From the Bayeux Tapestry to small medieval brass pins, medieval wooden doors to Saxon jewellery, Chris Caple’s integral text deals with a full range of materials and clearly and simply explains key scientific techniques, technology, anthropological jargon and historical approaches.
Key demonstrations include:how information from objects builds into a picture of the ancient society that made and used it the commonly used scientific techniques for object analysis how and why object typologies work how cultural and economic factors as well as the material properties influences what objects are made of how simple observation of an object can build its biography.
Revealing answers to crucial questions – such as: Can DNA be obtained from objects? Why do people x-ray ancient artefacts? Can you determine the source of metal objects from their trace elements? – Objects is an absolutely essential text for students of archaeology, museum studies, and conservation.
Rewritten and reorganized, the third edition features revised sections on planning for visitors, collections, and the building itself, and new sections on operations and implementation, which have become an essential part of the planning process. This new edition of the Manual of Museum Planning has been updated to meet the needs of professional museum practice in the 21st century and includes contributions by leading museum professionals.
This manual is intended to be used as a guide for museum professionals, board members or trustees, government agencies, architects, designers, engineers, cost consultants, or other specialist consultants embarking on a capital project—expansion, renovation, or new construction of museum space.
With contributions from an international group of experts and interviews with important artists, this volume provides an all-encompassing guide to necessary background knowledge in technical art history, artists' materials, scientific methods of examination and documentation, with sections that present varying approaches and methods for treatment, including consolidation, lining, cleaning, retouching, and varnishing. The book concludes with a section featuring issues of preventive conservation, storage, shipping, exhibition, lighting, safety issues, and public outreach.
Conservation of Easel Paintings is a crucial resource in the training of conservation students and will provide generations of practicing paintings conservators and interested art historians, curators, directors, collectors, dealers, artists, and students of art and art history with invaluable information and guidance.
Illustrated throughout with full colour images reproduced to the highest possible quality, this book is based on years of painstaking research into the visual and optical properties of pigments.
Now combined with the Pigment Dictionary, the most thorough reference to pigment names and synonyms avaiable, the Pigment Compendium is a major addition to the study and understanding of historic pigments.
In recent years, several of America’s leading art museums have voluntarily given up their finest pieces of classical art to the governments of Italy and Greece. Why would they be moved to such unheard-of generosity? The answer lies at the Getty, one of the world’s richest and most troubled museums, and scandalous revelations that it had been buying looted antiquities for decades. Drawing on a trove of confidential museum records and candid interviews, these two journalists give us a fly-on-the-wall account of the inner workings of a world-class museum, and tell a story of outlandish characters and bad behavior that could come straight from the pages of a thriller.
“In an authoritative account, two reporters who led a Los Angeles Times investigation reveal the details of the Getty Museum’s illicit purchases, from smugglers and fences, of looted Greek and Roman antiquities. . . . The authors offer an excellent recap of the museum’s misdeeds, brimming with tasty details of the scandal that motivated several of America’s leading art museums to voluntarily return to Italy and Greece some 100 classical antiquities worth more than half a billion dollars.” —Publishers Weekly, starred review
“An astonishing and penetrating look into a veiled world where beauty and art are in constant competition with greed and hypocrisy. This engaging book will cast a fresh light on many of those gleaming objects you see in art museums.” —Jonathan Harr, author of The Lost Painting
Is history destined to repeat itself?Will biblical prophecies come true, and if so, when?
It has been more than three decades since Zecharia Sitchin's trailblazing book The 12th Planet brought to life the Sumerian civilization and its record of the Anunnaki—the extraterrestrials who fashioned man and gave mankind civilization and religion. In this new volume, Sitchin shows that the End is anchored in the events of the Beginning, and once you learn of this Beginning, it is possible to foretell the Future.
In The End of Days, a masterwork that required thirty years of additional research, Sitchin presents compelling new evidence that the Past is the Future—that mankind and its planet Earth are subject to a predetermined cyclical Celestial Time.
In an age when religious fanaticism and a clash of civilizations raise the specter of a nuclear Armageddon, Zecharia Sitchin shatters perceptions and uses history to reveal what is to come at The End of Days.
The papers present diverse new research and practice in the field, and open up debate about the role, design and process of exhibition interpretation in museums, art galleries and historic sites. The authors represent both academics and practitioners, and are affiliated with high quality institutions of broad geographical scope. The result is a strong, consistent representation of current thinking across the theory, methodology and practice of interpretation design for learning in museums.
Preserving Local Writers, Genealogy, Photographs, Newspapers, and Related Materials contains informative chapters on physical preservation, collection management, cooperation with organizations and communities, various formats, and special projects. Each part covers the preservation of specific materials, from newspapers and scrapbooks to photographs and oral histories. In addition, chapters cover repair and restoration of materials, while taking into consideration the current state of funding for agencies with an interest in history. Contributors also shed light on how the racial, economic, and political dynamics of the past affect how collections are gathered, maintained, and presented today.
Preserving Local Writers, Genealogy, Photographs, Newspapers, and Related Materials offers plenty to inspire anyone facing backlogs of unprocessed papers or boxes of artifacts. Stories of the rescue efforts of a group of volunteers, or the discovery of a lost diary, show that the hard work of preservation is well worth it. Libraries, archives, and historical and genealogical societies all have their role to play in preserving important historical materials, as do patrons, sponsors, and volunteers; such institutions and individuals will find this book extremely helpful in their preservation efforts.
This richly illustrated book evaluates rock-art conservation in an holistic way, bringing together researchers from across the world to share experiences of work in progress or recently completed. The chapters focus on a series of key themes: documentation projects and resource assessments; the identification and impact assessment of weathering/erosion processes at work in open-air rock-art sites; the practicalities of potential or implemented conservation interventions; experimentation and monitoring programs; and general management issues connected with public presentation and the demands of ongoing research investigations. Consideration is given to the conservation of open-air rock-art imagery from many periods and cultural traditions across the Old and New Worlds. This timely volume will be of interest to conservators, managers, and researchers dealing with aesthetic and ethical issues as well as technical and practical matters regarding the conservation of open-air rock-art sites.
Contributors cover a wide range of issues including:conservation practice the monitoring and control of light relative humidity and atmospheric pollution packing, handling and transportation of collections storage and access to collections biological infestation disaster planning.
Including material and sources that have, up until now, not easily been available, students of museum studies and proffessionals within the industry now have this invaluable aid to their work.
Chapters explore the role of fashion in the museum across a range of international case studies including the Costume Institute at the Metropolitan Museum of Art in New York, The Fashion Museum at Bath, ModeMuseum in Antwerp and many more. Contributions look at topics such as how fashion has made museums accessible to diverse audiences and how curators present broader themes and issues such as gender, class and technology innovatively through exhibiting fashion.
Drawing on approaches from dress history, fashion studies, museum studies and curatorship, this engaging book will be key reading for students and scholars across a range of disciplines.
‘Curate’ is now a buzzword applied to everything from music festivals to artisanal cheese. Inside the art world, the curator reigns supreme, acting as the face of high-profile group shows and biennials in a way that can eclipse and assimilate the contributions of individual artists. At the same time, curatorial studies programs continue to grow in popularity, and businesses are increasingly adopting curation as a means of adding value to content and courting demographics. Everyone, it seems, is a now a curator. But what is a curator, exactly? And what does the explosive popularity of curating say about our culture’s relationship with taste, labour and the avant-garde?
In this incisive and original study, critic David Balzer travels through art history and around the globe to explore the cult of curation – where it began, how it came to dominate museums and galleries, and how it was co-opted at the turn of the millennium as the dominant mode of organizing and giving value to content. At the centre of the book is a paradox: curation is institutionalized and expertise-driven like never before, yet the first independent curators were not formally trained, and any act of choosing has become ‘curating.’ Is the professional curator an oxymoron? Has curation reached a sort of endgame, where its widespread fetishization has led to its own demise?
David Balzer has contributed to publications including the Believer, Modern Painters, Artforum.com, and The Globe and Mail, and is the author of Contrivances, a short-fiction collection. He is currently Associate Editor at Canadian Art magazine. Balzer was born in Winnipeg and currently resides in Toronto, where he makes a living as a critic, editor and teacher.
Boggle at the enormity of space, get nostalgic at childhood memories or be dumbstruck by the International Museum of Toilets... Whether you're a history buff, tech-head or have an inexplicable fascination with clowns, you'll find world-class collections here to pique your interest.
Never drag your heels around a dull museum again!
Then & now // History museumsAcropolis Museum // Greece British Museum // UK Forbidden City // China Goethe House & Goethe Museum // Germany Imperial War Museum // UK Museum of Alchemists & Magicians of Old Prague // Czech Republic Museum of Mummies of Guanajuato // Mexico National Museum of Anthropology // Mexico Old Operating Theatre Museum & Herb Garret // UK Prison Gate Museum // The Netherlands Sir John Soane's Museum // UK Styrian Armoury // Austria Torture Museum // The Netherlands Vasa Museum // Sweden Viking Ship Museum // Norway Whitney Plantation // USA
The world around us // Natural history museumsKunstkamera // Russia 6 Messner Mountain Museum // Italy Sarawak State Museum // Malaysia Smithsonian Institution // USA
Human creativity // Art & culture museumsAmerican Classic Arcade Museum // USA Belgian Brewers Museum // Belgium Burlesque Hall of Fame // USA Coffee Museum // Brazil Erawan Museum // Thailand Ghibli Museum // Japan Grammy Museum // USA The Green Vault // Germany Museum of Childhood // UK Musical Instruments Museum // USA Soumaya Museum // Mexico Vodka Museum // Russia
Things that go // Science & technology museumsBicycle Museum of America // USA Big Hole & Open Mine Museum // South Africa Exploratorium // USA National Maritime Museum // France National Rail Museum // UK New Mexico Museum of Space History // USA New York City Fire Museum // USA Pencil Museum // UK Porsche Museum // Germany Sewer Museum // France Sulabh International Museum of Toilets // India
Peculiar passions // Quirky museumsAvanos Hair Museum // Turkey Clown Hall of Fame & Research Centre // USA Cupnoodles Museum // Japan Gopher Hole Museum // Canada International Cryptozoology Museum // USA Museum of Broken Relationships // Croatia Watermelon Museum // China
About Lonely Planet: Lonely Planet is a leading travel media company and the world’s number one travel guidebook brand, providing both inspiring and trustworthy information for every kind of traveler since 1973. Over the past four decades, we’ve printed over 145 million guidebooks and grown a dedicated, passionate global community of travelers. You’ll also find our content online, and in mobile apps, video, 14 languages, nine international magazines, armchair and lifestyle books, ebooks, and more.
Important Notice: The digital edition of this book may not contain all of the images found in the physical edition.
Ways of Curating is a compendium of the insights Obrist has gained from his years of extraordinary work in the art world. It skips between centuries and continents, flitting from meetings with the artists who have inspired him (including Gerhard Richter, Louise Bourgeois, and Gilbert and George) to biographies of influential figures such as Diaghilev and Walter Hopps. It describes some of the greatest exhibitions in history, as well as some of the greatest exhibitions never realized. It traces the evolution of the collections from Athanasius Kircher's 17th-century Wunderkammer to modern museums, and points the way for projects yet to come. Hans Ulrich Obrist has rescued the word "curate" from wine stores and playlists to remind us of the power inherent in looking at art—and at the world—in a new way.
This book offers an accessible and engaging synopsis of a topic that has not previously been covered. By focusing on an area of study that has changed substantially in the last decade, Public History: A Practical Guide presents a comprehensive outline of the practice of 'public history', and provides ideas for future methodological approaches as well as a reference point for planning professional development in order to gain future employment in these sectors.
In the current economic climate, students need to understand the potential use of history beyond university; this book contains the tools and advice needed for them to get one step ahead in terms of knowledge, skills and experience.
This holistic approach will be immensely helpful to museums in meeting the needs and expectations of visitors and building their audience.
This book features:includes chapter introductions and discussion sections supporting case studies to show how ideas are put into practice a lavish selection of tables, figures and plates to support and illustrate the discussion boxes showing ideas, models and planning suggestions to guide development an up-to-date bibliography of landmark research.
The Engaging Museum offers a set of principles that can be adapted to any museum in any location and will be a valuable resource for institutions of every shape and size, as well as a vital addition to the reading lists of museum studies students.
The book aims to promote better conservation practices and less wear and tear of works of art. Topics discussed in the book include conservation principles, examining and reporting a work of art's structural stability, preparation and handling, and storage. Traditional and newer packing techniques, case and container design and construction, transportation modes, strategies and equipment, and loan agreements and insurance are also covered in detail.
Conservator practitioners, exhibition organizers, technicians, and transportation specialists will find the book very useful.
Following an introductory chapter looking at what a museum is today, Part I looks at the history and types of museums:
art and design museums
natural history and anthropology museums
history museums, historic houses, interpretation centers, and heritage sites
botanical gardens and zoos
The second part of the book explores the primary functions of museums and museum professionals:
to interpret and to engage
to serve and to act
The final chapter looks at the museum profession and professional practices. Throughout, emphasis is on museums in the United States, although attention is paid to the historical framing of museums within the European context.
The new edition includes discussions of technology, access, and inclusivity woven into each chapter, a list of challenges and opportunities in each chapter, and “Museums in Motion Today,” vignettes spread throughout the volume in which museum professionals provide their perspectives on where museums are now and where they are going. More than 140 images illustrate the volume.
Twenty thousand years ago, women were making and wearing the first clothing created from spun fibers. In fact, right up to the Industrial Revolution the fiber arts were an enormous economic force, belonging primarily to women.
Despite the great toil required in making cloth and clothing, most books on ancient history and economics have no information on them. Much of this gap results from the extreme perishability of what women produced, but it seems clear that until now descriptions of prehistoric and early historic cultures have omitted virtually half the picture.
Elizabeth Wayland Barber has drawn from data gathered by the most sophisticated new archaeological methods—methods she herself helped to fashion. In a "brilliantly original book" (Katha Pollitt, Washington Post Book World), she argues that women were a powerful economic force in the ancient world, with their own industry: fabric.
Working initially from Graburn’s definition of tourist art, as the art of one culture made specifically for the consumption of another, Tourism Art and Souvenirs sheds light on important aspects of the souvenir that have not been widely discussed. The most recent research is used to consider how the souvenir is designed and consumed, consumer expectations and influence on the character of the souvenir, how the souvenir maker is consumed by the tradition of heritage and how products become successful as souvenirs. The title also investigates the language involved in the representation of place and the recording of experience through the souvenir, developing a method that expresses the descriptive data of individual souvenir artefacts graphically so the patterns of language may be analysed.
Enhancing the understanding of material culture in tourism and therefore adding to future tourism development this volume will be of interest to upper level students, researchers and academics in tourism, culture, heritage and sustainability.
The history of the museum is one of shifting purposes and changing ideals and this volume asks if it is possible to define the 'product' which the modern museum can offer. This book explores the crucial question: Are the theories of marketing developed for manufactured goods in any way relevant to the experience of visiting a museum?
In covering one of the most highly disputed issues in the field, this book is essential reading for museum professionals, students and anyone who has dealing in the many branches of the heritage industry around the world.
The book uses case studies from England, Ireland and the US to illustrate the use of different materials and techniques on buildings ranging in age.
Written by Dr. Gerard Lynch, the leading authority in this subject area, this book will be of particular interest to architectural historians, architects working on historic buildings and building conservators.
Relatively little attention has been paid to the critical intersections between heritage and climate change. The Future of Heritage as Climates Change frames the intellectual context within which heritage and climate change can be examined, presenting cases and sub-fields in which the heritage-climate change nexus is being examined and provides synthetic analyses through five overarching themes:
The heritage of change among coastal communities: liminality and the politics of engagement
Dwelling materials: processes and possibilities;
Environmental heritage: meanings of the past – prospects for the future;
Blurring the boundaries of nature and culture: the politics of anticipation;
Climate change and heritage practice: adaptation and resilience.
The Future of Heritage as Climates Changeprovides scholars, managers, policy makers and students with a much needed examination of heritage and climate change to help make critical decisions in the next several decades.
The book will be of interest to students and scholars of Korean Studies, Culture and Heritage Studies and Asian Studies.
International Heritage and Historic Building Conservation assesses successful contemporary conservation paradigms from around the world. The book evaluates conservation case studies from previously excluded areas of the world to create an integrated account of Historic Building Conservation that crosses the boundaries of language and culture and sets an example for further inclusive research. Analyzing the influence of financial constraints, regional conflicts, and cultural differences on the heritage of disadvantaged countries, this leading-edge volume is essential for researchers and students of heritage studies interested in understanding their topics in a wider framework.
The editors of that volume, Patricia Hall and Charlie Seemann, are now joined by C. Kurt Dewhurst as a third editor, for this book which includes updates to the still-relevant and classic essays and articles from the earlier text and features new pioneering pieces by some of today’s most outstanding scholars and practitioners, to provide a more current overview of the field and addressing contemporary issues.
Folklife and Museums: Twenty-First Century Perspectives is a brand new collection of cutting-edge essays that combine theoretical insights, practical applications, topical case studies (focusing on particular subject matter areas and specific cultural groups), accompanied by up-to-date “resources” and “suggested readings” sections. Each essay is preceded by an explanatory headnote contextualizing the essay and includes illustrative photographs.
In 1923 I began to write my memoirs. They began like this: “I come from two of the best Jewish families. One of my grandfathers was born in a stable like Jesus Christ or, rather, over a stable in Bavaria, and my other grandfather was a peddler.” I don’t seem to have gotten very far with this book. Maybe I had nothing to say, or possibly I was too young for the task which I had set myself. Now I feel I am ripe for it. By waiting too long I may forget everything I have somehow managed to remember.
If my grandfathers started life modestly they ended it sumptuously. My stable-born grandfather, Mr. Seligman, came to America in steerage, with forty dollars in his pocket and contracted smallpox on board ship. He began his fortune by being a roof shingler and later by making uniforms for the Union Army in the Civil War. Later he became a renowned banker and president of Temple Emanu-el. Socially he got way beyond my other grandfather, Mr. Guggenheim the peddler, who was born in St. Gallen in German Switzerland. Mr. Guggenheim far surpassed Mr. Seligman in amassing an enormous fortune and buying up most of the copper mines of the world, but he never succeeded in attaining Mr. Seligman’s social distinction. In fact, when my mother married Benjamin Guggenheim the Seligmans considered it a mésalliance. To explain that she was marrying into the well known smelting family, they sent a cable to their kin in Europe saying, “Florette engaged Guggenheim smelter.” This became a great family joke, as the cable misread “Guggenheim smelt her.”
By the time I was born the Seligmans and the Guggenheims were extremely rich. At least the Guggenheims were and the Seligmans hadn’t done so badly. My grandfather, James Seligman, was a very modest man who refused to spend money on himself and underfed his trained nurse. He lived sparsely and gave everything to his children and grandchildren. He remembered all our birthdays and, although he did not die until ninety-three, he never failed to make out a check on these occasions. The checks were innumerable, as he had eleven children and fifteen grandchildren.
Most of his children were peculiar, if not mad. That was because of the bad inheritance they received from my grandmother. My grandfather finally had to leave her. She must have been objectionable. My mother told me that she could never invite young men to her home without a scene from her mother. My grandmother went around to shopkeepers and, as she leaned over the counter, asked them confidentially, “When do you think my husband last slept with me?”
My mother’s brothers and sisters were very eccentric. One of my favorite aunts was an incurable soprano. If you happened to meet her on the corner of Fifth Avenue while waiting for a bus, she would open her mouth wide and sing scales trying to make you do as much. She wore her hat hanging off the back of her head or tilted over one ear. A rose was always stuck in her hair. Long hatpins emerged dangerously, not from her hat, but from her hair. Her trailing dresses swept up the dust of the streets. She invariably wore a feather boa. She was an excellent cook and made beautiful tomato jelly. Whenever she wasn’t at the piano, she could be found in the kitchen or reading the ticker-tape. She was an inveterate gambler. She had a strange complex about germs and was forever wiping her furniture with lysol. But she had such extraordinary charm that I really loved her. I cannot say her husband felt as much. After he had fought with her for over thirty years, he tried to kill her and one of her sons by hitting them with a golf club. Not succeeding, he rushed to the reservoir where he drowned himself with heavy weights tied to his feet.
Volumes in the Library of Ancient Israel draw on multiple disciplines--such as archaeology, anthropology, sociology, linguistics, and literary criticism--to illuminate the everyday realities and social subtleties these ancient cultures experienced. This series employs sophisticated methods resulting in original contributions that depict the reality of the people behind the Hebrew Bible and interprets these insights for a wide variety of readers.
Using more than fifty interviews, award-winning writer Danny Danziger creates a fascinating mosaic of the people behind New York?s magnificent Metropolitan Museum of Art. From the aristocratic, acerbic director of the museum, Philippe de Montebello, to the curators who have a deep knowledge and passionate appreciation of their collections, from the security guards to the philanthropists who keep the museum?s financial life blood flowing, Danziger brings to life this extraordinary world through the words of those who are devoted to making the Met the American institution it surely is.
As well as superb translations of all non-biblical texts sufficiently well preserved to be rendered into English, there are also a number of previously unpublished texts, and a new preface.
Since its first publication in 1962, The Dead Sea Scrolls in English has established itself as the standard English translation of the non-Biblical Qumran Scrolls and as giving an astonishing insight to the organization, customs, history and beliefs of the community responsible for them. This seventh edition will contain new material, together with extensive new introductory material and notes.
The Egyptian Oracle Project is an interactive performance that adapts this ceremony to serve as the basis for a mixed-reality educational experience for children and young adults, using both virtual reality and live performance. The scene is set in a virtual Egyptian temple projected onto a wall. An oracle led by a high priest avatar (controlled by a live human puppeteer) is brought into the presence of a live audience, who act in the role of the Egyptian populace. Through the mediation of an actress, the audience interacts with the avatar, recreating the event.
The series of carefully focused essays in this book provides vital background to this path-breaking project in three sections. After a brief introduction to educational theatre and virtual reality, the first section describes the ancient ceremony and its development, along with cross-cultural connections. Then the development of the script and its performance in the context of mixed-reality and educational theatre are examined. The final set of essays describes the virtual temple setting in more detail and explores the wider implications of this project for virtual heritage.
Filled with fascinating stories of crime and greed, this revealing volume looks at case after case of thefts, forgeries, fakes, and illicit trafficking, as well as the political/religious victimization of art, white-collar art crime, and vandalism. The book examines each type of crime in terms of frequency, losses, and characteristics of victims and criminals. Concluding chapters focus on preventive measures, art crime investigation, and security issues.
From the Trade Paperback edition.
From Harald Bluetooth to Cnut the Great, the feared seamen and plunderers of the Viking Age ruled Norway, Sweden, and Denmark but roamed as far as Byzantium, Greenland, and America. Raiders and traders, settlers and craftsmen, the medieval Scandinavians who have become familiar to history as Vikings never lose their capacity to fascinate, from their ingeniously designed longboats to their stormy pantheon of Viking gods and goddesses, ruled by Odin in Valhalla. Robert Ferguson is a sure guide across what he calls "the treacherous marches which divide legend from fact in Viking Age history." His long familiarity with the literary culture of Scandinavia with its skaldic poetry is combined with the latest archaeological discoveries to reveal a sweeping picture of the Norsemen, one of history's most amazing civilizations.
Impeccably researched and filled with compelling accounts and analyses of legendary Viking warriors and Norse mythology, The Vikings is an indispensable guide to medieval Scandinavia and is a wonderful companion to the History Channel series.
While Graham Hancock is no stranger to stirring up heated controversy among scientific experts, his books and television documentaries have intrigued millions of people around the world and influenced many to rethink their views about the origins of human civilization. Now he returns with an explosive new work of archaeological detection. In Underworld, Hancock continues his remarkable quest underwater, where, according to almost a thousand ancient myths from every part of the globe, the ruins of a lost civilization, obliterated in a universal flood, are to be found.
Guided by cutting-edge science and the latest archaeological scholarship, Hancock begins his mission to discover the truth about these myths and examines the mystery at the end of the last Ice Age. As the glaciers melted between 17,000 and 7,000 years ago, sea levels rose and more than 15 million square miles of habitable land were submerged underwater, resulting in a radical change to the Earth’s shape and the conditions in which people could live. Using the latest computer techniques to map the world’s changing coastlines, Hancock finds astonishing correspondences with the ancient flood myths.
Filled with thrilling accounts of his own participation in dives off the coast of Japan, as well as in the Mediterranean, the Atlantic, and the Arabian Sea, we watch as Hancock discovers underwater ruins exactly where the myths say they should be—sunken kingdoms that archaeologists never thought existed. Fans of Hancock’s previous adventures will find themselves immersed in Underworld, a provocative book that provides both compelling hard evidence for a fascinating, forgotten episode in human history and a completely new explanation for the origins of civilization as we know it.
From the Hardcover edition.
For more than 5,000 years the Ancestral Puebloans—Native Americans who flourished long before the first contact with Europeans—occupied the Four Corners region of the southwestern United States. Just before AD 1300, they abandoned their homeland in a migration that remains one of prehistory's greatest puzzles. Northern and southern neighbors of the Ancestral Puebloans, the Fremont and Mogollon likewise flourished for millennia before migrating or disappearing. Fortunately, the Old Ones, as some of their present-day descendants call them, left behind awe-inspiring ruins, dazzling rock art, and sophisticated artifacts ranging from painted pots to woven baskets. Some of their sites and relics had been seen by no one during the 700 years before David Roberts and his companions rediscovered them.
In The Lost World of the Old Ones, Roberts continues the hunt for answers begun in his classic book, In Search of the Old Ones. His new findings paint a different, fuller portrait of these enigmatic ancients—thanks to the breakthroughs of recent archaeologists. Roberts also recounts his last twenty years of far-flung exploits in the backcountry with the verve of a seasoned travel writer. His adventures range across Utah, Arizona, New Mexico, and southwestern Colorado, illuminating the mysteries of the Old Ones as well as of the more recent Navajo and Comanche.
Roberts calls on his climbing and exploratory expertise to reach remote sanctuaries of the ancients hidden within nearly vertical cliffs, many of which are unknown to archaeologists and park rangers. This ongoing quest combines the shock of new discovery with a deeply felt connection to the landscape, and it will change the way readers experience, and imagine, the American Southwest.