Chavín, as did the relatively restrictive high horizons of the deep valley where the site lies.

But imaging of the underground spaces at Chavín was possible using other approaches. Scanning by John Ristevski with a high-resolution three-dimensional Cyrax scanner simi-larly produced skinlike surfaces with exceedingly dense point clouds. Coupled with the use of total-station-located scan stations, it was possible to document many subterranean spaces and integrate these very detailed and accurate surfaces for a comprehensive vision of the site (Figures "#."#–"#."!), and, like the 452 models, these are dimensionally accurate and measurable. %ey can output illustrative material, but considerable work is necessary to make these visually useful.

At the site level, yet another type of illustration can be produced by rendering three-dimensional models with surface texturing to create photorealistic images. %e models, of course, are not just static images, but three-dimensional worlds that can be explored and depicted in still images of sites or reconstructed ancient situations (Figures "#.",–"#.".). A less reconstructive but particularly useful employment of three-dimensional renderings from digital models includes the Valley of the Kings project, in which Kent Weeks ()**!) modeled the deep underground pharaonic tombs and published a variety of highly infor-mative views derived from them.

%ese are powerful tools for conveying impressions of how sites might have looked and are a topic unto themselves with a burgeoning output that is necessarily digital in

!"#$%& '(.'+Surfaced and texture-

mapped image of 9:% model of Chavín de Huántar,

looking west, !"""; this heavily reconstructed model

includes architectural features for which there is no known archaeological

evidence. Image courtesy of Fundación Telefónica, Peru.

!#0Realizing the Illustration Potential of Digital Models and Images !#0

character. %ere are obvious problems with the validity of the reconstructions and how the uncertainty about them is imparted (or not) to the viewer; in addition, the technology for some of these data collection techniques, and most of the data processing that leads to three-dimensional models, is complex and expensive. Learning and maintaining a working knowledge of 452 or other similar so(ware is still quite a time-consuming process for the nonspecialist, and scanners and so(ware capable of working in three dimensions are still quite beyond the reach of most $eld projects in terms of cost and training. In all likelihood, there will be improvements in user friendliness and cost over time, but alternative pathways to three-dimensional models are needed, such as photogrammetry (see preceding).

!"#$%& '(.',Eastward rendering of the *rone Room of the Northwest Palace, Nimrud, Iraq (ninth century <9), showing King Ashur-nasir-pal II leaving his throne and walking by a portable brazier; rendered from the Learning Sites virtual reality model of the palace that was created using #D Studio Max, Adobe Photoshop, and a variety of plugins on the basis of precise, detailed archaeological measurements of site’s architectural remains and wall reliefs at the site and in museums, archival data from the British Museum, original nineteenth-century excavation reports, color data extracted from chemical tests on wall reliefs, and international scholarly discussion. Archaeological data and interpretations by Samuel M. Paley, Donald H. Sanders, Alison B. Snyder, and Richard P. Sobolewski. © !""; Learning Sites, Inc. Archaeological data and interpretations by Susan Kate, J. Richard Ste=y, and Laina Swin. © !""; Institute for the Visualization of History, Inc.

!#+ !"#$!#+

SI T E FE AT U R E SC A LE

In many cases in Chavín we employed digital models of site features, usually with a problem-speci$c approach. %ree examples will show the diversity of projects; all were aimed at producing illustrative material. %e $rst confronts a problem typical of monumental sites—the documentation of architecture of secondary importance that must be removed for various reasons. In the Chavín case, there are extensive informal and poorly preserved post-Chavín constructions that virtually blanket the earlier temple buildings and in cases are slated for removal. Clearly this destructive act demands extensive documentation; in the case of the structures in Chavín’s Circular Plaza, we solved this problem by taking large numbers of total station points on each wall rock during dismantling. Such data might normally be archived, but an innovative yet simple technology project by Michelle Touton ()**,) made it possible to illustrate these structures particularly well. Her approach was to use a programmed spreadsheet application to isolate and send the data points from each stone to a 452 program where it was surfaced and rendered into an illustration of assembled stone wall architecture (Figure "#."0). In this case, each stone was a separately modeled item with a level of detail that allowed us to accurately document, or even accurately reconstruct, the original wall stones in their exact positions, should that ever prove necessary.

A second application, using a rudimentarily surfaced version of the 452 site model, was used to test a speci$c hypothesis. %e hypothesis was that the Tello Obelisk, a well-known sculpture from the site, had stood at the center of the Circular Plaza and at sunrise cast a shadow on speci$c stone blocks in the plaza wall. Across the yearly cycle, this shadow was hypothesized to pass over a series of felines engraved on the stone blocks. With the 452 model correctly located in latitude and using virtual sunlight for illumination, it was

!"#$%& '(.'-Image of post–Chavín-period

structures found in the Circular Plaza of Chavín de

Huántar; individual stones in the structures were rendered

using 9:% (MicroStation) from three-dimensional total station data, as illustrated in

inset image of a few individual stones. Model and images by

Michelle Touton, !""3.

!#/Realizing the Illustration Potential of Digital Models and Images !#/

possible to simulate, month by month, the yearly cycle of shadows (Figure "#."+), which illustrated that the hypothesis is untenable. In this case, the research result and the illustra-tion are the same, in the form of visual demonstration, which raises the dual issues of how illustrations can be taken as proof and of the largely unwritten rules that are used for this type of evidence.

Finally, in a rather di&erent illustration of digital data, a series of forty-meter-long soil resistivity measurement lines was taken in the Square Plaza of Chavín, running both north–south and east–west. For each line, geophysics so(ware was used to produce a two-dimensional color graphic showing the degree of resistance to the passage of electric cur - rent at di&erent depths. To comprehend the overall three-dimensional resistivity, however, these two-dimensional graphics were assembled into a single “fence” model, with the lines placed, scaled, and intersecting in correspondence to the real world (Figure "#."/). In digital

!"#$%& '(.'.Renderings of 9:% (MicroStation) model showing sunrise light in the Circular Plaza of Chavín de Huántar, with a central obelisk casting shadow to the west; the le+ panel represents shadow position on June !,, the central panel on September and March !,, and the right panel on December !,. Model and images by the author, !"">.

!"#$%& '(.'/Fence model of resistivity line images from the Square Plaza of Chavín de Huántar, assembled in SketchUp; the line of dark resistive spots in the lower right corner is the path of the known Rocas Canal. Data and resistivity images from Nigel Crook; model by Daniel Contreras, !""'.

!!* !"#$!!*

display, this model can be zoomed and rotated, enabling the identi$cation, selection for exca-vation, and illustration of the locations of resistance anomalies beneath the plaza 'oor. In simple terms, it allowed the identi$cation of major ritual evidence buried deep below the surface. Our investigation was carried out in SketchUp, an intuitive if somewhat limited 452-like freeware program, and this type of easily accessible and usable so(ware is an example of three-dimensional digital illustration technology within the reach of almost everyone.

OBJ EC T SC A LE

%e illustration of objects is of great concern in archaeology, and digital three-dimensional registration of artifacts is becoming increasingly common. Object scanners, in particular, are becoming relatively inexpensive and easy to use, o&ering the output of solid models with extensive surface detail and color photograph texturing. As with other three-dimensional models, the full representation value of the three-dimensional objects is best appreciated by rotating and zooming, but there are also advantages to static illustration with solid mod-els. %e surface topographies of objects are highly apparent when white three-dimensional models are lit from appropriate directions to create shadows. Positioning, cross-sectioning, detail studies, and other illustration basics are easily performed on the models. At Chavín we have scanned a range of objects, from the Lanzón, a !., m high monolithic sculpture, down to potsherds and stone tools. In the case of the Lanzón, we were able to create a full solid model in spite of the very tight space surrounding it within its gallery (Figure "#.)*;

!"#$%& '(.*0Model of the Lanzón, Chavín

de Huántar, created from three-dimensional scanner

data; inset image shows very 7ne level of detail of

sculpture’s surface. Model by John Ristevski, !""3.

!! "Realizing the Illustration Potential of Digital Models and Images !! "

see also Villacorta Ostolaza, this volume), and it is possible to print a three-dimensional copy of the sculpture at any reasonable scale, perhaps the ultimate illustration of the object. Given the very $ne level of detail of this model, the Lanzón’s current state of conservation has been e&ectively captured for comparison in the future.

Excavations far below the plaza of the modern town of Chavín produced an early assem-blage of stone tools, dating to around #*** J4. %ese tools were made of fairly coarse-grain gray quartzite that has proved notoriously di-cult to photograph or draw. Most techniques of 'ake scar depiction dramatically oversharpen the actual level of detail and could lead to overcon$dent interpretations of the tools’ technological origins. White scans without color photograph overlay, however, illustrate the existing surface contours of the tools clearly yet do not exaggerate surface features. An additional payo& is that most output models are intrinsically scaled in the scanning process, and accurate measurements can be made from them (Figure "#.)").

Pottery illustration is another realm of archaeological endeavor for which digital tech-niques have been e&ective at Chavín. %is is partially due to the predominance of plastic decorative techniques in Chavín-period pottery, especially repetitive stamping of small O’s, S’s, and more complex shapes. Obtaining highly accurate, easily perceived, and measurable

!"#$%& '(.*'Images of a quartzite stone core tool (Preceramic period, #""" <9) from below the modern Plaza de Armas, Chavín de Huántar. *e upper panels show color digital photographs of the tool, while the lower panels are solid model renderings without color photo overlays from a NextEngine #D scanner using ScanStudio HD Pro so+ware (detail of ?ake scars and other surface features are readily visible in three-dimensional renderings). Model, photographs, and images by the author, !""'.

!!) !"#$!!)

depictions of thousands of these impressions may lead to identifying, characterizing, and illustrating the actual seal that made the stamped design. %is knowledge may then make possible the identi$cation of individual artisans or workshops and help date the pottery (Figure "#.))).

In a di&erent dimension of ceramic analysis, digital techniques have been used to recon-struct vessel forms from scanned potsherds (Karasik and Smiliansky )**+). Of particu-lar value are accurate rim pro$les, signi$cant elements in most ceramic illustration. %e contour of ceramic fragments holds the key to determining both vessel form and pro$le, assuming certain levels of symmetry, and this process could represent an improvement in estimating rim angles for vessels, which are usually estimated by cruder methods.

NON PHO TOR E A L I ST IC R EN DER I NG

An exciting, but perhaps perplexing development from three-dimensional models is their ability to produce nonphotorealistic renderings. We are used to shaded, surface-textured, at times hyper-realistic output from digital models, and these are beginning to create their own traditions, practices, and even ethics, as we have seen. %ere are, however, some artis-tic conventions from traditional illustrations, especially drawing, that have the advantage of familiarity, simplicity, and certainly reproducibility. Pen-and-ink drawings, especially line drawings, can call attention to desired features, are easily published without needing hal(one or color reproduction, and can o(en be published at a relatively small scale without sacri$cing readability. %ese advantages have led the $eld of graphics research to attempt to produce similar representations from digital models, e&ectively imitating traditional conventions and in most cases moving away from photorealism (Gooch and Gooch )**").

!"#$%& '(.**Four views of a stamped

pottery sherd from Chavín de Huántar: top views

produced from texture-mapped (le+) and plain

(right) ScanStudio HD Pro three-dimensional models

(note in the lower le+ the e=ectively limitless depth of focus and detail of low angle view; in the upper

right, the clear volume of stamped depression; and in the lower right, the facility for viewing vessel pro7les in rotated model). Model, photographs, and images

by the author, !""'.

!!#Realizing the Illustration Potential of Digital Models and Images !!#

Particularly interesting are the processes that reduce three-dimensional model views to a minimum of clear lines (Cole et al. )**/). %ese developments may be perturbing to those who feel that digital techniques are always further reducing the role of human illustration talents, but some positive outcomes may result for artists as well. To successfully reduce detail and emphasize features, programs must be instructed about conventions through the study of how humans draw (Cole et al. )**+). %e resulting formulations could be use-ful to artists and as digital outcomes in themselves; artists who comprehend the limita-tions of so(ware can further emphasize the aspects of illustration that prove intractable to automation. For archaeologists, however, having an additional range of outputs from any three-dimensional model could be a very worthwhile addition to our illustrative capacity.

Conclusion

In sum, digital archaeological illustration could simply be considered the result of a series of emergent and ongoing data collection and processing techniques, in combination with nondigital methods, informed and guided by both traditional and initially radical archaeo-logical goals. But it is a part of something much more transformative within the discipline. At a slightly deeper level, these are techniques that bring with them impressive potentials for the conveyance of knowledge, for accessing and making accessible types of data and knowl-edge that have either been di-cult to use or, in some cases, whose use was not—and perhaps could not have been—conceived of in the past. Some of this change also feeds back into the research process, as the distinction between illustration as research product and illustration as access to state-of-the-research and active-data models is blurred. But from a still deeper perspective, I think digital illustration is also an outcome of transcendental changes in the way we approach our archaeological profession (see also Huggett )***).

We may think of the ongoing advent of this type of technology in terms of the familiar lauding and lamenting that popularly accompany the experience of progress: “Look what I can do, see the 'ashing lights, pretty colors, isn’t this great?” Or, “I don’t understand this, it is too novel, what was wrong with the good old way of doing things, aren’t we participat-ing in some sort of mega-corporative takeover that removes us from controlling our own means of knowledge?” “%e horizons are limitless, new truths will emerge, our work will be more e-cient, our communication more complete”; versus, “We cannot stop this behemoth of change and can only regret the increasing technicalization and loss of human values born of direct experience and not in'uenced by keyboards and 41Ks and displays.” If we do have a sense of helplessness in the face of major changes reaching in from well outside our discipline and having profound e&ects on us, then it probably comes from the realistic assessment that indeed this change of direction is unlikely to be reversed and will likely grow stronger. We are moving away from having a stable base of technological knowledge that alone is su-cient for a professional lifetime of communicating our experience and gains in knowledge. Like all change, this one can be invigorating intellectually, or it can be alienating in major ways.

While we do not control the primary processes of technological change, we are far from helpless victims. A re'ection on specialized technological applications in our $eld shows that we learn something from many of these trends. For example, those methods that are

!!! !"#$!!!

extreme and even inaccessible due to their time and energy costs, and therefore frustrate our investigative strength and ability to produce results, are either improved or discarded. Perhaps by a more conscious and re'ective choice about methodological investment, by encouraging innovative methodologies in part based on cost, accessibility, transferability, and e-ciency in actually producing results, we can avoid leaving more of this detritus on our intellectual landscape than is necessary.

In reference back to a primary theme of this volume related to digital illustration—the real danger of alienation of the process of illustration from the acts of discovery of the illus-trator—it is precisely the degree to which technology can be broadly shared that determines the gravity of this issue. I do not believe that the sum of e&ectively gathered, processed, and delivered digital illustration is diminished in comparison with the depth and intimacy of the manual methods. %ere may be a shi(ing of values—yes, the scan operator may spend more time on rote data processing, so(ware glitches, and power source instability than on poring over details of the object to be illustrated—but if the increase in comprehensible out-put quality is great, both the operator and the consumer of the illustrative material will have a better chance of exploring and understanding this subject matter. %e advent of digital illustration is not necessarily an intrusion of machines between us and our subjects of study, a devaluing of the one illustrator who can comprehend and perhaps—if he or she is the author, not just the illustrator specialist—communicate that knowledge in the traditional “I had this gain in knowledge, and here it is” fashion. Rather, it has the potential for the democratization of that experience. Properly delivered—and by this I intentionally imply the acceptance that we will obtain some primary experience using computers—not only can the conditions of discovery that were the exclusive realm of the illustrator-investigator be experienced by the “consumer,” but that receiver-of-illustration could be empowered to become, through increased experiential and e&ective access to the subject of study, the next researcher in a reciprocal process of use of illustrations both for edi$cation and for partici-pation in the research process.

Acknowledgments

As this chapter is a foray into an academic territory in which I am only partially at home, I have a particularly strong debt to generous colleagues who did their best to educate me about their areas of expertise and provided me with extensive bibliographies and wonderful graphics, only some of which I could take advantage of. In particular, I owe major thanks to Daniel Contreras, Maurizio Forte, Marc Levoy, Mark Mudge, and Donald Sanders, any of whom could probably have authored a superior article. My thanks to Joanne Pillsbury and all the sta& at Dumbarton Oaks for their help and patience. I somewhat uneasily thank the half-dozen computers directly involved in producing the article, which exhibited exem-plary generosity in not crashing, even once.

!!,Realizing the Illustration Potential of Digital Models and Images !!,

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and Francis, London.

!" #

Barbara W. FashBarbara W. Fash is the director of the Corpus of Maya Hieroglyphic Inscriptions ($%&') at the Peabody Museum at Harvard University. An artist and museum professional (MA, museum studies, Harvard University, ())"), she has worked to record, study, and conserve the sculpture carvings—espe-cially the Hieroglyphic Stairway—at the Maya site of Copan, Honduras, since #**". She is the codirec-tor of the Copan Mosaics Project (#*+,–present); she was the curator and exhibition director of the Copan Sculpture Museum (#**-–#**.), the Honduras direc-tor of the Hieroglyphic Stairway Conservation Project (#**"–())#), and the director of the Database Project for the Research Library and Archives at Copan’s Regional Center for Archaeological Research (()))–())(). She has curated two recent exhibitions: Distinguished Casts: Curating Lost Monuments at the Peabody Museum (October ())#–October ())") and Fragile Memories: Images of Archaeology and Community, Copan, !"#!–!#$$ (June ())+–March ())*). In addition to numerous schol-arly articles, her publications include Precolumbian Water Management: Ideology, Ritual, and Power

(())., with Lisa Lucero) and %e Copan Sculpture Museum: Ancient Maya Artistry in Stucco and Stone (()##). Her illustrations appear in numerous books, including Scribes, Warriors, and Kings: %e City of Copán and the Ancient Maya by William L. Fash (#**#, ())#), Ceramics and Artifacts from Excavations in the Copan Residential Zone by Gordon R. Willey, Richard M. Leventhal, Arthur A. Demarest, and William L. Fash (#**!), and Maya Sculpture of Copan by Claude F. Baudez (#**!). She was awarded the Hoja de Laurel de Oro by Honduras in ())+ and currently directs an e/ort to produce three-dimensional scans of the Hieroglyphic Stairway and publish additional $%&' volumes.

Byron Ellsworth HamannByron Ellsworth Hamann recently completed a PhD in the Department of Anthropology and the Department of History at the University of Chicago. His is currently preparing the manuscript “Bad Christians, New Spains: Muslims, Catholics, and Native Americans in a Transatlantic World” for pub-lication. He is also working on a website with his col-laborator Liza Bakewell.

C ON T R I BU TOR S

!"( !"#$%&'($"%)

Stephen D. HoustonStephen D. Houston is the Dupee Family Professor of Social Sciences at Brown University, with a pri-mary appointment as professor of anthropology. He holds a PhD and MPhil from Yale University and an AB from the University of Pennsylvania. A recipi-ent of several fellowships, including the MacArthur and the Guggenheim, Houston has authored, coau-thored, and edited a number of books, including %e Memory of Bones: Body, Being, and Experience among the Classic Maya (())., coauthored with David Stuart and Karl Taube), Veiled Brightness: A History of Ancient Maya Color (())*), and %e Classic Maya (())*, coauthored with Takeshi Inomata). He consid-ers the origins, development, and extinction of writ-ing systems in %e Disappearance of Writing Systems: Perspectives on Literacy and Communication (())+, coedited with John Baines and John Bennet) and in an earlier volume, %e First Writing: Script Invention as History and Process (())!), under his sole editor-ship. He is now working on the results from long-term excavations at the Classic Maya city of Piedras Negras, Guatemala, and has begun other research, with support from the National Endowment for the Humanities and the National Science Foundation, at the dynastic center of El Zotz, Guatemala.

Scott R. HutsonScott R. Hutson, an associate professor in the Department of Anthropology at the University of Kentucky, directs the Ucí/Cansahcab Regional Integration Project, which focuses on political, social, and economic transformations surround-ing the construction of an eighteen-kilometer-long causeway in northern Yucatan, Mexico. He has also served as codirector of other 0eld projects in Yucatan, most notably the Chunchucmil Regional Economy Program with Bruce Dahlin. He is the author of Dwelling, Identity, and the Maya: Relational Archaeology at Chunchumil (()#)). A former fellow in Pre-Columbian Studies at Dumbarton Oaks (()),–()).), Hutson coedited %e Social Experience of Childhood in Ancient Mesoamerica (())., with Traci Ardren) and coauthored the third edition of Reading the Past: Current Approaches to Interpretation in

Archaeology (())-, with Ian Hodder). He is also the 0rst author of articles published in American Antiquity, Ancient Mesoamerica, Anthropological Quarterly, Cambridge Archaeology Journal, Catena, Dialectical Anthropology, Journal of Anthropological Archaeology, Journal of Archaeological Sciences, Journal of Field Archaeology, Journal of Social Archaeology, and others. His research and writ-ing have been supported by the National Science Foundation, the Wenner-Gren Foundation, and the National Geographic Society–Waitt Foundation.

Bryan R. JustBryan R. Just is the Peter Jay Sharp, Class of #*,(, Curator and Lecturer of the Art of the Ancient Americas at the Princeton University Art Museum. Just received a PhD (art history and linguistics) and MA (art history) from Tulane University in ()). and #***, respectively, and a BA (archaeological studies and history of art) from Yale University in #**,. A specialist in ancient Maya art history, his recent publications include “Mysteries of the Maize God” in the Princeton University Art Museum Record (())*), “Modifications of Ancient Maya Sculpture” in Res: Anthropology and Aesthetics (()),), and “In Extenso Almanacs in the Madrid Codex” in %e Madrid Codex: New Approaches to Understanding an Ancient Maya Manuscript (())!). He also contributed to the Princeton University Art Museum’s Handbook of the Collections (())"). Just is currently developing an exhibition and related catalog on Maya polychrome ceramics associated with the Ik’ kingdom, and he served as the in-house curator (with William Fitzhugh and Julie Hollowell) of the exhibition Gi&s from the Ancestors: Ancient Ivories of Bering Strait at the Princeton University Art Museum (October ())*–January ()#)).

Leonardo López LujánLeonardo López Luján is senior researcher in archae-ology at the Museo del Templo Mayor in Mexico City and director of the Proyecto Templo Mayor since #**#. He holds a PhD in archaeology from the Université Paris X–Nanterre. He specializes in the politics, religion, and art of Pre-Columbian

!"-!"#$%&'($"%)

urban societies in central Mexico and has been a visiting researcher at Princeton University and Dumbarton Oaks, as well as a guest professor at the Università degli Studi di Roma “La Sapienza,” the Sorbonne, and the École Pratique des Hautes Études in Paris. He has authored or coauthored thir-teen books, including %e O'erings of the Templo Mayor of Tenochtitlan (#**!, winner of the Kayden Humanities Award), Mexico’s Indigenous Past (())#, with Alfredo López Austin), Aztèques: La collec-tion de sculptures du Musée du quai Branly (()),, with Marie-France Fauvet-Berthelot), La Casa de las Águilas (())., winner of the Premio Alfonso Caso), and Escultura monumental mexica (())*, with Eduardo Matos Moctezuma). He has edited or coedited seven volumes, including Gli Aztechi tra passato e presente (())., with Alessandro Lupo and Luisa Migliorati), %e Art of Urbanism: How Mesoamerican Kingdoms Represented %emselves in Architecture and Imagery (())*, with William L. Fash), and El sacri(cio humano en la tradición religi-osa mesoamericana (()#), with Guilhem Olivier). He was given the social sciences award by the Academia Mexicana de Ciencias in ())). In recent years, he has also devoted part of his time to research on the origins of archaeology in New Spain.

Joanne PillsburyJoanne Pillsbury is the associate director of the Getty Research Institute and the former director of Pre-Columbian Studies at Dumbarton Oaks. She holds a PhD and an MA in art history and archaeology from Columbia University and a BA in anthropology from the University of California, Berkeley. She has been the recipient of grants and fellowships from the Fulbright Commission, the Metropolitan Museum of Art, Dumbarton Oaks, and the Samuel H. Kress Foundation, and she has conducted archaeological 0eld research in Peru, West Africa, and California. She is the editor of the three-volume Guide to Documentary Sources for Andean Studies, !)*$–!#$$ (())+), editor of Moche Art and Archaeology in Ancient Peru (())#), and coeditor of Palaces of the Ancient New World (())!, with Susan Toby Evans). Her recent articles have

addressed topics in eighteenth-century archaeology, the history of collecting, Spondylus in ritual and rep-resentation, and architectural sculpture of the late pre-Hispanic period in the Andes.

John W. RickJohn W. Rick is associate professor and former chair of anthropological sciences at Stanford University, curator of Anthropological Collections, and past director of Stanford’s Archaeology Center. His teaching concentrates on South American archae-ology, the beginnings of social complexity, Andean hunter-gatherers, stone tools, and digital method-ologies in archaeology. For the last seventeen years, he has directed 0eldwork at Chavín de Huántar, a monumental World Heritage site dating to around #))) 1$. His cooperative mapping, excavation, and conservation work at the site is done under long-term agreements with the Peruvian government. His interests in Chavín center around understand-ing how early religious cults strategized the begin-nings of political authority in the Andes; he focuses on the architectural contexts and ritual conditions used to naturalize the concept of authority. He is participating in a study of archaeological acous-tics in underground spaces at Chavín and is using a range of digital techniques to document and analyze the critical issues of space, media, and perception at this highly strategized center. A previous long-term project focused on early hunter-gatherer cave sites in the puna grasslands of Peru; he has also done archaeological 0eldwork throughout South America and the American Southwest. Rick is also currently directing a 0eldwork project on Preclassic sites near Lake Atitlan in the Guatemalan Highlands. His publications include Prehistoric Hunters of the High Andes (#*+)) and articles ranging across these sub-jects as well as additional topics of interest.

Alain SchnappAlain Schnapp is professor of classical archaeology at the University of Paris #, Panthéon-Sorbonne. His main publications include %e Discovery of the Past (#**!), La conquista del passato, alle origine dell’archeologia (#**!), Le chasseur et la cité: Chasse

!"! !"#$%&'($"%)

et érotique en Grèce ancienne (#**.), I l’histoire de l’art (Préhistoire et antiquité) (#**"), Encyclopedia of Archaeology (coeditor, ())#), Guide des méthodes de l’archéologie (())(), and L’histoire ancienne à travers cent chefs-d’œuvre de la peinture (())!).

Adam T. SellenAdam T. Sellen is professor of Mesoamerican stu-dies at the Universidad Nacional Autónoma de México in Mérida, Yucatan. He is a specialist in pre-Hispanic Oaxacan cultures and ceramic analy-sis. His dissertation, which was awarded the Premio Alfonso Caso in ())(, focused on the iconography of ceramic e2gy vessels commonly referred to as Zapotec urns. 3is study, entitled El Cielo com-partido: Las vasijas e(gie zapotecas (())"), was recently published by the Universidad Nacional Autónoma de México. He has written extensively on a variety of themes relating to nineteenth-century archaeological collecting, such as ceramic fakery and private cabinets. He helped curate the permanent Pre-Columbian exhibition at the Royal Ontario Museum, where he was a postdoctoral fellow (())(–())!), and he was recently awarded the Edmundo O’Gorman Fellowship at Columbia University to complete his latest book, Orphans of the Muse: Archaeological Collecting in Nineteenth-Century Oaxaca. 3is study documents the history of local Mexican collectors and their groundbreak-ing vision, with the aim of reuniting the orphaned, decontextualized remnants of their collections. Sellen’s current project studies parallel collecting practices in the Yucatan Peninsula.

Lisa TreverLisa Trever is a doctoral candidate in the Department of History of Art and Architecture at Harvard Uni-versity. Her research interests embrace issues of visual representation in the ancient Andes as well as colonial illustration and interpretation of Pre-Columbian art and culture. She is completing her dissertation “Moche Mural Painting and Practice at Pañamarca; A Study of Image Making in Ancient Peru” and has been awarded the William Tyler

Fellowship in Pre-Columbian Studies at Dumbarton Oaks for ()##–()#-. She holds an MA in art his-tory from the University of Maryland and a BA in archaeological studies from Yale University. Trever is the coauthor (with Joanne Pillsbury) of “3e King, the Bishop, and the Creation of an American Antiquity” (())+) and “Martínez Compañón and His Illustrated ‘Museum’” (()##). She is also the author of “Idols, Mountains, and Metaphysics in Guaman Poma’s Pictures of Huacas” in Res: Anthropology and Aesthetics (()##).

Luis Felipe Villacorta OstolazaLuis Felipe Villacorta Ostolaza received his licenciatura in archaeology from the Pontificia Universidad Católica del Perú. He was the recipient of a museology scholarship granted by the Japanese International Cooperation Agency in ())). A for-mer member of the Instituto Nacional de Cultura del Perú, he was the director of the Puruchuco on-site museum (#***–())() and served as a member of the board of the National Technical Commission for Archaeology (()),–()).). He is currently a can-didate for the MA in history at the University of Guelph, Canada. His archaeological work focuses on the Central Coast, with an emphasis on the era of Inca occupation. Villacorta Ostolaza has been the director of the Museo Raimondi in Lima since ())(. He studies the legacy of the Italian natural-ist Antonio Raimondi and the development of the sciences in Peru during the nineteenth century. He directs a publication project for the Fondo Editorial, Universidad Nacional Mayor de San Marcos, that aims to annotate and reissue Raimondi’s major sci-enti0c studies; so far, he has published six books under the collective title Estudios geológicos y mine-ros para la obra “El Perú” (())-–())*). Each volume is accompanied by an introductory study that links Raimondi to broader trends in the history of sci-ence and modernity, nature and nation-building, appropriation of the past, historical representation, liberalism, and the local bourgeoisie. For his e/orts, the Italian government bestowed on him the title “Knight of the Order of the Star of Italian Solidarity.”

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Khristaan D. VillelaKhristaan D. Villela is research professor of art his-tory at the University of New Mexico and scholar in residence at the Santa Fe University of Art and Design. He earned a PhD and MA in art history from the University of Texas, Austin, and a BA from Yale University. His research focuses primarily on histo-riographical topics, especially the nineteenth-century rediscovery and reinvention of Pre-Columbian art and cultures. Villela is the author of articles on Maya hieroglyphic writing and on other topics in Latin American art and historiography. He is the author of Ancient Civilizations of the Americas: Man, Nature, and Spirit in Pre-Columbian Art (()##) and the coauthor of %e Aztec Calendar Stone (()#), with Mary Ellen Miller) and Contemporary Mexican Architecture and Design (())(, with Ellen Bradbury and Logan Wagner), a survey of twelve of the best res-idential architects in Mexico today. In the 0eld, he has worked at Chichen Itza on the Rubbings Project with Merle Greene Robertson and the Pre-Columbian Art Research Institute. He was the curator for the exhi-bitions Obsidian Mirror-Travels: Refracting Ancient Mexican Art and Archaeology+at the Getty Research Institute, Los Angeles (()#)–()##) and Ancient Civilizations of the Americas: Man, Nature, and Spirit in Pre-Columbian Art at the Miho Museum, Shigaraki, Japan (()##). His current research deals with the

School of American Archaeology and Museum of New Mexico’s Quirigua Project (#*#)–#*#-).

Jason WeemsJason Weems is assistant professor of art his-tory at the University of California, Riverside. He is a specialist in American art with an emphasis on the history of vision and visuality in regional, national, and transcultural contexts. His current book, Barnstorming the Prairies: Aerial Vision and Modernity in Rural America, !#,$–!#-$ (in press), traces the impact of aerial view-making on represen-tations of the U.S. agrarian landscape. In addition to several recent articles on aerial vision, he has also published and lectured on topics such as visual scale in postwar American art and science, architecture and camou4age, race and propaganda during World War II, and the intersection of sight and sound in New Deal culture. His current research (from which this volume’s chapter is drawn) explores the visual culture of archaeology and its role in the conceptu-alization of landscape and history in the Americas during the later nineteenth and early twentieth cen-turies. He is the past recipient of fellowships from the Smithsonian, the Luce Foundation, and the University of Michigan Institute for the Humanities and was recently awarded a University of California Hellman fellowship.

!" "

Page numbers in italics indicate illustrative material.

Aabstract art and aerial photography, -!,Academy of San Carlos and scienti0c drawing,

.", *(–*+, #-–#/accuracy and objectivity issues, #, !, -(–--. See

also objectivityAccursio, Mariangelo, ,,Acropolis, Piedras Negras (watercolor;

Proskouriako/, #*-"), !)!–!),, -$)Adams, R. E. W., (-(aerial photography, -#, -#*–-,-; abstract art and,

-!,; dematerialization and aestheticiza-tion of landscape by, -(!, -!,–-!*, *-.–*-#; digital, -!,, !(,–!(., -,.; Great Wall of Peru, discovery of, *!", -#*–-((, *,$, *,!; impact on archaeology of, *!", -#*–-(!, *,$, *,!; military engineering and, -)*; modernist ideology and, -(*–--!; pattern, 4atness, and hori-zontality, shi5 in emphasis to, -!(–-!*, *--, *-.–*-#; sense of authority, meaning, and order conveyed by, -(!–-(,, --#–--!, -,)nn,–.; shadow, interpretation of, *--; Squier’s telescoping visual structure compared to Shippee-Johnson photos, --"–-!(, *-!, -!,; Stonehenge, #*). aerial shot of, -,)n-; visual perspective transformed by, -(!–-(,; World War I, initial use in, -((, -,)nn(–-. See also Shippee-Johnson expedition over Peru, #*-)s

Aglio, Agostino, #!!–#!*, !-), !-/–!)!, #,!–#,,, #.), #.-, #.,

Agüera, Francisco, "+, "*, +!, ++, "#, *)–*#, *+, **Aguirre, Robert, #!", #,", -)-Agustín, Antonio, ,(, ,!, ,,Ake: cartographic representation of buildings at,

(*-, ,#), (*", -#); Colonnaded Building, Ake (drawing; Breton, ca. #*)#), -*", *#"

Alamán, Lucas, #!-, #..n!Albers, Josef, -#, *,Alberti, Leon Battista, ,)–,#, ,"albumen prints, -.-Alcina Franch, José, ,.Aldrovandi, Ulisse, (!*Alejo de Meave, Joaquín, "+Alma-Tadema, Lawrence, ((Almendáriz, Ricardo, +, #!!, #.-Alphons Stübel en la Puerta del Sol, Tiahuanaco

(albumen silver print; Grumbkow, #+""), ,#Alzate y Ramírez, José Antonio de, #(, "+–+!, /#,

"!, **, #))n-, #))n", #!-American Geographical Society, mandate of, -(*Americas: ambivalent relationship with Pre-

Columbian past in, "; nationalism and iden-tity in, ((–(-, #"!–#",, (#) (see also Raimondi, Antonio, and creation of national discourse in Peru); Western art and Maya recon-structions, relationship between, -*(–-*-, *#*, -*+–!)), !)#–!)-. See also indigenous peoples of Latin America

Anahuac (Tylor, #+.#), (,", ,)#

I N DE X

!" + !"#$%

Anales del Museo Nacional de México, (.(, ,.-Anawalt, Patricia Rei/, (-., ,*#, (.+Ancash, stone sculptures from (watercolor and

pencil drawings; Dumontel, ca. #+"!), #*#, !#!–!#,, #*-

Les anciennes villes du nouveau monde (Charnay, #++,), *.-, *./

%e Ancient Cities of the New World (Charnay, #++"), (*-, ,#), *$$

%e Ancient Maya (Morley, #*!"), -)+, *$#Ancient Mexico exhibition, London (#+(!–#+(,),

!--, #!!–#!", #.-Ancón, illustrations of mummy bundles from,

(!–(,, ,), ,., #)*Andagua Valley survey, Shippee-Johnson expedi-

tion over Peru, --#–--!, ***Andersen, Roy, -+*, !)#–!)-, -$*Annexe of the Casa de las Monjas and the Iglesia,

Chichen Itza (drawing; Breton, ca. #*))), *#/Annius of Viterbo, ,,Las antiguedades de las ciudades de España

(Morales, #,",), ,,Antigüedades peruanas (Rivero and Tschudi,

#+,#), #+, ,,, !/., #".–#"+, !//, #+#, #*(Antigüedades, y principado de la ilustrissima

ciudad de Sevilla (Caro, #.-!), ., ", ,.Antiquae urbis Romae cum regionibus simula-

chrum (Calvo, #,-(), ,(Antiquités mexicaines (Dupaix, #+-!), #,, !., !/,

*"–*+, (##, ("!n+Antiquities of Athens (Stuart and Revette, #".(–

#+-)), (-–(!Antiquities of Mexico (Kingsborough, #+-#–#+!+),

#!!, #!", #!+–#!*, !)$, !)!, #..n", ("!n+Arana (artist), "*, +!, **archaeological illustration and the ancient

Americas, #–!.; accuracy and objectivity issues, #, !, -(–-- (see also objectivity); artistic process, as research tool in itself, -*), !#!, !,.–!,+, -)/, !.)–!.#; arts and archaeol-ogy, interpenetration of, ,–., ., #,–(-, !"–,-, -#, **, #!!; cartography (see cartographic representation of buildings; cartography); construction of knowledge, shaping, -; digital media, -", !#-–!!. (see also digital illustra-tion); European antiquarianism and, ,–*, .–#, !*–." (see also European antiquarian-ism and the New World); 0elds of fragments drawings, (-#–(+# (see also 0elds of fragments drawings); as fundamental archaeological tool, -, !; gender and, --, -+*, !)"n-; indig-enous tradition of, !–,, ); as interpretive act, -.; Martínez Compañón’s Trujillo del Perú, +–*, !$, #)"–#!) (see also Trujillo del Perú); from military surveys, #!–#,, !); modern norms of, -(–-.; monumental folios, (-–(,, ,); nationalism and identity in Americas, ((–(-, #"!–#",, (#) (see also Raimondi, Antonio, and creation of national discourse in Peru); in New Spain, +–#,, !$–!) (see also

New Spain, eighteenth-century archaeologi-cal illustrations of); photography, (,–-#, ,/–*$ (see also aerial photography; Mexican private collections, photographs of; photography; sculpture, printed pictures of); as public entertainment, #!-–#"# (see also public enter-tainment, nineteenth-century archaeological illustration as); purposes of, !, ., "; recon-structions, -.–-", -+"–!## (see also recon-structions); from scienti0c expeditions, #)–#(, !,–!-, *-, #)*–##), ##,–##.; sculpture (see multidimensionality of sculpture, represent-ing; sculpture, printed pictures of); sta/age or lack of sta/age, #+–(#, ,,, ,*, -*(, -*-, -*", !)!–!),, -$); standards and standardization, -.; technological developments in, ., *–#), (,, -#–--, -"–-*, .*, /$, ""–"+

Archaeological Studies among the Ancient Cities of Mexico (Holmes, #+*,–#+*"), *$!, -)+, *!$

Arias Montano, Benito, ,,Arica, Malaspina expedition sketches by Bauza

from, ##)Armour, Allison, -*-“Arqueología zapoteca: Técnica del vaciado y

fundación entre los zapotecos precolombinos” (León, #*#)), ,,), ((.

Arreola, José María, "#arti0cial lighting in the 0eld, photographic use

of, -"-%e Artist in Despair over the Grandeur of

Antique Remains (drawing; Fuseli, #""+–#"+)), #., ,!

artistic process, as research tool in itself, -*), !#!, !,.–!,+, -)/, !.)–!.#

arts and archaeology, interpenetration of, ,–., ., #,–(-, !"–,-, -#, **, #!!

“At Dawn’s Edge: Tulúm, Santa Rita, and Floral Symbolism in the International Style of Late Postclassic Mesoamerica” (Taube, ())*), (-., ,*"

Atahualpa’s chamber (engraving a5er drawing by Dumontel, #++)), #*", !#"

Atlas de la historia física y política de Chile (Gay, #+,!), #",, #"", #"+, ()(n-, ()(n,

Atlas de Venezuela (Codazzi, #+!)), #",, #"", #"+, ()(n(, ()(n,

Atlas geográ(co del Perú (Paz Soldán, #+.,), !/"–!"$, #"+–#+#

atlases, scienti0c, #",–#+#, !/.–!"$. See also Raimondi, Antonio, and creation of national discourse in Peru

Aubin, J. M. A., (,+, ,.$, ("!n*authority: aerial photography conveying sense

of, -(!–-(,, --#–--!, -,)nn,–.; prismatic rep-resentation of buildings conveying, -)+–-#), *$#–*!$

Ayer, Edward E., "#An Aztec Sculptor (painting; Brush, #++"), (#–((,

-**, -$$

!"*!"#$%

BBaird, Spencer, -)!Baker, Mary Louise, -(, *#$Ballesteros Gaibrois, Manuel, #)+Bandelier, Adolph, (**, -)(, -)+Banvard, John, #,!Barker, Robert, #!*–#,(Bastian, Adolf, (.(Baudez, Claude, #.!Bauer-3oma, Wilhem, (#+–(#*Bauza, Felipe, ##)%e Beau Relief (lithograph; Waldeck, #+-(),

#,–#., !#Bellon, Gustave, ,,*, ,,-, ((,Belmar, Francisco, (()Benavente, Toribio de (Motolinia), ,*Benson, Richard, -,,Bentham, Jeremy, #,-, -*#Berendt, Karl Hermann, (((Bergier, Nicolas, ,,Bernal, Ignacio, (#-Bernasconi, Antonio, +, #), !!, (*)Berquist, Emily, ##!, #-.n#!Bersu, Gerhard, -)"–-)+Bingham, Hiram, -#, --"Biologia Centrali-Americana (Maudslay, #++*–

#*)(), (-(–(-., ,*., (!,, (.(, ,.), ,#., *.*, -"), -)$

Biondo, Flavio, ,), ,#, ,,birds’-eye views, -)*, -(!Bishop, Sir Henry, #.#Blanton, Richard, -)(Boban, Eugène, (#", ,!", ,!#Bodega y Quadra, Francisco de la, *-Codex Bodley, #!+Bohrer, Frederick, -*Bonaparte, Napoleon, #,, *+, #,(, #.#, #.(, (#.,

(!*, (*#Bonavia y Zapata, Bernardo, ++Bonomi, Joseph, #,,, #..n#!Bonpland, Aimé, (.#–(.(, ,.*Borges, Jorge Luis, (+-Codex Borgia, #..n", (,,, ,/!Boscán, Juan, ,!botanical illustration. See natural history

illustrationsbotany. See natural history illustrationsCodex Boturini, #!,, #!+, #!*, !)$Boturini Benaducci, Lorenzo, "-–"", /-–/., #!,Bowditch, Charles, -),, -).Boyvin, Pierre, (!.Bracciolini, Gian Francesco Poggio, ,#Bradley, Richard, (+-Branciforte, Marquis de, *-Brasseur de Bourbourg, Charles-Étienne, (,", (,+,

(,*, ("!n#), (*-, (*", -)+Breton, Adela, --, (((, -*", *#/–*#"

Brinton, Daniel, #.,Broken Idol at Copan (lithograph; Catherwood,

#+!!), #.–#+, !-,, !)#Brothers, Cammy, ,, (!.Brotherston, Gordon, (.*Brown, Bill, #-.n#(Brüning, Heinrich, -#Brush, George de Forest, (#–((, ,*, -+*, -*+–-**,

-$$Bry, 3eodor de, (!.Bucareli y Ursúa, Antonio María de, "+Bufalini, Leonardo, ,#buildings, cartographic representation of. See

cartographic representation of buildingsBullock, William and William Jr., #!!–#!",

!-)–!-/, #!*, #,-, #,!, #.-, #..nn!–,, -)!Burford, John, #,(, !)-Burford, Robert, #!,, #,(, !)-, !)/burials. See mummies; tombs; Trujillo del PerúBustamante, Carlos María, #!-

C$67 (computer-aided design) programs, -*,–-*-,

!--–!-., -*., -*", !!)Calakmul, cartographic representation of build-

ings at, -)(Calendar Stone, Tenochtitlan, ++–*), "#, #))n.,

#!-, #!!, #!,, !-., #.!, #.,, (#-Calvo, Marco Fabio, ,(, ,*Camacho brothers, (#-Camden, William, ,(–,-, ,,, ,., ,*camera lucida, -,.–-.), *)"–*.!, !,-, -)-Campo Antico, G. B., #.Cañizares-Esguerra, Jorge, ++Cape of Good-Hope, account in Philosophical

Transactions of two plants brought from, (!"–(!+, ,-"

Carnegie Institution of Washington, -"(, -"., -+*, !)!, !,-

Caro, Rodrigo, ., ", ,.Carr, Robert, (+.Carracci, Annibale, !*!Carro, Cabello, #(), #((–#(.Cartas mejicanas (Moxó y Francolí, #+-"), #.,

*.–*"Carter, Howard, !,(, !."cartographic representation of buildings, (+-–-#.;

disciplinary needs of archaeology and, -)"–-)+; hachured plans, (+.–(++, ,"/, ,"", (*), ,#*, (*"–-)(, -)-, -##; historical development of techniques in nineteenth century, (*)–-)(, ,#!–*$!; informal imperialism, in context of, -)-–-)", -)+–-)*; perceptions a/ected by methodology of, -)+–-#), *$#–*!$; reality and representation, space between, (+-–(+,, ,"-, ,"); sculpture, as handmaiden to documenta-tion of, -)-–-)"; text and maps, coordination of, -#). See also prisms

!+) !"#$%

cartography: birds’-eye views, -)*, -(!; La ciudad de Tzintzuntzan, Patzquaro, y poblaciones de alrededor de la laguna y la traslacion de la silla a Patzquaro (#""+), "(–"-, /*; contour map-ping, ,"#; interpretive maps, -., -+; Map of Ancient Rome (#,,-), ., /; Map of Ancient Rome (#"!+), ., #; Mapa de Uppsala, "#; New Spain, eighteenth-century archaeological illustra-tions of, "#–"", /,–/.; objectivity, search for, (+-, (+*–(*), -)"–-)+; Plano topográ(co de la Villa de Nuestra Señora de Guadalupe y sus alrededores en !.#!, "!, /.; Raimondi’s El Perú, creation of national cartographic narrative in, #*-–()#, !#-–!#., !#"–,$$; San Francisco Mazapan, maps of, "#–"(, /,; Trujillo del Perú, map of diocese (#"+.) in, ##!, ##.

Caso, Alfonso, ((#, (-.Castañeda, José Luciano: cartographic represen-

tations of buildings and, (*)–(*#, ,#!; New Spain, eighteenth-century illustrations of, #,, !., !/, *+, #))n#-; private collections, illus-trations of, (#(, (#,; public entertainment, archaeology as, #!*, !)!, #,,

Castellanos, Abraham, (()Castelnau, Francis de, #+#Castera, Ignacio de, +"Castiglione, Baldassare, ,,Castilla, Ramón, #"*Castillo, José Clemente del, ##., !**casts and molds: multidimensionality of sculp-

ture, representing, !,); photographs of, -")Catherwood, Frederick: artistic despair at Copan,

#.; Broken Idol at Copan (lithograph; #+!!), !.–!", !-,, !)#; Brush’s work drawing on, (#–((; camera lucida, use of, -,.–-.), *)"–*.!; cartographic representation of buildings by, (*#, ,#,, (*-, (*", -##; Charnay compared, (#!, -.-–-.., *.-, -.,; daguerreotype camera, use of, -.#–-.(, *.,; Incidents of Travel (#+!#–#+!!), illustrations for, xx, ,$, ((, (,, !-,, #,.–#.), !)"–!.!, (,", ,#,, ,#*, -,.–-.(, *)"–*.,, *.); institutional photography compared to work of, -+#; Maudslay compared, -.+, -"); pan-oramas, #,(, #,,–#,., !)., !)/, #,*–#.), !.$–!.!, #.!; public entertainment, nineteenth-century archaeological illustration as, #!!, #,,–#.), !).–!.!, #.!, #.,, -)!; Stela D, Copan (steel-plate engraving; #+!#), xx, ,$, #.,; Study for Maya Monument (drawing; #+!(), #.; Waldeck compared, #.-

Cavo, Andrés, +!Celtis, Konrad, ,(%e Century, !))Cerda, Vicente de la, *-Cerro Guacamayo, cartographic representation of

buildings at, (**Cervantes, Vicente, #$, *(Chac Mool, Chichen Itza, discovery of, -).

Chalchiuhtlicue sculpture, Mexico City (engrav-ing; anonymous student from Academy of San Carlos, #+#)), .", *-, #-

Chalon, Paul Frederic, #*"Chambi, Martín, -#Champollion, Jean-François, (,+Chan Chan: aerial photographs of, -(., *,#, -(*–

--), --!, -,)n##; Pared con grabado, Chan Chan, Trujillo, Peru (photographic collage; Albers, #*,-), -#, *,; photographs of, -#, *,; in Trujillo del Perú (Martínez Compañón, #"+#–#"+*), #)+, !$"–!$#, ##+; View of Chan Chan (illustration; Wiener, #++)), #+, ,*. See also Chimú

Chapuis, H., -.!Charles III (king of Spain), +, +", *(, #)", ##,Charles IV (king of Spain), #,, *+, #)", ##", (#(, (*)Charles V (Holy Roman Emperor), (.+, ("(Charnay, Claude-Joseph Désiré: cartographic

representation of buildings by, (*-, ,#-, ,#), (*"–(**, *$$, -##; Catherwood compared, (#!, -.-–-.., *.-–*..; Maudslay and, -.+; mercantilism of nineteenth-century antiqui-ties market and, (#,–(#., -).; photography of, ,/, ("–(+, ()*, (#-–(#., ,!-–,!., (#"; sculpture, mechanically reproduced photographs of, -.(–-.+, *.-–*./, -+#

Chase, William Merritt, !)"n##Chavero, Alfredo, ,.#, ("!n+Chavín de Huántar: digital dimensional models

of, -,"–-*., !(+–!!#, -*"–--, (see also dimen-sional models); digital photography techniques applied to, -!,, !(), -,,, -,*, !(!, -,.; pottery sherds from, !!#–!!(, --,; Raimondi and El Perú editorial sta/ illustrations of sculptures from, !/,, #+*–#*#, !#$; Raimondi’s rubbings of monuments from, #+., #*)–#*#; satellite image of, -!,, -,.; Stela Raimondi, #+"–#+*; stone tools from, --!; Tello Obelisk, !-+, -*#

Chichen Itza: Annexe of the Casa de las Monjas and the Iglesia, Chichen Itza (drawing; Breton, ca. #*))), *#/; cartographic representation of buildings at, (*(, ,#*, (*", -)+; Chac Mool, discovery of, -).; Herget’s reconstructions of (#*-.), *"., !)), -$,; Holmes’ drawings of (#+*,–#+*"), -*-, *#-, -*,; Landa’s description of, ,*, .$; multidimensionality of sculpture, representing, !,-

Chimú: ceramic bottle and illustration,Trujillo del Perú, ##,, !!., !!/; tomb 0gures from Trujillo del Perú possibly representing burials of, #(.–#(*, !,/, !,". See also Chan Chan

Cholula, Humboldt’s illustration of (#+#)), #)–#(, !-

Chumucha/Pusilha, maps of, (*"Chunchucmil, map of ruins of, (+!, ,")Cicero, ,)Cieza de León, Pedro de, #+, .-, .-, #*-, #*., ()#Cisneros, Cardinal, ,!Cités et ruines américaines (Charnay and Viollet-

Le-Duc, #+.-), ("–(+, (#-, (*-, ,#-, -.-

!+#!"#$%

Clarke, John, !-.Clavigero, Francesco Saviero, *–#), !!, #!-, (,!,

,)., (,*, (.)–(.#, ,.!, ("!n.Cleomenes the Athenian, Medici Venus, #,, !/Clüver, Philipp, ,.$%&' (Corpus of Maya Hieroglyphic Inscriptions

program), Peabody Museum, -., (!#, !,(, !.#–!.,

Coatlicue stone, Tenochtitlan, ++, "#, #!-, #!!, #.,Coba, cartographic representation of buildings

at, -)(Codazzi, Agostino, #",, #"", #"+, ()(n(, ()(n,“Códice Mendozino: Ensayo de descifración

geroglí0ca” (Orozco y Berra, #+"+), (-(, ,*-, (!,, (.(

codices: Bodley, #!+; Borgia, #..n", (,,, ,/!; Boturini, #!,, #!+, #!*, !)$; Cospi, #..n", (,(; de la Cueva, #!!; Dresden, #!+, #..n", (-(, ,*); Huamantla, !–,, ), #!!; Mendoza, #!+, (-(, ,*-, (-., ,*#, (!,, (!*, (,(, (,,, ,)/, (.(, (.+; Ríos, (,(; de Teotenantzin, "-–",, /-, /.; Tlaxcala, #!!; Vaticanus B, #..n", (!*; Vienna, #..n", (!*; Xolotl, !–,, "#

Coe, Michael, (-(Coe, William, -+*Colca River valley, aerial photography of, -(., **$,

-!-, -!., *-/, *-", *-#collection, culture of: in early modern and

Enlightenment eras, ,!!, (##–(#-, ,!,; 0elds of fragments images and, (!.; informal imperialism and, -)!–-).; mercantilism of nineteenth-century antiquities market and, ()*–(##, (#,–(#., (#"–(#*, ((", -).; private collections in Mexico, photographs of (see Mexican private collections, photographs of)

collodion or wet-plate camera, -.-Colonnaded Building, Ake (drawing; Breton, ca.

#*)#), -*", *#"“A Comparative Analysis of the Costume and

Accoutrements of the Codex Mendoza” (Anawalt, #**(), (-., ,*#, (.+

Composite Fiction by Henry Sandham of Buildings, Artifacts, Sculpture, and People at Copan (reconstruction; Sandham, #+*+), !)), -$!

computer-aided design ($67) programs, -*,–-*-, !--–!-., -*., -*", !!)

conquest of New Spain: European antiquarian-ism and, -", ,.–,*, )"; Raimondi’s mapping and historical account of, #*.–#*"

constructs, prisms and hachured plans as, (++–(+*

contour mapping, ,"#Contreras, Daniel A., -,., !(*, -*$, -*#Copan: artistic despair of Catherwood at,

#.; Broken Idol at Copan (lithograph; Catherwood, #+!!), !.–!", !-,, !)#; carto-graphic representation of buildings at, ,",, (+-, ,"-, (*(, ,#*, (*-–(*,, ,#., -)+, -#); digital scanning at, -+(; informal imperialism and Peabody expedition to, -)!, -),; main plaza

(photograph; Maudslay, #++*–#*)(), *.", -"); Morley’s photos of inscriptions from, -"., */"; Structure #)L-(* (modern photographs before and a5er reconstruction), !,+, -)#; Structure (. (0eld sketch; Holmes, #+*,), *#-, -*,; three-dimensional scanning, training of local researchers in, !.,. See also Hieroglyphic Staircase, Copan; stelae, Copan

Copper Object Found at Pacasmaya (watercolor; Dumontel, ca. #+"!), #"+, #+*

copperplate engraving and prints, introduction of, ""–"+, #))n(

Coronel, Citlali, -)"Corpus Christi Dancer (travel notebook sketch;

Raimondi, #+,*), !",, #+-Corpus of Maya Hieroglyphic Inscriptions pro-

gram ($%&'), Peabody Museum, -., (!#, !,(, !.#–!.,

Cortés, Hernán, ,", (.+, (.*, ("(Cortez, or the Conquest of Mexico (theatrical

work; Planché and Bishop, #+(-), #.#Codex Cospi, #..n", (,(Costa Scena, or a Cruise across the Southern Coast

of Kent (aquatint; Havell, #+(-), #,,costume books, sixteenth-century, ##+, !,$Cotton, Robert, ,*Covarrubias, Miguel, -., */Crawford, O. G. S., -)*Crocker, Philip, -)(Crónica general de España, ,,Crook, Nigel, -*#Codex de la Cueva, #!!cultural imperialism: cartographic representation

of buildings in context of, -)-–-)", -)+–-)*; National Geographic illustrations and, !)#

Cuzco: Raimondi’s identi0cation as ancient capital of Peru, #*,; Raimondi’s watercolors and plans of, #+.; Spanish conquest and, ,"; woodcut, from Pedro de Cieza de León, Parte primera de la chronica del Peru (#,,-), .-, .-. See also Sacsahumaman

Cyrax-type three-dimensional scanning, !-), -*), !-.

Cyriac of Ancona, ,#

Ddaguerreotype camera used for Incidents of

Travel, -.#–-.(, *.,Danicorum monumentorum libri (Worm, #.!-), ,.Daston, Lorraine, -(–--, -++, -**, !)), !)., !)"n(Dávalos, Felipe, -(David, Jacques-Louis, #., !"Dávila, Pedro Franco, ##,Davis, Edwin, -)(De Jong, Piet, !)!Death of Socrates (painting; David, #"+"), #., !"78%s (digital elevation models), -,"–-,#Dennis, Bryan, (.+

!+( !"#$%

derived illustrations, concept of, -., !#-Derrida, Jacques, (!)Des anciennes pompes funeralles (Jean Lemaire de

Belges, #,)"), ),–)*, ,-Descartes, René, --(Descripcion de las antiguedades de Xochicalco

(Alzate y Ramírez, #"*#), "*, +!“Descripción de Xochicalco” (Alzate y Ramírez,

#""+), "+–+#, /#, "!Descripción histórica y cronológica de las dos

piedras que con ocasión del nuevo empedrado que se está formando en la plaza principal de México (León y Gama, #"*)), ++–*#, "#

Description de l’Égypte (#+)*–#+#+), (!,, (!*, ,),, ,)*, (.), (.(

Desgodetz, Antoine, !Dialogos de medallas, inscriciones y otras antigue-

dades (Agustín, #,+"), ,(Díaz, Por0rio, (#", (()Dick, Archibald L., -,", *)"Dickinson, Emily, -+"Diderot, Denis, #(., (!,, (!*, ,)$, ,)!Didger so5ware, !(#, !-#Dieseldor/, E. P., -(digital elevation models (78%s), -,"–-,#digital illustration, -", !#-–!!.; advantages and

drawbacks of, !#-–!#!, !#.–!(), !!-–!!!; aerial and satellite photography, -!,, !(,–!(., -,.; drawings made from digital materials, !(#–!((, -,,, !!(–!!-; as dynamic research objects, !#!–!#,; &79 (high dynamic range imaging), !((–!(!, -,*; historical background and development of, !#,–!#.; photography, digital, -,,, -!,, !(#–!(., -,,, -,*, -,), -,.; :;<9 (QuickTime Virtual Reality) or pan-oramic virtual reality photography, !(!–!(,; 9;' (re4ection transformation imaging), !(!, -,); sculpture, advances in photography of, -,,; technical literature on, !(#. See also dimensional models; three-dimensional digi-tal illustration

dimensional models, !("–!!-; 78%s (digital elevation models), -,"–-,#; local site con-text, !(*, -*$; nonphotorealistic renderings, !!(–!!-; object scale, --$–--,; photogram-metry, !("; regional scale, -,", !(+–!(*, -,#; site feature scale, -*", !-+–!!), -*#; site scale, !-)–!-", -*!–-*/; from surface point coordi-nates, !("–!(+

Dimmock, George, (!*, (,!Donnan, Christopher, -(, *)Dorenburg, José, ((#Codex Dresden, #!+, #..n", (-(, ,*)Drucker, Phillip, (*"dry-plate negative technology, -.-–-.+, *.-–*./Dryden, John, #.)Due antichi monumenti di architettura messicana

(Márquez, #+)!), "*, +!, "., +.–+", (,!–(,,Dumontel, Alfred, #+", !""–!#,, #+*–#*#, #*-, !#",

!##, ()(nn*–#)

Dupaix, Guillermo: Antiquités mexicaines (#+-!), #,, !., !/, *"–*+, (##, ("!n+; cartographic rep-resentation of buildings and, (*)–(*#, ,#!; collections, as antecedent to photography of, (##–(#(, (#,; New Spain, eighteenth-century illustrations of, "!, /), "), +., #$, #!, *#–*(, *-, *"–*+, **; public entertainment, archaeology as, #!*

Durán, Diego, -", )", ,*, .-, .!Dürer, Albrecht, #(*Dzibilchaltun, cartographic representation of

buildings at, -)(

EEchevarri, Pedro de, #-.n(#Echeverría, Atanasio, *-, #))n*Egypt: Description de l’Égypte (#+)*–#+#+), (!,, (!*,

,),, ,)*, (.), (.(; Napoleon’s expedition to, #,, (#., (!*, (*#; Valley of the Kings project, !-.

Egyptian Hall, London, exhibitions in, #!!–#!,, !-), !-/, #!+, #,-, #,!, #,,

El Baúl, use of grids at, (.+El Tajín: eighteenth-century archaeological illus-

trations of, +!–+", "), ".. See also Pyramid of the Niches, El Tajín

electronic theodolite scanning, !-)Elhuyar, Fausto, *.Encyclopédie (Diderot and Le Rond d’Alembert,

#",#–#""(), #(., (!,, (!*, ,)$, ,)!, (.), (.#, (..engraving: copperplate engraving, introduc-

tion of prints from, ""–"+, #))n(; dry-plate technology, wood engravings produced from, -.-–-.+, *.-–*./; Incidents of Travel, wood versus steel engravings of camera lucida draw-ings for, -,", *)/–*)#

Enlightenment, +, ,*, .,, "", #)", #.#, (##Enríquez, Gumesindo, (#-–(#!Erwin, J. W., -)(Esménard, Joseph-Alphonse, #.(Essai sur le déchi'rement de l’écriture hiératique

de l’Amérique Centrale (Rosny, #+".), (-(, ,**, (!,, (,*

European antiquarianism and the New World, ,–*, !*–."; classical models, use and persis-tence of, ,., .*, .!; Enlightenment and, ,*, .,; missionary activities in New Spain, -", )", ,*–.!, .$–.,; philology, interest in, ., ,#, ,,, #*"; purposes of, .–+, .–#; Reformation and, ,-, ,*, .!; Renaissance, origins in, !*–,!, ),–)-, ,*; Spain, humanism and antiquities in, ,!–,.; Spanish conquest of the Indies, -", ,.–,*, )"; Vesuvian excavations, archaeology in New Spain in4uenced by, +–*, .,

Evans, Tripp, #,", (*#Expedición de Límites (#"*(), *-Explorations in the Department of Peten,

Guatemala, and Adjacent Region (#*)+), ,#/Explorations of the Upper Usumatsintla and

Adjacent Region (#*)+), ,##

!+-!"#$%

FFahey, James, #,,Fane, Diana, #!!Fash, Barbara, -., -", -*, !!*, !,.–!,+, -)/, -)#,

-.$, !"#Ferdinand and Isabella (Catholic monarchs of

Spain), ,,Fernand Cortez (opera; Spontini, #+)*), #.#–#.(, !.,Feyjoo de Sosa, Miguel, ##,Field Museum, Chicago, -"(0elds of fragments drawings, (-#–(+#; connec-

tions between natural history and archaeolog-ical use of, (.)–(.., ,.!, ,.*–,..; de0ned, (-(; in early modern era (05eenth and sixteenth centuries), (!.; grids, use of, (.+–(.*, ,/!; hieroglyphic decipherment, importance to, (-.; historical ubiquity of technique, (-(–(-., ,**–,*#; history of science and, (-+–(!), (!,; history of use in Mesoamerican studies, (!*–(.), ,).–,.$; as immutable mobiles, (!-–(!!; Lienzo de Tlaxcala and, (.+–("-, ,.#, ,/$, ,/,; modern research techniques and, (!(–(!!; motives for and e/ects of using, (!#–(!(; in natural history illustration, (!!–(!*, ,-/, ,-", ,)$–,)); photography versus, (-#–(-(, (!#, (!(; problematic aspects of, ,*$, (-#–(-(, (-+, (."–("-, ,.#–,/,

Fiestas, Percy, !!*Figueroa Aznar, Juan Manuel, -#First World War, initial use of aerial photography

in, -((, -,)nn(–-Ford, Anabel, -)(Foster, Jon, !)!Foucault, Michel, #-"n(!, #,-, #..n#), (-*, -##, -(,fragmented images, line drawings of collections

of. See 0elds of fragments drawingsfree blacks, as artisans in Trujillo, ##+Fres, Erhard, ,$$Frézier, Amédée François, #!, !), ##,Friedrichsthal, Emanuel von, ,!,, (#-, -.#Fuseli, Henry, #., ,!

GGalindo, Juan, (,,–(,", (,*Galison, Peter, -(–--, (+*, -)", -++, -**, !)), !).,

!)"n(Gallegos, Ana, (.*Gann, 3omas, (*"García (artist), +!, "), *+García Guerrero, José María, -./García, Manuel, #.!, #."nn#*–()Garcilaso de la Vega (Spanish poet), ,!Garcilaso de la Vega, El Inca, #"., #*,Garnier, H. del, #+", !#", !##Gateway of the Sun, Tiahuanaco (Tiwanaku):

comparison of #+"" photo and engraving, (+, ,#; frontispiece of Antigüedades peruanas (#+,#), !/., #".–#""

Gay, Claude, #",, #"", #"+, ()(n-, ()(n,Gazeta de literatura de México, "+, +!, +., **gender and archaeological illustration, --, -+*,

!)"n-Genin, Auguste, ()", ,$"Geografía y geología del Ecuador (Wolf, #+*(),

()(n!Gérôme, Jean-Léon, ((Gibson, Sheila, !)!Gil, Jerónimo Antonio, *(Gimber, Stephen H., xx, ,$, *.)Gimbrede, Joseph Napoleon, #,*, !.$–!.!=>? so5ware, !(+–!(*Global Positioning Systems (@AB), archaeological

use of, -)*, !(", !-), -*-Globus (periodical), -"(Glyph B**, Lower Ica Valley, Peru (photograph;

Ranney, #**-), -#, **“Gnomon Mound” at Mayapan, Le Plongeon’s

depiction of, (*-Gómez, José, +"Gonçalez, Pablo, (.*González de Carvajal, Ciriaco, #!, *(, *.Goodwin, Charles, (++Gordon, George Byron, (+-, ,"-, (*,, (**, -#),

-",–-"., */., *//, !)), -$!Gottor(sche Kunst-Kammer (Olearius, #."!), #)*,

!!*@AB (Global Positioning Systems), archaeological

use of, -)*, !(", !-), -*-Graham, Ian, #!!, (*", -+(, -+*, -.$, -.*Grand Canyon at the Foot of the Toroweap—

Looking East (painting; Holmes, #++(), -*(–-*-, *#*

gravure technique, (,, *.", *.#, -")–-"(, */!, */*–*/)

Great Wall of Peru, Shippee-Johnson discovery of (#*-#), *!", -#*–-((, *,$, *,!, --#, -!-, -!+–-!*

grids, use of, (.+–(.*, ,/!Grossman, Marc, !,.Grumbkow, Georges B. von, ,#Gruzinski, Serge, (."–(.+Gunn, Wendy, !,+Gurney, James, !)!Gutiérrez, José, *-

HHabiti antichi, et moderni di tutto il mondo

(Vecellio, #,*+), ##+, !,,hachured plans, (+.–(++, ,"/, ,"", (*), ,#*,

(*"–-)(, -)-, -##hal5one printing, -"#–-"(, -++, !!(Halpin, John, *.!Hamann, Byron Ellsworth, -, #(, -., (-#, (-., ,-$,

!"#Haraway, Donna, -(,Harley, J. B., (+-

!+! !"#$%

Harvard University. See Peabody Museum, Harvard University

Hatch, Rawdon Wright, *.$Havell, Robert, Jr., #,,Hazard, James, (+.&79 (high dynamic range imaging), !((–!(!, -,*Hemsley, W. Botting, ,.)Herculanaeum and Pompeii, excavations at, +–*,

.,, *(, ##,, #!"–#!+, -)(, -)*Heredia, Cayetano, #+#Heredia, Guillermo de, ((#Herget, Herbert, *"., -+*, !)), -$,Herrera, A. L., ,.)Herrera y Tordesillas, Antonio de, (,(Hieroglyphic Staircase, Copan: $%&'’s three-

dimensional scanning of, --", !.#, -.,, -.-; Gordon’s photos of (#*)(), -",–-"., */., *//; Sandham’s reconstruction of (#+*+), !))

high dynamic range imaging (&79), !((–!(!, -,*

Historia de la conqvista de Mexico (Solís, #.+!), #.#

Historia de la Nueva España (Lorenzana, #"")), "$

Historia de las Indias de Nueva España e islas de la tierra (rme (Durán, ca. #,+#), -", )", ,*–.!

Historia general de los hechos de los castellanos en las islas i terra (rme del mar oceano (Herrera y Tordesillas, #.)#), (,(

history of science: 0elds of fragments drawings as window into, (-+–(!), (!,; progressive view of, (-*–(!), (*), -##

Hoare, Sir Richard Colt, -)(Hodder, Ian, -)"Holmes, William Henry: Brush and, ((, -*+–-**;

cartographic representations of buildings and, (**, *$!, -)(, -)+, -)*, *!$; Maudslay on, !)"n"; private collections in Mexico, photo-graphs of, (#", ,!#; reconstructions by, -+*, -*#–-**, *#*–*#., *##, !)), !)!, !).

Holmul, maps of, (*,, ,#"Holstein, Otto, --!, -,#n#.Homenaje á Cristóbal Colón: Antigüedades mexi-

canas (Chavero, #+*(), ,.#, ("!n+Hoover, Russell, !)"n##House of the Governor, Uxmal: Gimbrede’s

engraving of Catherwood drawing (#+!-), #,*–#.), !.$–!.!; Le Plongeon photographs of (#+".), (+, *$–*!

House of the Masks, Kabah, Charnay’s and Catherwood’s reproductions of, -.-–-.., *.-–*..

Houston, Stephen, --, -., (-(, -#), -+", !"(Howard, Sir Robert, #.)Huaca del Sol: modern reconstructions of tomb

at, #)*, !!,; in Trujillo del Perú (Martínez Compañón, #"+#–#"+*), #)+

Codex Huamantla, !–,, ), #!!

Huánuco Pampa: Raimondi’s history of conquest of Peru and, #*"; Raimondi’s plan of, #+.

Huitzilopochtli (deity), ++, #!*, #.#, #.(Humboldt, Alexander von: archaeology as public

entertainment and, #!-; eighteenth-century archaeological illustration in New Spain and, .", *-–*., #-, #), *", #))n*, #))n##; 0elds of fragments images published by, (,,, ,)/, (,*, (.), (.#–(.(, ,.*; importance in dissemina-tion of Pre-Columbian images, #)–#(, #!-, (##, (#(; as natural historian, (.), (.#–(.(, ,.*; Raimondi’s use of images from work of, #+#; Voyage de Humboldt et Bonpland (#+)"–#+-,), (.#–(.(, ,.*; Vues des cordillères, et monu-mens des peuples indigènes de l’Amérique (#+#)), #)–#(, !-, .", *-–*., #-, #), (##, (,,, ,)/, (.(, ("!n+

Hunter, Annie, --, -"), -+*, !!*Hurst, Heather, --, -*Hutson, Scott, (#, -., (+-, !"(

Iiconographic kinship charts, -., */Ideal Reconstruction of a Ceremony (painting;

Waldeck, ca. #+."), !.*identity and nationalism in Americas, ((–(-,

#"!–#",, (#). See also Raimondi, Antonio, and creation of national discourse in Peru

Ihuatzio, map of (#""+), "(–"-, /*Imagini de gli dei delli antichi (Reggiano, #.(.),

(,(imperialism, cultural/informal: cartographic rep-

resentation of buildings in context of, -)-–-)", -)+–-)*; National Geographic illustrations and, !)#

Inca: Antigüedades peruanas focused on, !/., #".–#""; Cuzco identi0ed as capital by Raimondi, #*,; road system, Raimondi’s mapping of, #*,–#*.

Incidents of Travel in Central America, Chiapas, and Yucatan (Stephens, with Catherwood illustrations, #+!#–#+!!), xx, ,$, ((, (,, !-,, #,.–#.), !)"–!.!, (,", ,#,, ,#*, -,.–-.(, *)"–*.,, *.)

%e Indian Queen (theatrical work; Howard and Dryden, #..-; musical adaptation; Purcell, #.*,), #.)–#.#

indigenous peoples of Latin America: aerial photography and modernist critique of, --(, --!; archaeological illustration, indigenous tradition of, !–,, ); in Atlas geográ(co del Perú (Paz Soldán, #+.,), !/#, #+); bodies in space, indigenous depictions of, -*(; European anti-quarianism and, ,", ,*; Spanish missionaries and, .-; Squier’s depictions as critique of, --., --", **#, *-$, -,#n#*; tombs of, in Trujillo del Perú (Martínez Compañón, #"+#–#"+*) (see Trujillo del Perú)

!+,!"#$%

Indio triste (Sad Indian) (drawing; Polanco, #"*!), #/, *+

Indumentaria antigua (Peña0el, #*)-), (-#, (-., ,*/, (!,, (.+

informal imperialism: cartographic represen-tation of buildings in context of, -)-–-)", -)+–-)*; National Geographic illustrations and, !)#

Ingapirca, La Condamine’s plan and elevation of (#"!.), #), !,

Inhabitant of the Cordillera of Peru (painting; Laso, #+,,), iv, (-, ,-

Inscriptions at Copan (Morley, #*()), -"., */"Inscriptions of Peten (Morley, #*-+–#*-*), -".Installation View of the Exhibition Ancient

Mexico, Egyptian Hall, Piccadilly, London (lithograph; Aglio, ca. #+(!), #!!, !-)

Installation View of the Exhibition Modern Mexico, Egyptian Hall, Piccadilly, London (lithograph; Aglio, ca. #+(!), #!,, !-/

Isabella and Ferdinand (Catholic monarchs of Spain), ,,

Izamal: Landa’s description of, ,*, .!; maps of, (*"

JJackson, George W., #,.James, 3omas Garnet Henry, !,(Je/ries, Wyman, -)!–-),Jelling, Denmark, excavations in (#,*#), )-Jelski, Konstanty, #+"Jentsch, Ernst, ##(, #-.n#(Jiménez de la Espada, Marcos, #)+Johnson, George R. See Shippee-Johnson expedi-

tion over Peru, #*-)sJoralemon, David, (-#, (!#Jordan, H., -,", *)#Journal du voyage fait par ordre du roi, a

l’équateur (La Condamine, #",#), #), !*Journal of the Society of Architectural Historians,

!#+Jouy, Victor-Joseph Étienne de, #.(judgmental objectivity, (+*–(*), -)"–-)+, -++,

!))Just, Bryan R., -., -,,, !"(

KKabah, House of the Masks, Charnay’s and

Catherwood’s reproductions of, -.-–-.., *.-–*..

Kaminaljuyu, use of grids at, (.+Karas, Vicky, -.!Keene, Arthur, !#"Kehoe, Alice, !,-Kelley, 3omas C., (-(Kembel, Silvia R., -**–-*-, !-!Kerr, Justin, -#, *-, -+(

Kingsborough, Lord (Edward King), #!,, #!+, #!*, #,!–#,,, #..n", ("!n+, (*#

Kircher, Athanasius, #)*, (!*Kiuic, cartographic representation of buildings

at, -)(Klein, Chris, !)!Kubler, George, (.(Kuhn, 3omas, (-*

LLa Condamine, Charles-Marie de, #), !,, !*, ##.La Venta, o/ering , at, (*"Labna, -)(, -),Laguna, Antonio, #), *.Lake Pátzcuaro, map of (#""+), "(–"-, /*Lamb, John, Primus and Secundus, #,,Lambert, Edwin J., -")Landa, Diego de, ,*–.!, .$–.,, (,+–(,*, ("!n#)Lanzón, Chavín de Huántar: digital dimensional

models of, --$, !!)–!!#; Raimondi and El Perú editorial sta/ illustrations of, !/,, #+*–#*#, !#$

Laso, Francisco, iv, (-, ,-Latour, Bruno, -, (-., (!(–(!!Le Plongeon, Alice, (+, *$–*!, !,-Le Plongeon, Augustus, (+, *$–*!, (,", (*-, -).,

!,-Le Rond d’Alembert, Jean, #(., (!,, (!*, ,)$, ,)!Lecuanda, José Ignacio, ##+–#(), #-,n+, #-"n(,,

#-"n(*Leewenhoeck, Anthony, ,-/Legati, Lorenzo, (!*–(,(Leibsohn, Dana, (-(, (.+Leland, John, ,(–,-, ,,Lemaire de Belges, Jean, ),–)*, ,-Leo X (pope), ,)León, Nicolás, ,,), ((.León y Gama, Antonio de, +)–+#, ++–*#, "#,

#))nn,–", #!-, #..n#C'769, !-)Lienzo de Tlaxcala, #!!, (.+–("-, ,.#, ,/$, ,/,Ligorio, Pirro, ., /, ,#, ,., ,*Linati, Claudio, #.!Lindeberg, Peter, )-Lindo, Francisco, *-line drawings: badly made drawings, problem of,

(-(; digitally created, !(#–!((, -,,, !!(–!!-; as immutable mobiles, (!-–(!!; Mesoamerican archaeologists’ fondness for, (-#–(-(; modern research techniques and, (!(–(!!; multidi-mensionality of sculpture, representing, -.$, -.*; use and abuse of, (!#–(!(. See also 0elds of fragments drawings

Linnaeus, ##,lintels, Yaxchilan. See YaxchilanLivy (Titus Livius), ,)Llona, Emiliano, #*"local site context dimensional models, !(*, -*$

!+. !"#$%

London Charter (Denard, ())*), !()London, Ancient and Modern Mexico exhibitions

in (#+(!–#+(,), !--, #!!–#!", !-/, #.-looting, problem of, --,, -,#n#., -,#n#+López Luján, Leonardo, *, .*, !"(–!"-Lorenzana y Buitrón, Francisco Antonio de, "$,

(!*Lorillard, Pierre, -).Loten, Stanley, !),Loubat, Joseph Florimond, (#+Lovati, Lovato, ,)Lynch, Michael, -)+

MMachu Picchu, photography of, -#Mackey, Carol, #(.Mainique Canyon, drawing by Dumontel (#++)),

!##, ())Malaspina, Alessandro, +!, *-, #)*–##), ##.,

#-.n(), (((Maler, Teobert: cartographic representation of

buildings by, (+-, (+,, (*,, ,#/, ,##, -)(–-)-, -)., -##; private collections in Mexico, pho-tographs of, (#,; sculpture, photographs of, -"(–-",, */*–*/)

malerizations, (+!–(+,, (*,maps and mapping. See cartographic representa-

tion of buildings; cartographyMárquez, Pietro [Pedro], #(, "*, +!, "., #..n#,

(,!–(,,, (,*Marschalk, Nicolaus, ,.Martín, Luis de, *-–*., #), *+Martínez Compañón, Baltasar Jaime. See Trujillo

del PerúMartínez Gracida, Manuel, ((), ,,!Mary Magdalene in a Landscape (painting;

Carracci, ca. #,**), #(*, !*!Massard (engraver), .", #-, #)Matrícula de Tributos, "$, (!*Maudslay, Alfred P.: cartographic representations

of buildings by, ,",, (*-–(*,, ,#., (*", -)., -)+, -#), -##; Catherwood compared, -.+, -"); Charnay and, -.+; 0elds of fragments draw-ings by, (-(–(-., ,*., (!#, (!(, (.), (.(, ,.); on Holmes, !)"n"; Hunter’s work with, -"), -+*; multidimensionality of sculpture, rep-resenting, !!*–!,), -)$, -)!, !,-–!,!; private collections, photographs of, (#,; sculptures, photographs of, *)-, *.", -.+–-"(, *.#, */!, -+#

Maximilian of Hapsburg (emperor of Mexico), (#"Maya Censer (daguerreotype; Friedrichsthal,

#+!)), ,!,, (#-“Die Maya-Handschri5 der Königlichen

Bibliothek zu Dresden” (Schellhas, #++.), (-(, ,*), (!,

Maya polychrome vessel (A$.1.,.!) and rollout photograph, -#, *-

Mayapan, Le Plongeon’s depiction of “Gnomon Mound” at, (*-

McCabe, Vinton, !,.McClelland, Donna, -(, *)McReynolds, Richard, (-(Means, Philip Ainsworth, #)+mechanical objectivity, (+*–(*), -++Medici Venus (sculpture; Cleomenes the

Athenian, 0rst century 1$), #,, !/Medidas del romano (Sagredo, #,(.), (!.Melencolia I (print; Durer, #,#!), #(*Mellon, Andrew, -*(Memoire sur la peinture didactique et l’écriture

(gurative des anciens mexicains (Aubin, #+!*), (,+, ,.$, ("!n*

“Mémoire sur quelques anciens monumens du Pérou” (La Condamine, #"!.), !,

Codex Mendoza, #!+, (-(, ,*-, (-., ,*#, (!,, (!*, (,(, (,,, ,)/, (.(, (.+

mercantilism of nineteenth-century antiquities market, ()*–(##, (#,–(#., (#"–(#*, ((", -).

Mérida/Tiho: Landa’s description of, ,*, .,; Spanish conquest and, ,"

Merwin, Raymond E., (*,, ,#/Mexican private collections, photographs of,

()"–((*; Charnay’s photographs, (#-–(#., ,!-–,!.; classi0catory schema, discerning, ()+, ()*, (#*–((#, ,,$, ,,!; collection and use of images, ,$., (#", ,!#, ((#–((., ,,,–,,); 0rst known photographic image of Maya artifact, ,!,, (#-; historical antecedents, ,!!, (##–(#-, ,!,; mercantilism of nineteenth-century antiqui-ties market and, ()*–(##, (#,–(#., (#"–(#*, (("; phenomenon of private gabinetes or museos, ()"–(##, ,$", ,$#; Por0rio-era collections of artifacts, (#"–((#, ,!"–,,!; public acquisition of private collections, ()"–()+, (#); San Hipólito, lithograph of bas relief from (#++.), +#, ",

Mexico City: Chalchiuhtlicue sculpture (engrav-ing; anonymous student from Academy of San Carlos, #+#)), .", *-, #-; early modern excava-tions at, +–*; Key to Panorama of Mexico City (wood engraving of painting; Robert and John Burford, #+(.), !)-; Revillagigedo’s restructur-ing of, +". See also Tenochtitlan

Mexico exhibitions, London (#+(!–#+(,), !--, #!!–#!", !-/, #.-

Miles, George, #,*military engineering, archaeological cartography

in4uenced by, -)(, -)+–-)*military surveys, archaeological illustrations

from, #!–#,, !)“Mis descubrimientos en México y en la América

Central” (Charnay, #++!), (#!–(#,, ,!)Mitla: cartographic representation of buildings at,

(**; Castañeda’s illustrations of, #,, !., #!*, #,,; Charnay’s photographs of, -.-; An Elevation of the Palace, Mitla (drawing; Martín and Laguna, from Humboldt’s Vues des cordillères, #+#)), *-–*., #); Holmes’ illustrations of, -*-;

!+"!"#$%

Plan of the Palace, Mitla (drawing; Martín and Laguna, from Humboldt’s Vues des cordillères, #+#)), *-–*., #); View of the Eastern Facade of the Fourth Palace, Mitla, Mexico (photograph; Charnay, #+,*), ,/

Moche: Huaca del Sol, in Trujillo del Perú (Martínez Compañón, #"+#–#"+*), #)+; Huaca del Sol, modern reconstructions of tomb at, #)*, !!,; Sipán, modern reconstructions of tombs at, ##), !!*; vessel with “Burial 3eme” and rollout drawing, -(, *)

Moctezuma, ,", ,*, #.#, #.(, #.!, (.*Modern Mexico exhibition, London (#+(!–#+(,),

#!!–#!", !-/, #.-modernist ideology and aerial photography,

-(*–--!molds and casts: multidimensionality of sculp-

ture, representing, !,); photographs of, -")Molyneaux, Bryan, (!), ("!n(, (+!Monjas building, Uxmal, southeast corner

(engraving a5er Catherwood daguerreotype (?), #+!-), -.#–-.(, *.,

Monte Albán: cartographic representation of buildings at, (**, -)(; grids, use of, (.+

Montesinos, Fernando de, #".Montezuma. See Moctezumamonumental folios, (-–(,, ,)“Monuments of New Spain” (Dupaix, #+-#), ,#!Monuments of Yucatan (Holmes, #+*,–#+*"),

*#-–*#., *##Moore, James, !#"Mora, Gloria, ,!Morales, Ambrosio de, ., ,!, ,,, ,*Morales Gamarra, Ricardo, ##+Morley, Sylvanus, -)+, *$#, -"., -*), !)), !,-–!,,Morris, Ann, !,(–!,-Morris, William, !)"n+Motezuma (theatrical work; de Majo and Cigna-

Santi, #".,), #.#Mounds in Northern Honduras (Gann, #*)#), ,#"Moxó y Francolí, Benito, #., *.–*"Mudge, Mark, -,)Mujica, Francisco, -.multidimensionality of sculpture, representing,

!!*–!"); artistic process, as research tool in itself, !,.–!,+, -)/, !.)–!.#; camera lucida, use of, !,-, -)-; drawings, !!*–!,), -)$, !,(–!,+, -)-, -)), -)/–-.$, !.); molds and casts, !,); photography, !!*, -)!, !,-–!,!, -.$; three-dimensional optical scanning, --", !,)–!,(, -.$, !.)–!.", -.,, -.-, -.., -./

mummies: Ancón, illustrations of mummy bun-dles from, (!–(,, ,), ,., #)*; Arica, Bauza’s sketches of remains from, ##); Mummy Bundle (watercolor; Dumontel, #+"!), from El Perú editorial o2ce, #+", !""; Rivero y Ustáriz and Tschudi, drawings of, #)*. See also Trujillo del Perú

Mundy, Barbara, (.+

El museo mexicano (Seler, #+!)–#+!,), ,!!, (#-Musi, Giulio de, /Mutís, José Celestino, #-,n.Musaeum metallicum (Aldrovandi, #.!+), (!*Mvseo Cospiano (Legati, #.""), (!*–(,(Mydin, Iskander, (#)

NNadaillac, Marquis de, (,"Nakum, mapping of, (*,, (*", -##Napoleon (Bonaparte), #,, *+, #,(, #.#, #.(, (#.,

(!*, (*#Naranjo, Maler’s maps of, (*,, -)-National Geographic magazine, -., -#*, -((, -*#,

!)), !)#, -$*, -$-, !).nationalism and identity in Americas, ((–(-,

#"!–#",, (#). See also Raimondi, Antonio, and creation of national discourse in Peru

Native American Fire Temple from Set Design for the Opera Fernand Cortez (gouache; Schinkel, #+#+), #.#–#.(, !.,

Native Americans. See indigenous peoples of Latin America

natural history illustrations: connections between natural history and archaeological use of 0elds of fragments drawings, (.)–(.., ,.!, ,.*–,..; 0elds of fragments drawings in history of, (!!–(!*, ,-/, ,-", ,)$–,)); impact on archaeo-logical illustration, #(; nude entombed 0gures from Trujillo del Perú using conventions of, #(.–#(*, !,/, !,", #-#

Naturalis historia (Pliny the Elder), ,,, (!,–(!", (!*, (.), (.(, (.., ("!n!

Navarrete, Federico, (.+Navarro, José Mariano, "+Nebel, Carl, #!!, #.!Nebrija, Antonio de, ,!, ,,%e Necropolis of Ancon in Peru (Reiss and Stübel,

#++)–#++"), (!–(,, ,), ,., #)*New Spain, conquest of: European antiquarian-

ism and, -", ,.–,*, )"; Raimondi’s mapping and historical account of, #*.–#*"

New Spain, eighteenth-century archaeological illustrations of, +–#,; Academy of San Carlos and scienti0c drawing, .", *(–*+, #-–#/; client-patron relationships between antiquar-ians and artists, *+–**; continuity of modern projects and technology with, .*–"#, /$; cop-perplate engraving and prints, introduction of, ""–"+, #))n(; early maps and plans, "#–"", /,–/.; El Tajín, +!–+", "), ".; from military surveys, #!–#,, !); periodicals and journals, proliferation of, "+; from scienti0c expedi-tions, #)–#(, !,–!-; Tenochtitlan, +"–*(, "#–#!, #!-; Vesuvian excavations in4uencing, +–*, .,, *(, ##,, -)*; Xochicalco, "+–+!, /#–"*, #!-. See also Trujillo del Perú

New Spain, missionary activities in, -", )", ,*–.!, .$–.,

!++ !"#$%

Nolli, Giambattista, ., #“Notas arqueológicas '<: El sueño de

Motecuhzoma” (Sánchez, #++.), +#, ",Núñez, Cristóbal, ()(n+

Oobject scale dimensional models, --$–--,objectivity: accuracy and, #, !, -(–--; cartographic

search for, (+-, (+*–(*), -)"–-)+; judgmen-tal objectivity, (+*–(*), -)"–-)+, -++, !)); mechanical objectivity, (+*–(*), -++; recon-structions and sta/age, -++, -**, !)), !).

Ocampo, Florián de, ,,Olearius, Adam, #)*, !!*Olf Rudbeks Atland eller Manheim [Atlantica]

(Rudbeck, #."*–#")(), .-, .,Ollantaytambo, Sun Temple at (photograph;

Squier, #+.,), ,"opera and theater, Pre-Columbian themes in, #!+,

#.)–#.(, !.,%e Order of %ings (Foucault, #*")), #-"n(!, (-*Orozco y Berra, Manuel, (-(, ,*-, (!(, (.), (.(Owens, John, -),“Ozymandias” (Shelley, #+#+), #,*

PPacasamayo, copper object found at (watercolor;

Dumontel, ca. #+"!), #+*Pachacamac: cartographic representation of

buildings at, (**, -)(; earliest Spanish chroni-clers on visits to, ,"; Raimondi’s watercolors of, #+.; Rivera and Tschudi illustration, from Antigüedades peruanas (#+,#), #+, ,,; Shippee-Johnson photos of, --*, *-!, -!!, -!,, *-., *-/; Squier’s plan of, --*, *-!

Palenque: Brush paintings based on Catherwood illustrations of, (#, ((; cartographic rep-resentation of buildings at, (*), (*", (**; Charnay’s photographs of, -.-; Dupaix expe-dition’s drawings of, (*)–(*#, ,#!; eigh-teenth-century explorations of, +, #), !!, #!-; Elevations of the Temple of the Inscriptions and Temple of the Cross, Palenque (drawing; Bernasconi, #"+,), +, #), !!; Galindo’s foldout plates of site of, (,"; Holmes’ illustrations of (#+*,–#+*"), -*-, *#), -*,–-*", *#.; %e Palace at Palenque (aquatint; Aglio, #+-)), #!*, !)!; Pier E, House A (engraving by Hatch and Smillie a5er Catherwood, #+!#), *.$; publica-tion of #+(( report on ruins of, #!!; Waldeck lithographs of, #.-

Palladio, Andrea, .Panama-California Exposition, San Diego

(#*#,–#*#.), !))panoptic viewing, #,-, -(,, -!-panoramas: Aglio’s panoramic migration draw-

ing (ca. #+(,), #!+–#!*, !-#, !)!, #,!–#,,; House of the Governor, Uxmal, Le Plongeon’s

panoramic photographs of (#+".), (+, *$–*!; Panorama of Chichen Itza (illustration; Holmes, #+*,–#+*"), -*-, *#-; Panorama of Uxmal (illustration; Holmes, #+*,–#+*"), -)+, -)*–-#), *!$, -*-; Panoramic View of the Valley of Mexico from Tacubaya (engraving; Clark, #+(!), #!,, !-.; as public entertainment in nineteenth century, #!+–#,., !-#, !)!–!)-, !)., !)/, #,*–#.), !.$–!.!, #.!, -(!

panoramic virtual reality photography or QuickTime Virtual Reality (:;<9), !(!–!(,

paper museums, concept of, *+, #-,n!, (!.Paramonga, Raimondi’s illustration of fortress

of, #*"Pardo, Manuel, #+.Pared con grabado, Chan Chan, Trujillo, Peru

(photographic collage; Albers, #*,-), -#, *,Parte primera de la chronica del Peru (Cieza de

León, #,,-), .-, .-“Past Presented: A Symposium on the History

of Archaeological Illustration” (Dumbarton Oaks, ())*), xix

Paz Soldán, Mariano Felipe, #"+–#+#Peabody, George, -)!Peabody Museum, Harvard University: $%&'

(Corpus of Maya Hieroglyphic Inscriptions program), -., (!#, !,(, !.#–!.,; informal imperialism and mandate of, -)!–-),; recon-structions under aegis of, -*#; sculpture, pho-tography of, -"(, -",

Peck, Diane Gri2ths, -(Peiresc, Nicolas-Claude Fabri de, ,,–,.Peña0el, Antonio, (-#, (-., ,*/, (!(, (.+Pennell, Joseph, !)"n"Pentland, Joseph, #""Pérez de Lara, Jorge, -+(Pérou et Bolivie (Wiener, #++)), #+, ,*, (+Peru. See Raimondi, Antonio, and creation of

national discourse in Peru; Shippee-Johnson expedition over Peru, #*-)s; Trujillo del Perú

El Perú (Raimondi, #+"!–#++)). See Raimondi, Antonio, and creation of national discourse in Peru

Peru from the Air (Johnson, #*-)), -(.–--#, *,/–**$

Peru: Incidents of Travel in the Land of the Incas (Squier, #+""), --,–-!(, **.–*-!

Petrarch, ,), ,"Peutinger, Konrad, ,(Philip II (king of Spain), ,.philology, antiquarian interest in, ., ,#, ,,, #*"Philosophical Transactions (journal of Royal

Society, London), (!,, (!.–(!+, ,-/, ,-", (!*, (.)

photogrammetry, !("photography, (,–-#; albumen prints, -.-; arti0-

cial lighting in the 0eld, use of, -"-; camera lucida, -,.–-.), *)"–*.!, !,-, -)-; Charnay’s work in, ,/, ("–(+, ()*, (#-–(#., ,!-–,!., (#"; comparison of #+"" photo and engraving of

!+*!"#$%

Gateway of the Sun at Tiahuanaco, (+, ,#; critiques of new technology of, (#-–(#!, (-#; daguerreotype camera used for Incidents of Travel (#+!#–#+!!), -.#–-.(, *.,; digital, -,,, -!,, !(#–!(., -,,, -,*, -,), -,. (see also digital illustration); dry-plate negative tech-nology, -.-–-.+, *.-–*./; etchings produced from, ,!-–,!); 0rst known photographic image of Maya artifact, ,!,, (#-; gravure, -")–-"#; hal5one printing, -"#; line drawings and, (-#–(-(, (!#, (!(; mechanical objec-tivity of, (*); mercantilism of nineteenth-century antiquities market and, ()*–(##, (#,–(#., (#"–(#*, (("; multidimensionality of sculpture, representing, !!*, -)!, !,-–!,!, -.$; rollout photography, -#–--, *-; speci0c moment in time, ability to capture, -,#n#.; stereoscopic, !,-; wet-plate or collodion camera, -.-. See also aerial photography; Mexican private collections, photographs of; sculpture, printed pictures of

Pichardo, José, +!Piedras Negras: Acropolis, Piedras Negras (water-

color; Proskouriako/, #*-"), !)!–!),, -$); Maler’s map of, -)(–-)-; Stela # (photograph; Maler, #*)#–#*)-), -"-, */-; Stelae (, ,, and . (photograph; Maler, #*)#–#*)-), -"-–-",, */)

Pillsbury, Joanne, xix, #, +, .,, -)-, -,)n##, !"-Pineda, Antonio, *-Pinto, John, !Piranesi, Giovanni Battista, !, (-Pitt Rivers, Augustus Henry Lane Fox, -)(, -).Pizarro, Francisco, ,", #()Pizarro, Hernando, ,"Planché, J. R., #.#Plano en Papel de Maguey, #!!, #!,Plano topográ(co de la Villa de Nuestra Señora de

Guadalupe y sus alrededores en !.#!, "!, /.plaster casts: multidimensionality of sculpture,

representing, !,); photographs of casts, -")Platt, Raye R., -(.–-(*, --)Pliny the Elder, Naturalis historia, ,,, (!,–(!",

(!*, (.), (.(, (.., ("!n!Poe, William C., -*-, !-.Polanco, José Antonio, #/, *"–*+, **Pompeii and Herculanaeum, excavations at, +–*,

.,, *(, ##,, #!"–#!+, -)(, -)*Pompeii Room, Garden Pavilion, Buckingham

Palace, London, #!"–#!+Pongo de Manseriche (drawing; Dumontel, #++)),

!##, ())Porlier, Antonio, #)"positivism, #+(, (#), (++, -(-, -,., -"(pottery sherds from Chavín de Huántar, !!#–!!(,

--,Pozzo, Cassiano dal, ,.Précis du système hiéroglyphique des anciens

Égyptiens (Champollion, #+(+), (,+Prehistoric Ruins of Copan (Gordon, #+*.), (+-, ,"-Price, Hugh, (*"

prints from copperplate engraving, introduction of, ""–"+, #))n(

prisms: disciplinary needs of archaeology, serv-ing, -)"–-)+; dominance of, (+,, -##; as family of techniques, (+.; 4aw inherent in, (+.–(*), ,"/–,"#; hachured plans compared, (+.–(++, ,"/, ,"", (*), ,#*, (*"–-)(, -)-, -##; histori-cal development of, (*)–-)(, ,#!–*$!; nature and function of, (+.; perceptions a/ected by methodology of, -)+–-#), *$#–*!$; reasons for popularity of, -)(–-)-; systematization, lack of, -##; theory, penetration of drawn objects with, -)+

private collections in Mexico, photographs of. See Mexican private collections, photographs of

progressive view of history of science, (-*–(!), (*), -##

Proskouriako/, Tatiana: as both author and illustrator, -*); 0elds of fragments illustra-tions in work of, (-.; gender and illustration, issues of, --; multidimensionality of sculpture, representing, -)), !,.; photographs, use of, (!#; reconstructions by, #+–(#, -+*, !)!–!),, -$), !#*; sculpture, photos of, -"., -"*–-+#, *"$; technological innovations of, -*

public entertainment, nineteenth-century archaeological illustration as, #!-–#"#; Aglio, work of, #!!–#!*, !-), !-/–!)!, #,!–#,,, #.), #.,; Bullock, William and William Jr., work of, #!!–#!", !-)–!-/, #!*, #,-, #,!; Catherwood, work of, #!!, #,,–#.), !).–!.!, #.!, #., (see also Catherwood, Frederick); monumental folios, (-–(,, ,); panoramas, #!+–#,., !-#, !)!–!)-, !)., !)/, #,*–#.), !.$–!.!, #.!, -(!; theater and opera, Pre-Columbian themes in, #!+, #.)–#.(, !.,; visual culture, concept of, #!!, #.), #..n(; Waldeck, work of, #!!, !.*, #.-–#.!, #.,

Purcell, Henry, #.)Purchas, Samuel, (!*Pusilha/Chumucha, maps of, (*"Putnam, Frederic, -)(–-).Pyramid of the Moon, Teotihuacan, ,, "#Pyramid of the Niches, El Tajín: drawing by

Dupaix (ca. #"*#–#+)!), "), +.; engraving by García (#"+,), +!–+., "); engraving from Due antichi monumenti di architettura messicana (Márquez, #+)!), +!–+., ")

Pyramid of the Sun, Teotihuacan, !–,, "#–"(, ",–""

QQuickTime Virtual Reality (:;<9) or panoramic

virtual reality photography, !(!–!(,Quirigua: Stela E, north face (engraving by

Halpin a5er Catherwood, #+!#), -.), *.!; two views of cast of Stela E, north face (gra-vure print; Maudslay, #++*–#*)(), -"), */!; Zoomorph P, drawings and photographs of (Hunter and Maudslay, #++*–#*)(), !!*–!,), -)$, -)!

!*) !"#$%

RRabelais, François, ,(%e Ra& of the Medusa (painting; Géricault,

#+#+–#+#*), #,-, #.,Ragvaldi, Nicolaus, ,!Raimondi, Antonio, and creation of national

discourse in Peru, #"-–()!; independence from Spain, republican status, and self-identity, #"!–#",; photograph of Raimondi, !"!; preparation and publication of El Perú (#+"!–#++)), !/,, #+.–#*-, !""–!#,, #*"; relation-ships between objects, e/orts to establish, !#!, #*#–#*-, !#,; scienti0c atlases in Peru prior to, #",–#+#, !/.–!"$; state involvement in and sup-port for work of, #+.–#+", #*"–()); text of El Perú, creation of national cartographic narra-tive in, #*-–()#, !#-–!#., !#"–,$$; training and travels, #+#–#+., !",–!")

Ramírez, José F., #!-Ranney, Edward, -#, **Rantzau, Heinrich, ,-, )-Raphael, ,)Real Expedición Botánica de Nueva España

(#"+"–#+)-), *-reconstructions, -.–-", -,,–-+!; by Andersen,

-+*, !)#–!)-, -$*; by Breton, -*", *#/–*#"; by Brush, -+*, -*+–-**, -$$; by Herget, *"., -+*, !)), -$,; by Holmes, -+*, -*#–-**, *#*–*#., *##, !)), !)!, !).; at Huaca del Sol, #)*, !!,; indigenous depictions of bodies in space and, -*(; practitioners, recognition and prestige of, -+*–-*), *#$; by Proskouriako/, #+–(#, -+*, !)!–!),, -$), !#*; regional and institu-tional variations in, -*#; by Sandham, !)), -$!; Sipán, tombs of, ##), !!*; social and power relationships imposed on, !))–!)#, -$*; by Spier, -+*, !)-–!)!, -$-; sta/age versus lack of sta/age, #+–(#, ,,, ,*, -*(, -*-, -*", !)!–!),, -$); tensions and ambiguities inherent in production of, -++–-*(, !))–!)#; by Vierra, !)), !)"n##; Western art and artists, in4uence of, -*(–-*-, *#*, -*+–!)), !)#–!)-. See also digital illustration

Recuay: Recuay or Moche sta/ 0nial from Trujillo del Perú, #(*, !*$; Raimondi’s sketches and Dumontel’s later drawings of stone sculptures from, #*#, !#!–!#,, #*-

Reese, William, #,*Reeves, Dache, **,, ***, -!), -!-–-!!, *--, -,#n()re4ection transformation imaging (9;'), !(!, -,)Reformation and European antiquarianism, ,-,

,*, .!Reggiano, Vicenzo Cartari, (,(regional scale dimensional models, -,", !(+–!(*,

-,#Reiss, Wilhelm, (!–(,, ,), ,., #)*, #*-Relación de las cosas de Yucatán (Landa, ca. #..)),

,*–.!, .$–.,, (,+–(,*, ("!n#)Relación de Tequizistlán y su partido (#,+)), "#

relaciones geográ(cas: Philip II, commissioned by, ,.; Trujillo del Perú in spirit of, ##!

Relation du voyage de la Mer du Sud (Frézier, #"#.), #!, !)

Renaissance, origins of European antiquarianism in, !*–,!, ),–)-, ,*

Researches in the Central Portion of the Usumatsintla Valley (Maler, #*)#–#*)-), */*, */-

Restrepo Manrique, Daniel, ##!, ##", #-.n#,Revett, Nicholas, (-–(!Revillagigedo, Juan Vicente de Güemes Pacheco

de Padilla y Horcasitas, second count of, +", ++Rhenanus, Beatus, ,(Rick, John, -., -", -*, !#(, -,,, -*!–-**, -*#, --!,

--,, !"-Rick, Mathew C., -,*Río, Antonio del, +, *(, #!!, #.-Río Azul, Andersen’s reconstruction of early clas-

sic entombment at (#*+.), -$*Codex Ríos, (,(Ristevski, John, -*), !-., --$Rivero y Ustáriz, Mariano Eduardo de, #+, ,,, #)*,

#",–#"+, #*(Robert, Hubert, #, ,, ((, --Roberts, Jennifer, #,"Robertson, Merle Greene, --, -+(Robertson, William, (!*Rodríguez y Tejada, Tomás, ##+Rohr, James, -,"–-,#rollout photography and painting, -#–--, *-, *),

*#$Roma triumphans (Biondo), ,#Rome, antiquarianism in, ,)–,#Rosinus, Joannes, ,.Rosny, Léon de, (-(, ,**, (,", ,)", (,*, ("!n#)Royal Botanical Expedition to Peru (#"""–#"++),

##,, #-,n., #-.n()9;' (re4ection transformation imaging), !(!, -,)Rudbeck, Olof, .-, .,Rugendas, Johann Moritz, #""%e Ruins of Holmul, Guatemala (Merwin and

Vaillant, #*-(), (*,, ,#"Ruiz, Diego, +!Ruiz, Hipólito, ##,Ruskin, John, !."

SSabatini, Francesco, +"Sablo/, Jeremy, (#), -)!Sacsahumaman: from Antigüedades peruanas,

!//; from Raimondi’s El Perú, #*"; Squier’s survey of, --,–--., **.–**", --"

Sagredo, Diego de, (!.Salisbury, Stephen, -).Salvin, Osbert, !,-

!*#!"#$%

San Antonio Petroglyphs (travel notebook sketch; Raimondi, #+.!), !")

San Francisco Mazapan, maps of, "#–"(, /,San Hipólito, Mexico City, lithograph of bas relief

from (#++.), +#, ",San Pedro de Lloc, tomb from, ##+–#()Sánchez, Jesús, ",Sanchez, Pedro, ,"Sandham, Henry, !)), -$!Sangallo, Giuliano de, ,Santa Rita Corozal, Gann’s map of (#*)#), (*", ,#"Sarcent, A., -.!satellite photography, -!,, !(,–!(., -,.Satterthwaite, Linton, -*)Saville, Marshall H., "#, ,,-, ((,, ((., -),Schaedel, Richard, #)+–#)*Schávelzon, Daniel, ", -., ""Schellhas, Paul, (-(, ,*), (!(Schinkel, Karl Friedrich, #.#–#.(, !.,, #.,Schnapp, Alain, !*, !"-–!"!Science (journal), (!,, (!*, ,)-, ,)), (.)science and national identity in independent

Latin American states, #"!–#",scienti0c atlases, #",–#+#, !/.–!"$; Atlas de la

historia física y política de Chile (Gay, #+,!), #",, #"", #"+, ()(n-, ()(n,; Atlas de Venezuela (Codazzi, #+!)), #",, #"", #"+, ()(n(, ()(n,; Atlas geográ(co del Perú (Paz Soldán, #+.,), !/"–!"$, #"+–#+#. See Raimondi, Antonio, and creation of national discourse in Peru

scienti0c expeditions, archaeological illustrations from, #)–#(, !,–!-, *-, #)*–##), ##,–##.

Scott, James, --)–--#%e Sculptor and the King (painting; Brush, #+++),

((, ,*sculpture, mapping as handmaiden to documen-

tation of, -)-–-)"sculpture, printed pictures of, -,,–-+!; cam-

era lucida used to produce illustrations for Catherwood and Stephen’s Incidents of Travel (#+!#–#+!!), -,.–-.), *)"–*.!; Charnay’s mechanically reproduced pho-tographs, -.(–-.+, *.-–*./; daguerreotype camera used to produce illustrations for Catherwood and Stephen’s Incidents of Travel (#+!#–#+!!), -.#–-.(, *.,; Gordon’s photos of Hieroglyphic Staircase, Copan, -",–-"., */.; hal5one printing and mass reproduc-tion, -"(; institutionally a2liated research-ers, adaptation of photography to objectives of, -"(–-+#, */*–*"$; Maler’s work, -,,–-+!; Maudslay’s approach to, *)-, *.", -.+–-"(, *.#, */!; in Proskouriako/ ’s Study of Classic Maya Sculpture (#*,)), -"., -"*–-+#, *"$; in Spinden’s Study of Maya Art (#*#-), -".–-"*, */#; techno-logical developments in, -,,–-,., -+(

sculpture, three-dimensional characteristics of. See multidimensionality of sculpture, representing

“Seeing and the Mixtec Screenfolds” (Hamann, ())!), (-., ,-$

Seibal, map of, (*", ,##Seler, Eduard: botanical research of, (.), (.(,

,..; 0elds of fragments illustrations, use of, (-(, (!#, (!*, ,)), (.), (.(, ,..; El museo mexicano (#+!)–#+!,), ,!!, (#-; photographs, use of, ,$., (#+, ((#–((-, ,,,, ((,, ((., ((+n,, (!(; public entertainment, archaeological illustration as, #.,

Seler-Sachs, Caecilie, ((#, (((–((-, (.(, ,..Sellen, Adam T., (", -#, ()", !"!Serlio, Sebastiano, (!.Sessé, Martín, *-shadow in aerial photography, interpretation

of, *--Shapin, Steven, -)"Shelley, Percy Bysshe, #,*Shimada, Izumi, -)(Shippee-Johnson expedition over Peru, #*-)s:

Andagua Valley survey, --#–--!, ***; archaeo-logical focus of, --!–--,; background and experience of Shippee and Johnson, -(,–-(.; Colca River valley, -!-, -!., *-/, *-", *-#; Great Wall of Peru, *!", -#*–-((, *,$, *,!, --#, -!-, -!+–-!*; impact of, -#, -((–-(!; literature on Peru, Shippee and Johnson’s familiarity with, -,#n#"; modernist ideology and, -(*–--!; orga-nization, plan, and techniques, -(., --#, **,, ***; Pachacamac, --*, *-!, -!!, -!,, *-., *-/; pattern, 4atness, and horizontality, empha-sis on, -!(–-!*, *--, *-.–*-#; Peru from the Air (#*-)), Johnson’s #*()s aerial shots from, -(.–--#, *,/–**$; Squier’s nineteenth-century survey, in4uence of, --,–-!(, **.–*-!; Squier’s telescoping visual structure compared to pho-tos from, --"–-!(, *-!, -!,

Shook, Edwin, -+*Siculo, Lucio Marineo, ,,Sierre de Guadalupe: Plano topográ(co de la Villa

de Nuestra Señora de Guadalupe y sus alred-edores en !.#!, "!–",, /.; Reliefs on Zacahuitzco Hill, Sierra de Guadalupe (drawing; Dupaix, ca. #"*#–#+)!), "!, /)

Siguënza y Góngora, Carlos de, ,", ""Sipán, modern reconstructions of tombs at, ##), !!*Sister Juana Magdalena (painting; Castillo, #".*),

#-)–#-#, !**site feature scale dimensional models, -*",

!-+–!!), -*#site scale dimensional models, !-)–!-", -*!–-*/Six Months Residence and Travels in Mexico

(Bullock, #+(!), #!!, #!,–#!", !-.SketchUp, !!)Soane, Sir John, #,*Smillie (engraver), *.$Smith, A. Ledyard, -*#Smith, Albert, #,!Smith, Jean Beman, !)"n##Smithson, Robert, #,"Society of Dilettanti, (!

!*( !"#$%

Sojourn at Tula (detail of Aztec migration panoramic drawing; Aglio, ca. #+(,), #!*, !)!, #,!–#,,

Solar, Antonio de, #-.n(#Solís, Antonio de, #.#, #.(Sologuren, Fernando, ,$#, (#+–((#, ,,$Sorrell, Alan, -., !)"n+Spain, humanism and antiquities in, ,!–,.Spanish conquest: European antiquarianism and,

-", ,.–,*, )"; Raimondi’s mapping and his-torical account of, #*.–#*"

Sphinx mystagoga (Kircher, #.".), #)*Spier, Jo, !)-Spier, Peter, -+*, !)-–!)!, -$-Spinden, Herbert, (-., ,*", (!#, -".–-"*, */#, -+#Spontini, Gaspare, #.#–#.(, !.,Squier, Ephraim George, (+, ,"–,#, #+., -)(,

--,–-!(, **.–*-!, -!,, -,#n#+sta/age/lack of sta/age in reconstructions, #+–(#,

,,, ,*, -*(, -*-, -*", !)!–!),, -$)Standard-bearers and Figures Seated in a Circle

with God Image at Center (panoramic draw-ing; Aglio, ca. #+(,), #!+–#!*, !-#, #,!–#,,

Staples, Blaise, ,., ,*, .-Stegner, Wallace, -*-Stela E, Quirigua: north face (engraving by

Halpin a5er Catherwood, #+!#), -.), *.!; two views of cast of north face (gravure print; Maudslay, #++*–#*)(), -"), */!

Stela Raimondi, Chavín de Huántar, #+"–#+*stelae, Copan: Spinden’s composite plate of stelae

showing stylistic development (#*#-), -".–-"*, */#; Stela #(, Copan Valley (modern photo-graph), !,+, -)#; Stela A, south side (photo-graph; Maudslay, #++*–#*)(), *)-, *.#, -"); Stela B, east face (engraving by Dick a5er Catherwood, #+!#), -,", *)"; Stela D (engrav-ing by Gimber a5er Catherwood, #+!#), xx, ,$, #.,; Stela I, Sandham’s reconstruction of 0ctive building with glyphs from (#+*+), !)), -$!; Stela N, south face (engraving by Jordan a5er Catherwood, #+!#), -,", *)#; success of Catherwood’s illustrations of stelae from, -,", *)", *)#

stelae, Piedras Negras: Stela #, back (photograph; Maler, #*)#–#*)-), -"-, */-; Stelae (, ,, and . (photograph; Maler, #*)#–#*)-), -"-–-",, */)

Stephens, John Lloyd: cartographic represen-tations of buildings and, (*#, ,#,, (*", (**; Incidents of Travel (#+!#–#+!!), xx, ,$, ((, (,, !-,, #,.–#.), !)"–!.!, (,", ,#,, ,#*, -,.–-.(, *)"–*.,, *.); private collections in Mexico, nineteenth-century photographs of, (#!; public entertainment, nineteenth-century archaeological illustration as, !-,, #,.–#.), !)"–!.!, -)!; sculpture, production methods for illustrations of, -,.–-.(, *)"–*.,

stereoscopic photography, !,-Stocking, George, -).

Stone Carvings from Chavín de Huántar (water-color; Dumontel, ca. #+"!), !/,, #+*–#*#, !#$

Stone of Tizoc, #!!Stone Sculptures from Ancash (watercolor and

pencil drawings; Dumontel, ca. #+"!), #*#, !#!–!#,, #*-

stone tools from Chavín de Huántar, --!Storia antica del Messico (Clavigero, #"+)–#"+#),

*–#), !!, #!-, (,!, ,)., ,.!stratigraphy, *, !$, .-, **, -)+, -(-, --,, -!(–-!-,

!--Street of the Dead, Tenochtitlan, "#–"(%e Structure of Scienti(c Revolutions (Kuhn,

#*.(), (-*Stuart, David, (-.Stuart, James, (-–(!Stübel, Alphons, (!–(,, ,), ,., #)*, #*-Study for Maya Monument (drawing;

Catherwood, ca. #+!(), !)", #,*Study of Classic Maya Sculpture (Proskouriako/,

#*,)), -"., -"*–-+#, *"$A Study of Maya Art (Spinden, #*#-), (-., ,*", (!#,

-".–-"*, */#Sullivan, Louis, !)"Sumner, Heywood, !)"n+Sun Temple at Ollantaytambo (photograph;

Squier, #+.,), ,"Supe, aerial photograph of port of, -(., *,/Suria, Tomás de, *-

TTakalik Abaj, use of grids at, (.+Talbot, William Fox, -.-Taube, Karl A., (-., ,*", (!#Taylor, Christopher, (++Tecoh, Landa’s description of, ,*Tedlock, Dennis, (-(Tello Obelisk, Chavín de Huántar, !-+, -*#%e Temple of Saturn and the Opening of the

Cloaca Maxima (painting; Robert, #"+)s), #–-, ,

Temple of the Feathered Serpent, Xochicalco: drawing by Alzate y Ramírez (#"""–#""+), /#, "*–+); A Facade of the Temple of the Feathered Serpent, Xochicalco (engraving; Agüera, #"*#), "*, +!

Templo Mayor, Tenochtitlan, .*, /$, -./Tenenepanco, objects from (photograph and

etching; Charnay, #++)), ,!-–,!)Tenochtitlan: Calendar Stone, ++–*), "#, #))n.,

#!-, #!!, #!,, !-., #.!, #.,, (#-; Coatlicue stone, ++, "#, #!-, #!!, #.,; earliest Spanish chroniclers on visits to, ,"; eighteenth-century archaeo-logical illustrations of, +"–*(, "#–#!, #!-; Foundation of the City of Tenochtitlan (illustra-tion; Durán, ca. #,+#), -", )", ,*; monolith of the goddess Tlaltecuhtli, .*, /$; Street of the Dead, "#–"(; Templo Mayor Project, .*, /$, -./

!*-!"#$%

Códice de Teotenantzin (ca. #"-.–#"!-), "-–",, /-, /.

Teotihuacan: Avenue of the Dead, Teotihuacan (sketchbook drawing; Breton, #+*.), -*", *#"; cartographic representation of buildings at, (*"–(**, *$$; grids, use of, (.+; Holmes’ illustrations of (#+*,–#+*"), -*-, -*", *##; indigenous representations of ruins of, !–,, ); Pyramid of the Moon, ,, "#; Pyramid of the Sun, !–,, "#–"(, ",–""; San Francisco Mazapan, maps of, "#–"(, /,

Tepeyac, Plano topográ(co de la Villa de Nuestra Señora de Guadalupe y sus alrededores en !.#!, "!–",, /.

theater and opera, Pre-Columbian themes in, #!+, #.)–#.(, !.,

3évenot, Melchisédech, (!*“thing theory,” #-.n#(3omas, Cyrus, #.,, -)(3omas, Julian, -)*, -(-, -!(–-!-3ompson, Edward H., -)-, -),, -).–-)", -)+three-dimensional characteristics of sculp-

ture. See multidimensionality of sculpture, representing

three-dimensional digital illustration: $67 (computer-aided design) programs, -*,–-*-, !--–!-., -*., -*", !!); development of tech-nology for, !#., !#+, !("; C'769 or Cyrax-type three-dimensional scanning, !-), -*), !-.; nonphotorealistic renderings, !!(–!!-; object scale, --$–--,; 9;' (re4ection transformation imaging), !(!; sculpture, optical scanning of, --", !,)–!,(, -.$, !.)–!.", -.,, -.-, -.., -./; site-level, -*.–-*/

three-dimensional rotation of images: multiple views of rotated object giving sense of three-dimensional viewing, !(!; removal of distor-tion via, !(#

Tiahuanaco (Tiwanaku): Gateway of the Sun, comparison of #+"" photo and engraving, (+, ,#; Gateway of the Sun, on frontispiece of Antigüedades peruanas (#+,#), !/., #".–#""; looting and destruction at, -,#n#+

Tiho/Mérida: Landa’s description of, ,*, .,; Spanish conquest and, ,"

Tikal: mapping of, (+., (*,, -##; reconstruction styles in4uenced by Tikal project, -*#, !),; Temple II at, -*(; Vierra’s reconstruction of, !)), !)"n##; View of Tikal (reconstruction; Spier, #*",), !)-–!)!, -$-

Tiwanaku. See TiahuanacoTizoc, Stone of, #!!Codex Tlaxcala, #!!Tokovinine, Alexandre, -.$, !.-, -.-, !.,, -..Tolkien, J. R. R., !)"n+Toluca, document using grids from (#,!"), (.*,

,/!Tomasi, Jorge, ", -.tombs: highland funerary structure with griev-

ing 0gure from Trujillo del Perú, #(*, !*$;

Huaca del Sol, modern reconstructions of tomb at, #)*, !!,; Pre-Hispanic Burial Chamber (travel notebook sketch; Raimondi, #+,"), !"-, #+,; Río Azul, Andersen’s recon-struction of early classic entombment at (#*+.), -$*; San Pedro de Lloc, ##+–#(); Sipán, modern reconstructions of tombs at, ##), !!*; vessel with “Burial 3eme” and rollout drawing, -(, *). See also mummies; Trujillo del Perú

Topoxte, Maler’s maps of, (*,, ,#/Torso Belvedere, Fragment of an Obelisk (drawing;

van Heemskerck, ca. #,-(–#,-.), ,–., .Touton, Michelle, -*"Tozzer, Alfred M., (*,–(*"Trabulse, Elías, "-, #))n(Trachtenbuch (Weiditz, #,(*), ##+, !,$Tramezzino, Michele, /Trever, Lisa, +, #(, .,, #)", -)-Trigger, Bruce, ()+Trujillo del Perú (Martínez Compañón,

#"+#–#"+*), +–*, #)"–#!); accompanying text, lack of, #)+; archaeological illustration, tomb drawings within context of, #)+–##!, !!$–!!*; artists and dra5smen, ##.–##+, #-.nn()–(#; Chan Chan drawings, #)+, !$"–!$#, ##+; Chimú ceramic bottle and illustration, ##,, !!., !!/; as documentary and collecting enter-prise, ##!–##+, !!., !!/, #-,n!, #-.n#!, #-.n#"; Huaca del Sol at Moche, #)+; Huaca sita en el cerro nombrado Tantalluc (stratigraphic illus-tration), +–*, !$, .,; Indian warrior, based on contents of an Amazonian tomb, ##+, !,!, #(*; in4uence of other illustrations on, ##+, !,$, !,,, #(.–#(*, #-)–#-!, !*!, !**; map of diocese (#"+.), ##!, ##.; military engineering, in4uence of, -)(; natural and moral history of Trujillo, tomb drawings within context of, #-)–#-!, !*,, !**; nude entombed 0gures resembling natural history illustrations, #(.–#(*, !,/, !,", #-#; purpose of, #)"; three-page set of burials, two men and one woman, !$., #((–#(., !,*–!,); tomb of indigenous lord, front and back views, #)+, !!!, ##+–#(), !!#; uncanny, pre-Freudian sense of, ##(, #-.n#(; wake of Indian in Franciscan habit, #-)–#-#, !*,; wrapped Peruvian mummy with camelid, #)*, !!$, #(*

Tschudi, Juan Diego de [Johann Jakob von], #+, ,,, #)*, #".–#"+, #+#, #*(

Tula: cartographic representation of buildings at, (*"–(**; Sojourn at Tula (panoramic drawing; Aglio, ca. #+(,), #!*, !)!, #,!–#,,

Tupac Amaru II, ##!Tylor, Edward, (!,, (,", ,)#Tzacauil acropolis, mapping of, (++, ,"#Tzintzuntzan (map, #""+), "(–"-, /*

!*! !"#$%

UUbico, Jorge, !)"n*Uhle, Max, -#, (**, -)(Ulloa, Antonio de, ##,Ulloa, Jorge Juan, ##,Unanue, Hipólito, ()(n#uncanny, Trujillo del Perú and pre-Freudian sense

of, ##(, #-.n#(Utcuy, Raimondi’s watercolors of, #+.Uxmal: Brush paintings based on Catherwood

illustrations of, ((; cartographic represen-tation of buildings at, (+,, (*#–(*-, ,#,, ,#-, (*", (**, *$!, -)+, *$#, *!$; House of the Governor, Gimbrede’s engraving of Catherwood drawing (#+!-), #,*–#.), !.$–!.!; House of the Governor, Le Plongeon pho-tographs of (#+".), (+, *$–*!; Panorama of Uxmal (illustration; Holmes, #+*,–#+*"), -)+, -)*–-#), *!$, -*-; Southeast Corner of Monjas Building, Uxmal, Mexico (engraving a5er Catherwood daguerreotype [?], #+!-), -.#–-.(, *.,

VVaillant, George C., (*,, ,#/Valdés, Manuel Antonio, +!Valentini, Philipp J. J., (,"Valley of the Kings project, Egypt, !-.van den Wyngaerde, Anton, ., ,.van Heemskerck, Maarten, ,–., .Vanderlyn, John, #,,–#,.Codex Vaticanus B, #..n", (!*Vecellio, Cesare, ##+, !,,Velasquez, Pedro, (,"Vesuvian excavations, +–*, .,, *(, ##,, #!"–#!+,

-)(, -)*Viaje Político-Cientí0co alrededor del Mundo

(Malaspina expedition, #"+*–#"*!), *-, #)*–##), ##., #-.n()

Victoria (queen of England), #!+Codex Vienna, #..n", (!*Vierra, Carlos, !)), !)"n##View of the Falls at Tivoli (drawing; Aglio, #+)!),

#!", !-"View of Tikal (reconstruction; Spier, #*",),

!)-–!)!, -$-Villacorta Ostolaza, Luis Felipe, #(, #"-, !"!Villela, Khristaan D., #., #!-, !"!–!",Viollet-Le-Duc, Eugène E., (*-, ,#-Viramontes, Beatrice, -./Virgin of Guadalupe, "!, ",, /.Virilio, Paul, -(!virtual witnessing, -)"visual culture, concept of, #!!, #.), #..n(Vitruvius, ,.Voghtherr, Heinrich, (!.

Voyage de Humboldt et Bonpland (Humboldt and Bonpland, #+)"–#+-,), (.#–(.(, ,.*

Voyage pittoresque (Nebel, #+-.), #.!Voyage pittoresque et archéologique dans la prov-

ince d’Yucatan (Waldeck, #+-+), #.-, ,#,Vues des cordillères, et monumens des peuples

indigènes de l’Amérique (Humboldt, #+#)), #)–#(, !-, .", *-–*., #-, #), (##, (,,, ,)/, (.(, ("!n+

WWaite, Charles Burlingame, (((Waldeck, Jean-Frédéric: as academic painter,

#,–#., !#; %e Beau Relief, Palenque (#+-(), #,–#., !#; cartographic representation of buildings by, (*#–(*(, ,#,, (*-, (*,; Ideal Reconstruction of a Ceremony (ca. #+."), !.*; private collections, illustration of, (#-; public entertainment, archaeology as, #!!, !.*, #.-–#.!, #.,, #."n(); Voyage pittoresque et archéologique dans la province d’Yucatan (#+-+), #.-, ,#,

Warburton, William, (!*Warren, Henry, #,,, !)#Weddell, Hugh A., #"", #+#Weeks, Kent, !-.Weems, Jason, (", -#, -#*, !",Weiditz, Christoph, ##+, !,$Western art and Maya reconstructions, relation-

ship between, -*(–-*-, *#*, -*+–!)), !)#–!)-wet-plate or collodion camera, -.-Wharton, William F., -)!Wheeler, Mortimer, -)"–-)+, !)"n.Wiener, Charles, #+, ,*, (+, #*"Wilkins, William, #!"Willey, Gordon, (#), -)!Wolf, Teodoro, ()(n!women and archaeological illustration, --, -+*,

!)"n-Woolgar, Steve, -)+World War I, initial use of aerial photography in,

-((, -,)nn(–-World’s Columbian Exposition, Chicago (#+*-),

-),Worm, Ole, ,,, ,.

XXimeno y Planes, Rafael, #., *", *+Xochicalco: eighteenth-century archaeological

illustrations of, "+–+!, /#–"*, #!-; A Facade of the Temple of the Feathered Serpent, Xochicalco (engraving; Agüera, #"*#), "*, +!; Humboldt’s illustration from Vues des cordil-lères (#+#)), #)–#(, !-; Temple of the Feathered Serpent, Xochicalco (drawing; Alzate y Ramírez, #"""–#""+), /#, "*–+)

Codex Xolotl, !–,, "#

!*,!"#$%

YYaxchilan: $%&'’s three-dimensional scanning

at, !.#–!.-; Lintel # (photograph; Maudslay, #*)#–#*)-), */*; Lintel #- (line drawing; Graham, #*""), -.*; Lintel (! (engraving from Charnay’s photograph, #++(), -..–-.+, *./; Step VII, Structure -- (photograph, drawing, and three-dimensional scan compared), -.$

Young Widow at Early Classic Entombment, Río Azul (reconstruction; Andersen, #*+.), -$*

Young Woman %rown into Well at Chichen Itza (reconstruction; Herget, #*-.), *"., !)), -$,

ZZacahuitzco Hill, reliefs on, "!–",, /-–/.Zapotec urn, Boban collection (photograph; ca.

#++"), (#", ,!#Zaventem tumulus, Belgium, ),–)*, ,-Zoomorph P, Quirigua, drawings and photo-

graphs of (Hunter and Maudslay, #++*–#*)(), !!*–!,), -)$, -)!

!*"

DU M BA RTON OA K S PR E-C OLU M BI A N S Y M P O S I A A N D C OL L O QU I A

PUBLISHED BY DUMBARTON OAKS R ESEARCH LIBR ARY AND COLLECTION, WASHINGTON, D.C.

3e Dumbarton Oaks Pre-Columbian Symposia and Colloquia series volumes are based on papers presented at scholarly meetings sponsored by the Pre-Columbian Studies program at Dumbarton Oaks. Inaugurated in #*.", these meetings provide a forum for the presentation of advanced research and the exchange of ideas on the art and archaeology of the ancient Americas.

Further information on Dumbarton Oaks Pre-Columbian series and publications can be found at DDD.7E6FB.E9@/AG1H'$6;'EIB.

Dumbarton Oaks Conference on the Olmec, edited by Elizabeth P. Benson, #*.+

Dumbarton Oaks Conference on Chavín, edited by Elizabeth P. Benson, #*"#

%e Cult of the Feline, edited by Elizabeth P. Benson, #*"(

Mesoamerican Writing Systems, edited by Elizabeth P. Benson, #*"-

Death and the A&erlife in Pre-Columbian America, edited by Elizabeth P. Benson, #*",

%e Sea in the Pre-Columbian World, edited by Elizabeth P. Benson, #*""

%e Junius B. Bird Pre-Columbian Textile Conference, edited by Ann Pollard Rowe, Elizabeth P. Benson, and Anne-Louise Scha/er, #*"*

Pre-Columbian Metallurgy of South America, edited by Elizabeth P. Benson, #*"*

Mesoamerican Sites and World-Views, edited by Elizabeth P. Benson, #*+#

%e Art and Iconography of Late Post-Classic Central Mexico, edited by Elizabeth Hill Boone, #*+(

Falsi(cations and Misreconstructions of Pre-Columbian Art, edited by Elizabeth Hill Boone, #*+(

Highland-Lowland Interaction in Mesoamerica: Interdisciplinary Approaches, edited by Arthur G. Miller, #*+-

Ritual Human Sacri(ce in Mesoamerica, edited by Elizabeth Hill Boone, #*+!

Painted Architecture and Polychrome Monumental Sculpture in Mesoamerica, edited by Elizabeth Hill Boone, #*+,

Early Ceremonial Architecture in the Andes, edited by Christopher B. Donnan, #*+,

%e Aztec Templo Mayor, edited by Elizabeth Hill Boone, #*+.

%e Southeast Classic Maya Zone, edited by Elizabeth Hill Boone and Gordon R. Willey, #*++

%e Northern Dynasties: Kingship and Statecra& in Chimor, edited by Michael E. Moseley and Alana Cordy-Collins, #**)

Wealth and Hierarchy in the Intermediate Area, edited by Frederick W. Lange, #**(

!*+ 7G%169;EI E6FB A98-$EHG%1'6I BJA EB'6 6I7 $EHHE :G'6

Art, Ideology, and the City of Teotihuacan, edited by Janet Catherine Berlo, #**(

Latin American Horizons, edited by Don Stephen Rice, #**-

Lowland Maya Civilization in the Eighth Century AD, edited by Jeremy A. Sablo/ and John S. Henderson, #**-

Collecting the Pre-Columbian Past, edited by Elizabeth Hill Boone, #**-

Tombs for the Living: Andean Mortuary Practices, edited by Tom D. Dillehay, #**,

Native Traditions in the Postconquest World, edited by Elizabeth Hill Boone and Tom Cummins, #**+

Function and Meaning in Classic Maya Architecture, edited by Stephen D. Houston, #**+

Social Patterns in Pre-Classic Mesoamerica, edited by David C. Grove and Rosemary A. Joyce, #***

Gender in Pre-Hispanic America, edited by Cecelia F. Klein, ())#

Archaeology of Formative Ecuador, edited by J. Scott Raymond and Richard L. Burger, ())-

Gold and Power in Ancient Costa Rica, Panama, and Colombia, edited by Je/rey Quilter and John W. Hoopes, ())-

Palaces of the Ancient New World, edited by Susan Toby Evans and Joanne Pillsbury, ())!

A Pre-Columbian World, edited by Je/rey Quilter and Mary Ellen Miller, ()).

Twin Tollans: Chichén Itzá, Tula, and the Epiclassic to Early Postclassic Mesoamerican World, edited by Je/ Karl Kowalski and Cynthia Kristan-Graham, ())"

Variations in the Expression of Inka Power, edited by Richard L. Burger, Craig Morris, and Ramiro Matos Mendieta, ())"

El Niño, Catastrophism, and Culture Change in Ancient America, edited by Daniel H. Sandweiss and Je/rey Quilter, ())+

Classic Period Cultural Currents in Southern and Central Veracruz, edited by Philip J. Arnold III and Christopher A. Pool, ())+

%e Art of Urbanism: How Mesoamerican Kingdoms Represented %emselves in Architecture and Imagery, edited by William L. Fash and Leonardo López Luján, ())*

New Perspectives on Moche Political Organization, edited by Je/rey Quilter and Luis Jaime Castillo B., ()#)

Astronomers, Scribes, and Priests: Intellectual Interchange between the Northern Maya Lowlands and Highland Mexico in the Late Postclassic Period, edited by Gabrielle Vail and Christine Hernández, ()#)

%e Place of Stone Monuments: Context, Use, and Meaning in Mesoamerica’s Preclassic Transition, edited by Julia Guernsey, John E. Clark, and Barbara Arroyo, ()#)

%eir Way of Writing: Scripts, Signs, and Pictographies in Pre-Columbian America, edited by Elizabeth Hill Boone and Gary Urton, ()##

Past Presented: Archaeological Illustration and the Ancient Americas, edited by Joanne Pillsbury, ()#(