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News on the activities of the PalArch Foundation
Report of the official release by Minister Van der
Hoeven (S.M. van Roode & A.J. Veldmeijer)
Entering a new millennium: the Rosicrucian Egyptian
Museum (L. Schwappach)
The Logan Museum of Anthropology’s European
Paleolithic Collections (W. Green)
The mysterious Bog people (V. van Vilsteren)
The palaeoart of Joe Tucciarone (J. Tucciarone)
Egypt in photographs (Z. Kosc)
Colophon
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Edited by A.J. Veldmeijer, S.M. van Roode & A.M. Hense
© 2004 PalArch Foundation
volume 1, no. 2 (July 2004)
The PalArch Foundation’s Newsletter
In this issue:
Styracosaurus (© 1997 J. Tucciarone: http://members.aol.com/DinoPixels/styrac.html)
www.PalArch.nl
Newsletter 1, 2 (2004)
News on the activities of the PalArch
Foundation
New logo
As you already might have discovered,
we have a renewed logo. Still the well-known
pterosaur but with the name added to it;
professionally made by the Foundation’s own
illustration editor Martin Hense. Furthermore,
we have created new flyers. Each of our
disciplines now has a flyer of its own, with
corresponding illustrations and contact-data of
the responsible managing editor. Obviously
they also sport our new logo.
The
flyer
for
Archaeology
of
Egypt/Egyptology
has
illustrations
of
hieroglyphs by S.M. van Roode and a
reconstruction of a part of the Amarna palace
by A.M. Hense. The flyer for vertebrate
palaeontology features illustrations of an
Avimimus skeleton by A. Atuchin and the
reconstruction
of
Palaeoparadoxia
(photographed by E. Endenburg and reworked
by A.M. Hense).
Also the website is renewed. Some
pages are slightly moderated, and the archives
have been installed as well as the order form.
Activities
Of course, the official release has been
the main activity this period. You can read all
about this further on in this Newsletter. Later in
April, our foundation was presented at the
ARCE meeting in Tucson, Arizona (14 April
2004). Salima Ikram, who was one of the three
giving a lecture on the symposium ‘Dinosaurs,
mummies and river dunes’ took a poster and
350 flyers to Tucson via Cairo and, together
with Carolyn Tomaselli, took care of the
posting and distribution. Many thanks! In this
way the Foundation enjoys the opportunity to
be presented without one of us necessarily
travelling around the world! Also, we would like
to express our thanks to R.H. Wilkinson who
 PalArch Foundation
kindly informed us on the procedure on the
ARCE meeting.
Due to this event, we realized it would
be a good idea to ask you occasionally
whether you are willing to bring flyers to
meetings you attend (and perhaps even post a
poster). Please, don’t feel obliged; we will not
feel offended if you don’t want to take flyers or
are not able to take them with you!
During the stay of the entire board of the
PalArch Foundation in Egypt (EES expedition
to Qasr Ibrim), we had time to visit various
research institutes in Cairo, which we provided
with a ‘call for papers’ and flyers. Among these
institutes were the Netherlands Flemish
Institute, the German Archaeological Institute
and the Italian Institute. Some others have
been mailed, such as the Polish Institute.
Since January, Sigrid has been assisting
the
Annual
Egyptological
Bibliography.
Following the retirement of dr. L. Zonhoven,
the AEB is currently only staffed by dr. W.
Hovestreydt, the new editor-in-chief. To help
out, Sigrid assists 4 hours a week in various
administrative tasks as well as in preparing
abstracts.
Various articles on the PalArch
Foundation have been published, among
which an article in Cranium, Profiel and the
Newsletter of the Society of Vertebrate
Palaeontologists.
Centre of book reviews
Since we have been co-operating with
many well-known and worldwide publishers,
the continuous expanding of this system has
resulted in a real ‘PalArch Foundation’s Centre
of Book Reviews’; a site where one can read
reviews of scientific as well as popular books,
reviewed by various specialists in the field. The
book reviews are free to download and when
uploading the new issue, the book reviews stay
online in the archives with their title; they are
sent for free as pdf-file to anyone who asks for
it! In order to discuss books from various
angles, we allow two reviews of the same book
(in exceptional cases even more) on the
condition that the reviews are written with
different views and provoke discussion. Also
reviews of older books (at the most 5 years)
are welcome; although this is from a
commercial point of view of minor importance
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for the publisher, it still can be of importance
for colleague scientists and other interested
people. You can send your book review (in
English) with the following details (see also
http://www.palarch.nl/Non_scientific/bookrevie
w.htm) author(s)/editor(s), year, full title, place,
publisher, number of pages, ISBN, price,
hardback/paperback to the responsible
managing editor. Also, send the scanned
images (300 dpi or more) of the front and back
of the book.
Editorial board
Two new members of the editorial board
of vertebrate palaeontology are welcomed.
David Martill is a well-known palaeontologist,
working, amongst others, with pterosaurs
(especially from Brazil), palaeobiology and
taphonomy. Dave is based in Portsmouth
(University of Portsmouth). Brian Lee Beatty’s
work focuses on the systematics of marine and
some terrestrial Cenozoic mammals but
especially on palaeobiology and is based in
Lawrence, Kansas (University of Kansas,
Natural History Museum and Biodiversity
Research Center).
Review tips
The PalArch Foundation is a still a low
budget organisation. This means that
manuscripts are sent to you through email
instead of the regular (expensive and slow)
mail. Thus you get the manuscript digitally.
How to review a digital document? Reviewing
on the computer is, in general, not a very
popular way of working. It is not possible to go
back and forth easily, which is especially
problematic while checking references. A tip
however, might be the following, which I
always do and works quite well. If you copy the
literature list into a new document and select
the option of ‘recording changes’. If you
encounter a reference in the text, just delete it
in the separate list; this will still be visible in the
separate reference document, because the
removal is only indicated. This way, you can
easily see what is in the list and what is not.
You can either use both documents
simultaneously on your screen or hide the
separate reference list document. Despite of
this way of checking references, most people
have to get used to reviewing on the computer,
but, as is my experience, in due course one
gets used to it. Still a drawback is that it is not
easy to take work with you in the train for
instance, unless you use a laptop. Of course,
you can still choose to print the document,
write the comments and send it to Sigrid or
André.
Workshops and the like
We ask all of you to send us suggestions
for workshops and the like. The idea is to
organize short meetings on specialist topics,
for instance a workshop “The mummification
industry in Egypt” or “Anatomy and functional
morphology of cranial crests in hadrosaurs”. All
ideas are welcomed.
From our webmaster
I would like to ask for your assistance. I
would be grateful if you visit the site on regular
basis, check various things and inform me on
malfunctions or flaws. And I’m also eager to
receive any comment or suggestion. We want
everything to work perfectly.
You
can
send
it
to
[email protected] (please, put ‘website
remarks’ in the subject line).
Attention!
In order to compose a board as
complete as possible, we would be grateful
when you propose colleagues which we can
contact for joining as member of the editorial
board. Please, state their field of research as
well as their e-mail address.
Publications
At the moment 3 monograph contracts
have been signed:
Sidebotham, S.E. & H.M. Nouwens. Working
title: Report of the excavations at Sikait
and the survey of the Egyptian Eastern
Desert
Claus, B. Introduction bibliographique a
l'Egyptologie. Guide a l'usage des
etudiants.
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www.PalArch.nl
Signore, M. Scipionyx samniticus (Theropoda,
Maniraptoriformes)
and
the
palaeobiology of some maniraptoran
theropods
Papers, www.PalArch.nl 2, 2 Archaeology of
Egypt/Egyptology
Gosling. J., P. Manti & P.T. Nicholson. 2004.
Discovery and conservation of a hoard
of votive bronzes from the Sacred
Animal Necropolis at North Saqqara. –
PalArch,
series
archaeology
of
Egypt/Egyptology 2, 1: 1-#.
Vertebrate palaeontology
Drees, M. 2004. An evaluation of the
Cromerian complex period of The
Netherlands. – PalArch, series vertebrate
palaeontology 2, 1: 1-12.
Signore, M. 2004. Sample excavations in
Pietraroja (lower Cretaceous, Southern
Italy) in 2001 and notes on the Pietraroja
palaeoenvironment. - PalArch, series
vertebrate palaeontology 2, 2: 13-22.
Book reviews
Heirbaut, E.N.A. 2004. Book review of:
Johansen, L. & D. Stapert. 2003.
Oldeholtwolde. A Hamburgian family
encampment around a hearth. (Lisse,
A.A. Balkema Publishers). - PalArch,
non
scientific
(http://www.palarch.nl/Non_scientific/bo
okreview.htm).
Vos, de, J. 2004. Book review of: Schubert,
B.W., J.I. Mead & R.W. Graham. Eds.
2003. Ice Age cave faunas of North
America.
(Bloomington,
Indiana
University Press). - PalArch, non
scientific
okreview.htm).
Signore, M. 2004. Book review of: Partridge,
R.B. 2003. Fighting pharaohs. Weapons
and
warfare
in
ancient
Egypt.
(Manchester, Peartree Publishing). –
PalArch,
non
scientific
okreview.htm).
Roode, van, S.M. 2004. Book review of:
Humbert, J.M. & C.A. Price. Eds. 2003.
Imhotep
today:
Egyptianizing
architecture. (London, UCL Press,
Encounters with ancient Egypt). PalArch,
non
scientific
okreview.htm).
Veldmeijer, A.J. 2004. Book review of: Hilton,
R.P. 2003. Dinosaurs and other
Mesozoic
reptiles
of
California.
(Berkeley/Los
Angeles/London,
University of California Press). PalArch,
non
scientific
okreview.htm).
Schulp, A.S. 2004. Book review of: Parsons,
K.M. 2003. The great dinosaur
controversy. A guide to the debates.
(Santa Barbara CA, ABC-CLIO). PalArch,
non
scientific
okreview.htm).
Weerd, de, M.A. 2004. Book review of:
Hawass, Z. 2003. Secrets from the sand.
My search for Egypt's past. (London,
Thames & Hudson). - PalArch, non
scientific
okreview.htm).
Rooij, van, E.H.C. 2004. Book review of: Ikram,
S. 2003. Death and burial in ancient
Egypt. (Longman Publishing Group).
PalArch,
non
scientific
okreview.htm).
Acknowledgments
We like to express our gratitude to
Vincent van Vilsteren of the Drents Museum for
permission to use the reconstruction of the Yde
girl as watermark. Furthermore, we thank
Salima Ikram and two anonymous reviewers
for reviewing some of the contributions.
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www.PalArch.nl
Report of the PalArch Foundation's symposium
‘Dinosaurs, mummies and river dunes’ to
celebrate the official release of the first issue of
www.PalArch.nl
By S.M. van Roode & A.J. Veldmeijer
The guests in the auditorium (© C.H. van
Zoest).
Just one moment before the opening, waiting
for the doors to be opened. From left to right
André Veldmeijer, Sigrid van Roode and John
de Vos (© C.H. van Zoest).
April 3 2004 has been an important day
for the PalArch Foundation. On this day, the
first issue of the web based scientific journal
www.PalArch.nl was officially released by the
Minister of Education, Culture and Education,
mrs. M.J.A. van der Hoeven. To celebrate this
official release, the Foundation had organized
a symposium in which various scholars
presented their research. The location of the
symposium was the charming auditorium of
The Netherlands oldest museum: the in the
18th century founded Teylers Museum in
Haarlem.
The day started with setting up the
registration desk, checking the equipment in
the auditorium for the last time and solving the
little issues that occur before every symposium
or congress. When the museum opened its
doors at 09.30 pm however, everything was
arranged correctly, giving us the opportunity to
welcome our guests at the entrance. Shortly
before 10.00 pm, Minister Van der Hoeven
arrived, accompanied by her husband, her
spokesman Mr. Van den Broek and her advisor
Mr. De Jonge. After being welcomed by the
Director of the Museum, Mrs. Scharloo and S.
Minister Van der Hoeven officially releasing the
first issue of www.PalArch.nl (© C.H. van
Zoest).
van Roode, Vice-chairman of the Foundation,
she was escorted to the auditorium and the
symposium could start. Mrs. Scharloo
welcomed the Minister and the guests on
behalf of Teylers Museum, after which the
Minister delivered her speech. She expressed
her intense interest in palaeontology and
archaeology and shared the Foundation's
concern about the exodus of science from The
Netherlands to other countries. She pointed
out that the transfer of knowledge is simply
necessary to stimulate scientific discussion
and considered our project an important
initiative:
Speech by Minister Van der Hoeven at the
symposium ‘Dinosaurs, mummies and river
dunes’ on Saturday 3 April 2004, Teylers
Museum, Haarlem
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www.PalArch.nl
(The speech as delivered by the Minister is the
correct version. The text below differs on
details from her spoken version.)
Ladies and gentlemen,
As far as I was concerned, this invitation
to preside over the official launch of
www.palarch.nl was simply a ‘must’. That has
everything to do with the enormous popularity
of archaeology. These days archaeology
appeals greatly to people’s imagination. You
only have to call to mind the numerous books,
films, series and even comics featuring
adventurous archaeologists, from Tintin to
Indiana Jones. The considerable public interest
is also one of the main reasons for the
existence of a television channel such as The
Discovery Channel. Archaeology also attracts
a great many amateur enthusiasts who, in their
spare time, are only too keen to dig literally and
figuratively into our past. This is what makes
archaeology so fascinating. It focuses on the
question of where we have come from or, in
other words, on our roots.
The Teylers Museum now has a
magnificent example of this fascination in the
form of the ‘Zondvloedmens’ [Flood Man]. I
don’t know whether you are familiar with the
story of this fossil that was found in the
eighteenth century in a stone quarry near
Öhningen in Germany. Johann Scheuchzer, a
physician living in Zürich, thought he had found
the remains of a person who had drowned in
the biblical flood that had occurred thousands
of years previously. His publication, which
dates from 1726 and was entitled ‘The person
who witnessed the flood and saw God’, was
the cause of intense scientific discussion. Had
he found the remains of a person, a fish or
perhaps a lizard? Eventually, the French
anatomist Georges Cuvier was proven right
after he had chiselled out the fossil in 1811 to
reveal two front legs. By doing so, he
demonstrated that it must have been a giant
salamander that had inhabited Öhningen
millions of years ago. An so ended a scientific
discussion which now seems almost laughable
but, at the time, went to the very heart of
science. Discourse is still what makes and
keeps the practice of science so lively and
ensures that views, based on research,
become
more
focused
and
in-depth. And that is also the theme of today’s
proceedings.
Although archaeology continues again
and again to attract the attention of numerous
interested parties, we still regard it as one of
the minor disciplines, alongside mathematics
and the so-called minor arts. Although they
sometimes generate excellent research
results, these subjects nevertheless lead a
somewhat difficult existence with relatively few
students and a tight budget. The performancebased funding we are introducing is good news
as far as these disciplines are concerned - and
that includes archaeology. Performance-based
funding gives the greatest scope to the best
research.
I hope very much that this will also be a
major boost to archaeology in the Netherlands.
Archaeology is a rapidly expanding discipline
and this growth is largely due to the new
Monuments and Historic Buildings Act and the
Malta convention. The main result is an
enormous increase in the amount of fieldwork,
as demonstrated by the numerous rescue
excavations and the many archaeological
consequences of the construction of the
Betuwelijn freight railway line.
Last weekend I read an interesting
article in the newspaper on an ancient village
that was excavated in Midlaren in the province
of Drenthe. The finds revealed that people had
lived in the area on the banks of the
Zuidlaarder lake for more than several
thousand years. It is in fact a nice place to be,
on the water’s edge in the middle of the woods.
Here, at this magnificent spot, new houses are
going to be built. The archaeologists have until
May to dig up whatever evidence they can find
of our forefathers’ customs and traditions.
Our country is acquiring quite a
reputation with this fieldwork. On the other
hand, the Dutch contribution to current
research in the field in which the PalArch
Foundation is involved is relatively minor. I find
it rather sad to hear that a lot of vertebrate
palaeontologists and Egyptologists are
apparently unable to make progress here and,
as a result, leave our country to pursue their
goals elsewhere. I sincerely hope that the
introduction of performance-based funding,
which will make more resources available to
high-quality research groups, will stem the
exodus of scientists. After all, it would be a real
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shame if archaeology in the Netherlands,
which is a source of inspiration to so many
people and which has such a good name
internationally, had to take a step backwards.
It is partly for this reason that it is
important to focus attention on communication
and the transfer of knowledge. You will
undoubtedly agree with me that the
accessibility of scientific archaeological
knowledge leaves a lot to be desired.
Knowledge is becoming too fragmented,
publications are taking too long to appear and
there are insufficient central knowledge
databases. An additional and growing problem
is that archaeology is facing the threat of
commercialisation. More and more companies
of varying sizes are becoming active on the
market, and they really only have time and
money for excavations. In itself that is not such
a bad thing, but the one-sided focus on
excavations means the discipline is liable to
get out of balance.
All this only adds to the importance of
knowledge transfers in the battle against onesidedness in archaeology. And in that area, a
great many improvements need to be made in
this country. For example, the Netherlands has
only a few scientific Internet journals, a
medium that has, in fact, been very successful
in other parts of the world.
I am therefore very pleased that two
young enthusiastic scientists, André Veldmeijer
and Sigrid van Roode, have set up the PalArch
Foundation with the aim of stimulating the
dialogue between Dutch and foreign
researchers. You both believe that your branch
of science is being obstructed by a lack of
openness, that scientific results are being held
back and that it takes far too long before these
are eventually published. All this is, of course,
not conducive to the scientific discussion which
I have just referred to and which is so
important for progress. It is for these reasons
that you are today launching a scientific journal
on the special website www.palarch.nl [...].
Ladies and gentlemen, internet is a marvellous
medium for a journal like this. It is cheap, it is
quick and it is easily accessible to everyone. It
will encourage scientists and students to
publish more of their work. I also believe that,
although you are focusing in the first instance
on Dutch and foreign scientists, well-informed,
inquisitive
amateurs
will
also
be
Minister Van der Hoeven (second left) in
conversation with Marjan Scharloo (right),
director of Teylers Museum. (© C.H. van
Zoest).
regular visitors to your site. In this way, you will
be rendering your branch of science a
considerable service. After all, with science it is
very straightforward : the more people know
about it the more enthusiastic they become.
After the speech of the Minister, it was
time for coffee and tea. While the Minister
visited the Museum, the guests could enjoy a
cup of coffee in the beautiful surroundings of
the so-called ‘round-about’, on the first floor of
the Museum. At the end of the coffee-break,
the symposium continued with the welcoming
speech of A.J. Veldmeijer, Chairman of the
Foundation. In his speech, he paid attention to
the past, the present and the future. He
described how the Foundation and its journal
came into being and looked forward to the
future, sharing some of the many ideas the
Visiting the collection. From left to right, the
PalArch
Foundation
delegation,
Erno
Endenburg, Sigrid van Roode and André
Veldmeijer, Minister Van der Hoeven and
Marjan Scharloo, director of Teylers Museum
(© G. Di Galbo).
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The Chairman of the PalArch Foundation
giving his speech (© C.H. van Zoest).
Foundation has to stimulate science.
Furthermore, he extended an open invitation to
all institutes, professionals and amateurs alike,
which one way or the other work in the
disciplines of science that the Foundation
focuses on, to get in contact to discuss cooperation. By co-operating with others, the
Foundation feels her goal of stimulating
science can be fulfilled even better:
Speech by A.J. Veldmeijer, Chairman of the
PalArch Foundation
Dear friends and colleagues,
It is my pleasure to welcome you on this
symposium. We have worked long and hard for
this moment; now that it’s finally here, we are
happy to see you. A special word of thanks to
Minister Van der Hoeven, who spent part of her
free Saturday to perform the official release of
our journal!
About 8 years ago, the idea of an easyaccess, user-friendly scientific magazine
began to emerge in my mind. I wanted to see a
journal that published faster than the standard
journals, without any restrictions as to make it
possible to publish databases, catalogues,
colour photo’s etc, and at the same time cheap
to obtain. Such a journal would not only have
to publish scientific articles, but would also
have to include articles for the generally
interested public because I am of the opinion
that science is of importance to a broader
public than just the few scientists. Science
must be brought to the public. Therefore I
wanted this journal to be as accessible as
possible. The journal would have to cover my
two major disciplines of science; palaeontology
and archaeology of Egypt/Egyptology. As time
passed by, the idea grew stronger and about
one-and-a-half years ago, I began to transfer it
into a reality. I found Erno and Sigrid willing to
co-operate, and so we started to work out the
details.
To provide our endeavour with a solid
and permanent base, we founded the Palarch
Foundation. The name is derived from the two
scientific disciplines palaeontology and
archaeology of Egypt/ Egyptology. At this
point, we would like to thank Gerard Kuhn and
his colleague for their generosity in providing
us with our small financial base.
During the sometimes difficult process of
reaching consensus on the smallest details, we
established a firm base on which to build the
journal. The next step was to assemble an
editorial board and we are grateful for the
absolutely positive responses and useful
feedback we received; for us, this was yet
another encouragement that we were on the
right track.
Obviously, one can not work on a project
this large and keep it a total secret. As soon as
we had ventured our ideas, work started
coming in. Last year, we published for instance
the proceedings of the annual NetherlandsFlemish Egyptologists meeting, presented our
initiative at a conference in Italy and have been
asked to publish two monographs, one on the
American-Dutch excavations in Egypt’s
Eastern Desert and a reference bibliography
for students and scholars. A special word of
thanks to Martin Hense, who spent a lot of time
editing illustrations, also before the first issue
was released. We established reviewing
contacts with large and worldwide publishers
such as Cambridge University Press, Kluwer
Academic Publishers and Indiana University
Press and various institutes support our work
among which are the Natuurmuseum
Rotterdam and Eras. And the fact that the
Minister was willing to perform the official
release, emphasizes the importance of this
project. All this before we even released the
first issue of our journal! It goes without saying
that all this positive feedback encourages us to
head on into the future. Our goal is to offer
ways of fast, scientific publishing, to offer ways
of reading about ongoing research and to
encourage scientific discussion. To help realise
these goals, studies will be peer reviewed by
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the members of our editorial board. The
publication timescale is therefore short and the
journal will be freely downloadable for
everyone interested. In this way, we hope to
offer a counterweight to the increase in
expenses of publishing and the decrease in
budgets for libraries. We also aim to increase
the possibilities for young scholars to publish
their work, and thus enhance scientific
discussion. As I said before, we also publish
monographs. These will only be obtainable by
order for payment. 75 % of the profit is
invested in the authors research: another way
in which we want to contribute to our
disciplines of science. Bringing science to the
public will be done, not only by making
scientific papers easy accessible but also by
means of our Newsletter, which is free for
members. Information on how to become a
member yourself can be found in our flyer. The
Newsletter, published 4 times a year previously
to the scientific publications, informs the reader
on the activities of the Foundation but gives
also background information in items such as
‘science and art’, and ‘famous collections’ (an
instance of our first Newsletter is available at
the entrance desk). Furthermore, we will try to
invest in research with expertise. Finally, we
are going to expand and intensify co-operation
with institutes. Therefore, we invite all
individuals, professionals and amateurs alike
and all institutes, whether museums,
universities, journals or amateur society, it
does not matter, who are related in one way or
another to one of the scientific disciplines on
which the PalArch Foundation focuses, to get
in contact with us to discuss co-operation. Our
Foundation is founded to stimulate science; we
feel that co-operating will benefit us all! We
know that, despite the very good start, still a lot
of work has to be done to establish our name.
We consider this a challenge and we will do
our utmost best to live up to the standards we
set our project.
I could continue far longer telling you
about the many ideas we have; but for now I
will leave it at this. All information can be found
either on our website or in our Newsletter. Of
course, you can always contact one of the
board with questions, remarks, suggestions
etc. This symposium marks the official
beginning
of
our
scientific
journal
www.palarch.nl. It is a moment we will often
look back on, and we are happy you are here
to share it with us. Organizing a symposium is
an activity that takes up time and energy. We
are grateful to the following persons for their
help and advice: Teylers Museum for providing
us with this beautiful auditorium without
charging any costs, John de Vos for his advice
and guidance, and the two ladies Hanneke
Meijer and Manon de Weerd whom you all met
this morning at the registration desk.
We hope you will enjoy the upcoming
lectures that we are proud to present!
The speech by the Chairman was
followed by the first lecture of the day,
'Diversity in Death' by Dr. Salima Ikram. Dr.
Ikram had been invited by the Foundation to
participate in the symposium; an invitation that
she gracefully accepted, not in the least to
have the opportunity to see the famous Teylers
Museum, which she discusses in detail in her
classes Museology at the American University
in Cairo, for real. For almost an hour, she took
the audience to the Egyptian desert. Her vivid
descriptions of the mummification process in
general and the results of her recent survey in
a Roman cemetery in Kharga Oasis continued
to capture the attention of the audience. The
many slides of sometimes extraordinary sights
and details accompanied the highly fascinating
reading.
After her lecture, it was time for lunch.
The organizing committee and the lecturers,
joined by friends, had lunch together, whilst
others took the opportunity to visit the Museum
or had lunch in one of the many restaurants in
the vicinity. At 14.00, the last part of the
symposium commenced with a lecture by Drs.
A.S. Schulp, who treated the audience on a
very interesting lecture titled 'Dinosaurs in
Salima Ikram giving her lecture 'Diversity in
Death' (© C.H. van Zoest).
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The three invitees on the PalArch symposium
‘Dinosaurs, mummies and river dunes’ gazing
at the remains of mosasaur (© G. Di Galbo).
Anne Schulp giving his lecture 'Dinosaurs in
Hollywood' (© C.H. van Zoest).
Hollywood'. In his lecture, he focused on the
many details that can be gathered from the
study of dinosaur tracks, and the impact that
these new insights have on the representation
of dinosaurs in the movies. He illustrated this
development by showing various fragments of
dinosaur-movies, varying from 1925 black-andwhite dinosaurs to the well-known T-rex of
Jurassic Park.
The last lecture of the day was
presented by Prof. Dr. L.P. Louwe Kooijmans,
who presented the results of the investigations
of major excavations at the site of Hardinxveld-
Leendert Louwe Kooijmans giving his lecture
‘The last hunters of the Dutch Delta.
Excavations at Hardinxveld’ (© C.H. van
Zoest).
Giessendam. In his lecture, he showed how
focusing on many details, such as evidence of
certain fish, fowl and other animals, can tell us
about the use and occupation of a certain site.
Furthermore, he illustrated how studying
the provenance of material on the site can
inform us about the contacts its inhabitants
had, and how comparing one site to other
nearby sites can actually tell us about the use
of the landscape and its resources in a wider
regional context.
We look back on a successful
symposium, which marks the official beginning
of
our
webbased
scientific
journal
www.PalArch.nl.
This
excellent
start
encourages us to head on into the future, a
future in which we will organize many more
symposia, workshops and the like. We hope
we can welcome you all again on one of these
occasions!
The symposium crew. From left to right John
de Vos, Hanneke Meijer, Leendert Louwe
Kooijmans, Anne Schulp, Salima Ikram, Sigrid
van Roode, Manon de Weerd and, second row,
Erno Endenburg and André Veldmeijer (© C.H.
van Zoest).
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Entering a new millennium: the Rosicrucian
Egyptian Museum
By L. Schwappach
Front entrance of the Rosicrucian Egyptian
Museum (© Rosicrucian Egyptian Museum).
The first question many visitors ask
when they arrive at the Rosicrucian Egyptian
Museum is, “Why is there an Egyptian museum
in San Jose, California?”
The Rosicrucian Egyptian Museum is
under the auspices of its parent organization,
the Rosicrucian Order, or AMORC. When Dr.
H. Spencer Lewis, the founder of the modern
phase of AMORC in the United States began
his work, the organization was centred in San
Francisco, but land prices led to a move to
Florida. Because of the significance of San
Francisco to the Order, there was a strong
desire to move back to the Bay Area. The
opportunity was presented to acquire land in
San Jose, about 40 miles (about 64 km) south
of San Francisco. The Silicon Valley of today
was then called ‘the Valley of the Heart’s
Delight’. Times and industries have changes,
but from the 1920’s, the Museum and the
AMORC complex has been located on the
same block of land. Originally, only one small
parcel of land was acquired, but the
organization expanded, and more building and
space was required over time. Now, almost the
entire city block belongs to AMORC, but it is
not all buildings. A botanical garden occupies
much of the land, creating a lovely area of
open space in a congested valley.
The theme chosen for the architecture
was Egypt, not only because of the stylishness
of Egypt in the 1920’s, but also because of the
history of AMORC. Through the group's
history, they trace their origins back to the
mystery schools on ancient Egypt. This love of
Egypt led to not only the architectural choices,
but also the development Rosicrucian Egyptian
Museum itself.
The Museum began as many museums,
with
a
combination
of
acquisition,
sponsorships, and personal collections. Dr.
Lewis was given a small bronze votive figure of
the goddess Sekhmet, lion-headed and fierce.
When asked what the little object on his desk
was, Dr. Lewis responded, “That is the
Rosicrucian Egyptian Museum!” From this
statement of absolute faith, the collection grew
through dedication. Shrewd choices in
acquisitions under Dr. Lewis and his son,
Ralph Lewis, led to the development of the
collection as it stands today. In addition to the
important acquisitions through purchase, the
organization sponsored archaeological work in
Egypt. Excursions were made to explore Egypt
and photograph her sites. As soon as formal
accessioning began by the early 1930’s, that
little bronze Sekhmet was accessioned as RC
1, and she has been our patroness ever since.
In addition to the founding of the
Museum, Rosicrucian Park expanded its
complex and mission throughout the 1920’s
and 1930’s. The Rosicrucian Library was also
established in the park, as well as an
auditorium for lectures and concerts. A social
centre, the park drew luminaries from the
Rosicrucian Library, located adjacent to the
Rosicrucian Egyptian Museum (© Rosicrucian
Egyptian Museum).
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A shrine on the grounds of Rosicrucian Park,
surrounded by a stand of papyrus (©
Rosicrucian Egyptian Museum).
region, and the Museum was a centre of
culture and arts.
In 1936, the Rosicrucian Planetarium
opened to serve the people of the region with
the first American-made star projector in the
country. This building was of the Moorish style,
but the other buildings of Rosicrucian Park
were in the Egyptian Revival style, appearing
as temple pylons, a tradition that endures to
this day. The entire city block became a
botanical garden of rare plants from around the
world, and the large stands of Egyptian
papyrus are a highlight to this day.
In the 1920’s, AMORC assisted the
Egyptian Exploration Society in their
excavations at the site of Tell el-Amarna. Laws
at that time gave the excavators half of the
material excavated, with Egypt having first
choice of the artefacts. In gratitude for the
support of the work, the EES donated a share
of the artefacts to all of the museums that
funded their work, including the Rosicrucian
Egyptian Museum, then called ‘The Oriental
Museum’. When the Great Depression
engulfed the nation and world, many museums
found themselves under devastating budget
cuts. At this time, the Rosicrucian Egyptian
Museum acquired many other items from
Amarna and other provenienced artefacts from
the other sponsoring museums. In addition to
the acquisition of these artefacts, the Museum
also acquired casts and replicas from some of
the great museums of the world, including the
Louvre and the British Museum, for use in the
educational program.
In addition to this support of the field of
archaeology, the Museum also began to
acquire artefacts through donations and
sponsored acquisitions. When a particular type
of object was seen to be needed for the
educational mission of the Museum, it was
sought diligently, and only acquired following
inspection. All of this activity led the Museum
to expand, first from Dr. Lewis’ desk to a large
lobby display case, and finally to an entire
section of the administration building of
AMORC’s headquarters here in San Jose. This
expansion was necessary, as the Museum and
exhibits were drawing large numbers of the
general public and busloads of schoolchildren,
eager to experience Egypt vicariously through
the Museum experience. A replica of the
offering chamber of a Middle Kingdom tomb
was one of the highlight experiences.
The displays in the administration
building reached capacity in the 1950’s, and
the plan was born to build a dedicated Museum
building. Ground was broken in 1966 and the
new Museum opened in 1968. Much of the
work was accomplished by donations of time
from qualified volunteers. The offering
chamber replica was expanded into an entire
tomb, which is a composite of several of the
best tombs of Egyptian history. A total of five
galleries was planned, Gallery A to be the
‘mummy room’, and galleries B, C, and D to
hold the rest of the collection. The final gallery
was a rotating exhibits space, also to be used
for lectures. The new Museum building was
roughly 22,000 square feet (about 2000 square
meters).
The Museum was built around the
collection, designed to hold the objects held in
the collection in 1968. The cases were built in
structurally and were perfect in number and
size for the collection in 1968. This has been
one of the challenges in the Museum in 2004,
and will be addressed in the description of the
renewal of the exhibits we are engaging in at
the Rosicrucian Egyptian Museum.
The Museum opened its doors to great
enthusiasm and large numbers of visitors. It
rapidly became one of the destination
museums in the San Francisco Bay Area. More
than 150 000 people began to visit each year.
The California State 6th grade curriculum
covers ancient cultures in the 6th grade, so field
trips began arriving in ever increasing
numbers. Originally, tours were simply selfguided, with volunteers walking the galleries
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and answering questions for the students.
More organization was installed by the late
1980’s, and each school group was assigned a
tour guide. Training became more intensive
over the years, and accuracy in information
was absolutely required. By 1997, more than
40 000 school children were arriving each year
to be provided with tours.
Today, we serve groups from schools of
up to 45 guests, eight times per day, four days
per week. For those that prefer, self-guided
tours are also an option. The general public
also attends in high numbers, and are welcome
throughout the day. We are open six days per
week, with the exception of Mondays and
major holidays, which are our exhibit
preparation days.
Challenges in reputation
Many have found it unlikely that a fine
Egyptian collection could be located in San
Jose, California, and this is likely the reason
that some hold inaccurate ideas about the
Museum.
One of the problems that the Museum
has been faced with is the challenge that our
collection is ‘replicas’. This misconception was
probably based on the fact that there are
replicas and casts on display as an integral
part of our education program. Today, we have
carefully labelled every item that is a replica as
such, and removed all but one from behind
glass. The single exception is a replica of the
bust of Nefertiti from Berlin, so fine a replica
and made off of the original that it is
irreplaceable. These replicas are used in our
‘touch tours’ for the sight impaired as part of
our effort to provide as much accessibility as
possible. As for any questionable or
misidentified items in our collection, these have
been systematically removed from display. The
Museum is careful to hire qualified
Egyptologists to act as curators of the
collection. The collection is one of the finest in
the world and is certainly the largest collection
of authentic Egyptian materials on display in
the west.
Scholars are always welcome to study
materials from our collection. We have created
a system for providing scholarly study
photographs to scholars worldwide, and only
charge for taking a new photograph if
One of seven known statues of Cleopatra VII
presides over the Government Gallery of the
Rosicrucian Egyptian Museum (© Rosicrucian
Egyptian Museum).
necessary for a detail, and two copies of the
publication in which our object appears for our
records. This has assisted us in providing
cutting-edge research information to our
visitors.
One of the ways that we are
encouraging scholars and visitors alike to
realize that any misconceptions are not
accurate, is the publication of a museum
catalogue, our first full catalogue in the history
of the Museum. It will be available at the end of
June and will include images in full colour of
about 350 of our best and most interesting
artefacts. We will permit the catalogue the
opportunity to allow the collection to speak for
itself.
We have also opened a new website
(http://www.egyptianmuseum.org/index.html) in
which we have posted images of some of the
materials in our collection for students to use in
their work. These images will be rotated with
the photographs taken for the catalogue,
ensuring full colour and clear images.
Our tour guides are given rigorous oneon-one training in ancient Egyptian history with
the Museum’s curator long before they are
permitted to give tours. The school tour
consists of a brief lecture of about 5 minutes in
each gallery on the theme topic of that gallery.
The students are then permitted to explore the
gallery with their chaperones, and the guide is
expected to answer any question that may be
asked. The diversity of questions that students
may ask requires extensive knowledge of
ancient Egypt, as well as the confidence to go
to the curator to ask the question, if the answer
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is unknown. Gallery talks on diverse topics are
provided by the guides to the general public,
and these require the same amount of training.
As extensive knowledge is required, the tour
guide positions are not only paid, they are fulltime in many cases.
When not providing school tours, our
guides offer gallery talks to the general public.
These include more in-depth versions of the
school tour talks, as well as subjects that are
more appropriate to an adult audience, such as
childbirth in ancient Egypt.
Our volunteers also are provided with
training sessions that equal the knowledge of
the Museum guides. They provide gallery
hand-on workshops, office assistance, and
security assistance.
Challenges in visibility
The location of the Museum and
regional history has also been a challenge to
our visibility.
The Museum did not have an
established advertising system or series of
campaigns, as for many decades, it was the
‘only show in town’. If one desired culture in
San Jose, the Museum was here. Lectures
were sponsored, movies were shown, the
planetarium hosted educational events on
astronomical data … the list of options was
endless. Then the technology ‘boom’ struck.
Almost overnight, the valley of Santa Clara
became Silicon Valley. The population
exploded. The valley that was in the 1970’s a
farmland of orchards became a paved
metropolis, quickly outstripping San Francisco
in population.
Much of this population did not grow up
in the area, and so did not visit the Museum in
school. We have found that many of our
visitors have simply been driving in the area,
saw the apparently alarming sight of Egyptian
temples in San Jose, and stopped to
investigate. Other museums have opened in
the area, including the Tech Museum of
Innovation with its Imax Theater. The size and
profile of this museum in the downtown area of
San Jose draws a great deal of notice and
many visitors. Also, it draws funding, as
technology is very much a part of the lifestyle
of Silicon Valley. Other major attractions that
have opened since the founding of the
Rosicrucian Egyptian Museum include Six
Flag’s Great America, the Winchester Mystery
House, the Museum of Modern Art, and even a
Quilt Museum. This competition for visitors has
affected all of the museums, and a consortium
of museums has developed, in which the
museums of San Jose have grouped together
to cross-promote each other. It is clear that
visitors who enjoy a visit to one museum are
far more likely to visit another, as well as
support the museum of their choice.
We have found that many people who
came on their field trips at age 12 do not return
until they have children of their own. Based on
surveys and conversations, there was an
impression that the displays were always the
same, so repeat visits were not necessary. The
new gallery installations and our semi-annual
rotating exhibits on various topics are
challenging this: our current exhibit is ‘Rare
Books of the Rosicrucian Library’, some of
which date to the 17th century, to be followed
this fall by a contemporary artists’ exhibition.
We have embarked on an effort to raise
the profile of the Rosicrucian Egyptian
Museum. The lack of advertising and low
profile of the Museum resulted in visitors not
being ‘reminded’ to come visit again. We are
providing factual scholarly information and
feedback to news organizations, such as
Discovery Online and CNN. We participate in
museum group events, open booths at public
events such as fairs, and invite local news
events and shows to do their ‘stand-ups’ in
front of our Museum.
In an age in which the consumer has
many choices about their time, and little time to
work with, museums must compete with other
forms of ‘entertainment’ to draw the visitors. By
providing quality information and updating
frequently, based on events in the news, we
hope to provide a far better resource for the
community than some of the other options,
such as amusement parks.
Conservation
In 2001, a conservator assessed our
Museum with the purpose of improving our
preservation of our collection. We are very
fortunate to have a stable environment within
the Museum galleries, which as are large and
open. Fluctuations are very rare and slight.
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The Afterlife Gallery of the Rosicrucian
Egyptian Museum (© Rosicrucian Egyptian
Museum).
The Offering Chamber of the full-sized replica
of a Beni Hasan tomb (© Rosicrucian Egyptian
Museum).
Several
suggestions
were
made
regarding the cases themselves. The materials
used in building the Museum were somewhat
mysterious, as records are not in the files
regarding the design and installation of the
cases. They appeared, with some inspection,
to be made of high-grade plywood, with a form
of adhesive attaching rubber-like wall covering
to the plywood. The cases registered as
slightly acidic in the interiors. Clearly, they
were out-gassing some materials.
Short of removing and replacing the
cases, virtually impossible as they are built-ins,
we were offered another option by our
conservator:
sealing
the
cases
with
polyurethane sealant, then primer, and finally
using water-based latex paint to cosmetically
repair the case interiors.
This is the method we chose. The most
sensitive gallery is Gallery A, now called the
‘Afterlife Gallery’. The animal and human
mummies were in danger of damage, so this
was the most pressing gallery. As with many
museums, budget was an issue. Rather than
hire outside contractors to perform the work,
we used our own staff during the summer,
when school tours are rare. The guides and the
retail staff were trained as preparators, and a
select few were given intensive training as
artefacts handlers. The coffins and mummies
were removed from their cases and placed in
temporary storage areas in locked spaces of
the Museum. The cases were first checked
cosmetically and repaired. As along as we
were doing it, we decided to only do it once,
and do it right the first time. The sealant was
done only on our closed days, as the fumes in
the gallery were uncomfortable for the visitors,
who passed by to enter the tomb replica.
Once the sealant was cured and
outgassed, primer and then latex were applied.
As we had to paint the interiors of the cases,
we
decided
to
do
some
cosmetic
improvements as well. The case interiors were
a tan colour and many of the stone objects
disappeared into the colour. By studying the
objects themselves, we chose a reddish brown
colour that appeared on an 18th Dynasty coffin
for the case interior colours. When in doubt
about the proper palette for the Museum, it was
realized that the Egyptians gave us the palette;
we simply had to use that which they provided
judiciously. Once the paint had properly cured,
the cases were re-installed.
Our next step is the replacement of the
lighting system. Fluorescent tubing as used for
lighting and permanently installed within the
interiors of the cases. The UV rating is too
high, as are the lumens. As any ‘fix’ is
unacceptable, we will be installing a fibre optic
lighting system, prioritizing on our most
sensitive cases, such as those with ink on
papyrus. Each of the lights will be adjustable,
to set proper light levels for each object, and
there will be no UV.
Fortunately, the installation of these will
be quite simple. The design of the cases left a
space above them, which will simply need to
be opened, and the projectors installed. The
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wiring for the fluorescents will be used to
hardwire each of the projectors. This will of
course be done by licensed, outside
contractors.
Exhibit renewal
The Museum’s design, while inspired in
its day, has provided us with some problems
as the collection and mission have expanded.
The layout of the Museum was rigid in
1968. Gallery A was designed specifically for
the mummies and their coffin. The objects and
remains were placed in cases around the
room. There was no order as to date or topic.
This was the mummy gallery, and the
mummies were displayed in it.
As the Museum was designed to hold
the collection in 1968, the enlargement of the
collection has created pressure on the space.
As the Museum was designed to display the
collection rather than store it, only a small
space was set aside for storage purposes. In
reality, our situation today is that the exhibit
cases are our storage, and we must work
around the structure to solve curatorial
dilemmas.
The fact that the cases were permanent
built-ins has reduced the flexibility of the
installations. In each of the galleries, the
dimensions of these cases are different. For
example, the coffin of a Saite woman, with her
mummy, can only be displayed in one case in
Gallery C due to its size, or in A, which is full.
The storage space holds two coffins now, and
is full. Therefore, the coffin and mummy are
being displayed in Gallery C, which is the
‘Religion and Government Gallery’, in our new
configuration. Fortunately, she is the daughter
of a priest, so with some creative theming of
the other materials in the case, we can
continue with appropriate topics.
We also took the opportunity to paint the
walls of the galleries themselves. Colour styles
were very different in the mid-1960’s than in
this new millennium. Formerly, baby blue and
pea green would compete for attention on the
same wall. In most galleries, we painted over
the linen textured wallpaper, repairing any
flaws. In the ‘Afterlife Gallery’, we chose to give
the impression of entering a tomb and create
an environment, so the walls were textured to
appear like limestone and the walls were faux
The coffins of relatives Usermontu and Ta'awa
(the sister of Ankh-Hor who is in the Leiden
Museum) stand together again in the Afterlife
Gallery. They date to c. 600 BC (© Rosicrucian
Egyptian Museum).
painted to appear like Egyptian limestone
walls, with the natural striations.
Staffing
As with many museums in the modern
world, our staff is always slightly smaller than
we think we need. We have solved the
dilemma by learning the special skills each of
the staff has, and using them. Rather than
simply giving tours, our tour guides have
painted gallery walls, created a new mural for
the visitor centre and built mounts. The retail
staff has proven particularly invaluable for the
gallery renovations. The level of detail required
for gallery work is well-served by people who
are detail oriented, such as those who have
done inventory, and who have used power
tools in setting up displays. This multi-tasking
is of benefit to the staff as well as the Museum.
One of the former retail staff is currently
earning her master’s degree in Museum
Studies in a well-known program, and a former
tour guide has just entered the same program.
Curatorship
Since the opportunity existed, we chose
to re-install the cases in the ‘Afterlife Gallery’ in
chronological order, so that guests could see
the development of Egyptian funerary
techniques and technology over the millennia.
The collection of the Museum supported
installations for every major period of Egyptian
history, from Predynastic through Roman,
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covering over 6000 years. Each of the cases is
an assemblage of grave goods, coffins, and in
some cases, mummies, from the same time
period. Some anachronisms were solved, such
as the Saite mummy, dating from about 600
BC, being in the coffin of an 18th dynasty
scribe, about 900 years older.
The ‘Afterlife Gallery’ opened on
September 8, 2001. Since then, the renewal
and conservation has ‘rolled’ though the
Museum, and we will finish the final gallery at
the end of June 2004. Each of the galleries has
been properly sealed, and each gallery has its
own colour theme. For example, Egyptian
green was matched off of a late New Kingdom
cartonnage coffin fragment for Gallery C,
Government. Green was associated with the
goddess Wadjet, who was one of the
protectors of the king.
This work has been very rewarding, not
only for the sake of the conservation of the
artefacts, but for the theming of the galleries
and the creation of a narrative path through the
Museum. The visitor will begin in the ‘Afterlife
Gallery’ (death being the gateway for many
people to ancient Egypt), and continue on
through the tomb replica. They will step out of
the tomb replica into the brightly painted ‘Daily
Life Gallery’ (formerly gallery B), where the
Egyptian love of life, not worship of death, will
be emphasized. The next gallery, formerly
gallery C, is the ‘Religion and Kingship
Gallery’, in which both topics, as well as the
intersection of the two, will be explored. The
final gallery, formerly gallery D, is the
‘Polytheism and Monotheism Gallery’. The
worship of the goddess Sekhmet and the
monotheistic period of Amarna will be
contrasted and compared, taking advantage of
the strengths of our Amarna material and the
prevalence of Sekhmet in our collection. These
two halves of the gallery are set up as shrines,
to give a sense of immersion in Egyptian
culture.
In the past, there was no thematic order
to the galleries and their cases. The previous
method of curatorial work, the grouping of like
objects, such as pottery, was employed. In the
galleries we are currently installing, Egyptian
cultural practices are being emphasized and
interpreted. Upon exiting the tomb and entering
‘Daily Life’, the house and home will be
covered, gradually shifting to agriculture,
artisans, and scribes. Objects that would be
used with each other, or that are related by
topic rather than material, are grouped
together. ‘Daily Life’ shifts into ‘Trade and
Cultural Exchange’, as we have a sizeable
collection of Mesopotamian material, as well as
other items from various cultures the ancient
Egyptians contacted and engaged.
Throughout the galleries and where
possible, quotes from ancient Egyptian
literature and letters are used to allow the
Egyptians their own voice. For instance, in the
cosmetics case, a New Kingdom love poem
describing the ideal of feminine beauty is
translated and posted. We hope to personalize
the people of ancient Egypt for our visitors, so
that they leave seeing the humanity, rather
than the mummies.
The goal is to send the visitor on a
personal journey of discovery of ancient Egypt.
The path through the Museum will be clear and
presented in a concise order. Answers as well
as new questions will result from the path. The
Egyptians will have their own say. The visitor
will not require a guide to understand Egypt,
although they will be available to give talks and
elaborate on the information and content.
Research
Research is an ongoing project at the
Museum. Unprovenanced materials collected
in 1920 were sometimes misdated, so research
is always in progress to confirm and improve
our interpretations of objects, both on display
and in storage.
Recent research has included the
autopsy of one of our mummies with scientists
Dr. Ronald Beckett and Dr. Jerry Conlogue of
the Bioanthropology Institute of Quinnipiac
University. Non-damaging techniques such as
X-ray and endoscopy were employed to learn
as much as possible about our most
mysterious mummy, which came to us in the
coffin of a 25th Dynasty priest named
Usermontu from Thebes. There has always
been a question about the identity of this
mummy, which may not be the proper mummy
for the coffin. While we did not ascertain the
truth about his identity, we did learn many
details we did not have prior to this study. He
was, for instance, under thirty-five when he
died, perhaps as young as thirty. He also had
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vertebral changes that suggested a profession
of scribe.
We have invited researchers and
scholars from around the world to share their
expertise in each of their specializations, and
continue to do so.
Ethical considerations
We consider ourselves to be the
caretakers of the world’s cultural heritage. It is
our responsibility to preserve and protect the
materials of the ancient Egyptians for future
generations. Each of the objects in our
collection is unique. Some of them are
particularly special, because they might be the
only surviving record of a person’s life, the fact
that they were on this planet for a brief space
of time. The mission statement of the
Rosicrucian Egyptian Museum states: “The
Rosicrucian Egyptian Museum collects,
preserves, researches, and interprets objects
that depict the achievements of ancient
civilizations to promote public understanding of
history and the cultural interactions that have
led to our time”. We take our mission very
seriously,
and
our
installations
and
interpretations must always answer to this
ideal. The mummies act as ambassadors form
the past, a chance to meet a person who saw
what we might only imagine. Our labels
present knowledge and are intended as a
catalyst to more questions. Our renewal of the
galleries has been with one primary purpose:
preserve that which is entrusted to us.
The future
The future of the Museum and its
complex is bright. Rosicrucian Park has
entered a very busy phase of its existence with
renewal and expansion, and the Museum is
joining in with its renewal and conservations
work. Also in the park, a replica of an 18th
Dynasty
Egyptian
garden
has
been
constructed on the site of the old
administration building. This garden is stocked
with authentic plants that grew in the ancient
gardens, and will allow the Museum to give
walking tours on the topics of Egyptian
households, medicine, and food. The
Rosicrucian Planetarium, after being closed for
six years, has been refurbished and re-opened
in March of 2004 with a new archaeologybased show regarding the worship of Mithras
and its astronomical origins. The Rosicrucian
Library has new expanded open house to
accommodate the public. Throughout the park,
the landscaping, the construction, and the
details have been attended to for the next
phase of Rosicrucian Park’s service to the
people of the region and beyond.
The Museum itself is attracting
burgeoning membership, increasing five times
over in the past two years, increased
attendance, sold-out lectures and special
events, and the attraction of world-class
scholars. Our website has attracted not only
many ‘hits’, but also is used for student
research and the online booking of our school
tour program.
Our hard work has been a reward in
itself, and the gift that is being presented to the
community is an honour.
The Rosicrucian Egyptian Museum is
located at 1342 Naglee Avenue in San Jose,
California.
Our
website
is
www.egyptianmuseum.org.
The Rosicrucian Peace Garden, based on 18th
Dynasty examples, opening June, 2004 (©
Rosicrucian Egyptian Museum).
18
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The Logan Museum of Anthropology’s
European Paleolithic Collections
By W. Green
The Logan Museum of Anthropology is a
unit of Beloit College, an undergraduate liberal
arts college. Founded in 1894, the museum
houses over 250,000 anthropological objects
from around the world. The museum
preserves, exhibits, and interprets these
collections; makes them accessible for
teaching, research, and public education; and
promotes experiential (hands-on) learning in
anthropology, museology, and other fields.
In the 1920s, the Logan Museum
focused much of its research and collecting
efforts on the Paleolithic of Western Europe.
Sponsored by the museum’s founding patron
Frank G. Logan, curators George L. Collie and
Alonzo W. Pond acquired over 21,000
specimens representing all of the major French
Paleolithic “cultures.” The museum team
excavated two sites in the Dordogne (Rocher
de la Peine [Magdalenian] in 1926 and Abri
Cellier or La Ruth [Aurignacian] in 1927), but
Collie and Pond built the collection primarily
through purchasing material from private
collectors and landowners. Some material was
purchased from the Musée des Eyzies.
The
Logan
Museum’s
European
Paleolithic collections have been the subject of
several publications, theses, and research
papers. In the museum’s own publication
Exterior of the Logan Museum (© Logan
Museum of Anthropology).
View of visible storage (© Logan Museum of
Anthropology).
series, Collie (1928) supplied an early
overview, and White & Breitborde (1992)
compiled a well-illustrated 367-page set of
research reports and collection summaries.
The latter volume focuses on bone, antler, and
ivory implements and ornaments, as well as
engraved figures in stone and other media.
Aurignacian, Magdalenian, and other Upper
Paleolithic assemblages are especially well
represented. White (1992) supplies a useful
history and inventory of the Logan Museum’s
acquisitions of French Paleolithic collections. In
addition, White (2002) has reviewed the
museum’s work in the context of other
American archaeological studies in Western
Europe and in relation to the archaeo-political
environment of the 1920’s.
In 1992 the Logan Museum reorganised
and rehoused its European and North African
(Capsian) archaeological collections with funds
Anthropology).
19
www.PalArch.nl
Anthropology).
from the U.S. National Science Foundation.
This work made the collections and associated
documentation easier to access and to use for
research and teaching. A portion of the
collection is on exhibit, while the vast majority
is in secure storage cabinets in the museum’s
Paleolithic Studies Center. The collection is
used regularly for teaching and is accessible to
LMA 10494 and 4.7.1.1, painted river pebbles,
Mas d'Azil (Ariege), France, Azilian (© Logan
Museum of Anthropology).
LMA 4.7.253, necklace, Abri Blandchard
(Dordogne), France, Late Magdalenian (©
Logan Museum of Anthropology).
qualified scholars. The Logan Museum
welcomes visitors and researchers, and the
museum especially invites inquiries from
researchers interested in working with its
Paleolithic collections.
Beloit College is located in Beloit,
Wisconsin, on the Illinois-Wisconsin state line,
close to Chicago, Milwaukee, and Madison.
Beloit is easily accessible via a 1.5-hour drive
or bus ride from O’Hare International Airport.
To learn more about particular collections or to
schedule a visit, please contact the Curator of
Collections,
Nicolette
Meister
(email:
[email protected]).
For general information about the
museum,
please
see
http://www.beloit.edu/~museum/logan/index.ht
ml.
For an overview of the European
archaeological
collections,
please
see
http://www.beloit.edu/~museum/logan/catalog/
europe/index.htm.
For biographical information on Collie &
Pond,
see
http://www.beloit.edu/~museum/logan/collectio
ns/collectors/index.htm.
Cited literature
LMA 12571, Capra ibex engraved bone,
Jouclas/Grotte de Lacave (Lot), France,
Magdalenian
(©
Logan
Museum
of
Anthropology).
Collie, G.L. 1928. The Aurignacians and their
culture. – Log.Mus.Bul. 1, 1).
White, R. 1992. The history and research
significance of the Logan Museum
French Paleolithic Collections. In: White,
R. & L.B. Breitborde. Eds. 1992. French
20
www.PalArch.nl
Paleolithic Collections in the Logan
Museum
of
Anthropology.
Log.Mus.Bul. (new series) 1, 2: 1-37.
White, R. 2002. The historic and legal context
of foreign acquisitions of Paleolithic
artifacts from the Périgord: 1900 to
1941. In: Straus, L.G. Ed. 2002. The role
of American archeologists in the study of
the European Upper Paleolithic. –
Oxford, BAR International Series 1048:
71-83.
White, R. & L. B. Breitborde. Eds. 1992.
French Paleolithic collections in the
Logan Museum of Anthropology. –
Log.Mus.Bul. (new series) 1, 2.
Note: Copies of White & Breitborde (1992)
(ISBN 1-880763-02-8) are available for U.S.
$40 each, plus $8 (international) shipping.
Send order and payment to: William Green,
Director Logan Museum of Anthropology,
Beloit College, 700 College St., Beloit, WI
53511, USA.
The mysterious Bog people
by V.T. van Vilsteren
Introduction
The bogs of north-west Europe once
were dangerous, fog-filled places where a
wrong turn or step could result in accidents
such as getting lost or drowning. It is not
difficult to understand, therefore, why the
people of the past believed that gods and
spirits inhabited the swamps. These gods and
spirits controlled life and death, sickness and
health, good crops and bad harvests, and
happiness and misfortune. The ancient
peoples believed that valuable gifts and
sacrifices would win them good graces of the
gods and they made their sacrifices to the bogs
believing that they were a kind of doorstep
between their world and that of the gods.
Never before have so many sacrifices,
including bodies and objects, been found in
such concentration. An impressive new
overview of all these discoveries is presented
in the exhibition “The Mysterious Bog People”,
to be seen from September 18th in the Drents
Museum in Assen (The Netherlands). Already
470.000 visitors so far have been attracted by
the amazing discoveries displayed in this
international project.
International partnership
In 1998 the Drents Museum took the
initiative for an international co-operation in
order to develop a large exhibition on bogfinds.
Four major partners on two continents have
since been working in close harmony on this
groundbreaking exhibition. As such it has
become a joint international project of the
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The exhibition
Numerous brooches and other valuables were
offered near a spring at Bad Pyrmont,
Germany (© Niedersächsiches Landesamt für
Denkmalpflege, Hannover).
Theatrical lightning in the exhibition evokes the
mysterious atmosphere of the bogs (© Drents
Museum, Assen).
Drents Museum in Assen (The Netherlands),
the Niedersächsisches Landesmuseum in
Hanover (Germany), the Canadian Museum of
Civilization in Ottawa (Quebec, Canada) and
the Glenbow Museum in Calgary (Alberta,
Canada). “The Mysterious Bog People” is a
unique project, as it is the first time that
important bog finds will be brought together on
a major scale through a collaboration between
North America and Europe. It is the most
extensive international partnership ever
undertaken by the partner museums. The two
European partners are providing most of the
exhibits and their expertise in relation to the
content, curatorial research and collections,
while the two Canadian partners are offering
their
leadership
in
museology,
projectmanagement,
promotion
and
fundraising.
Working this way has made it possible
to
present
the
almost
international
phenomenon of bog finds in an appropriate
way, using the collections in Assen, Hanover
and other well-known museums (among others
the National Museums of Antiquities of
Denmark and The Netherlands). Partnership of
four international museums on such a scale is
unique in the museum world.
In prehistoric times, as north-west
Europe became increasingly wet, peat began
to form and vast areas were covered by bogs.
People lived peacefully on the high, dry land
between the bogs. The bogs were dangerous
and often foggy places where one could easily
get lost and drown, and were shrouded in
mystery. It is easy to understand why people
believed that they were inhabited by gods and
spirits, who had control over life and death,
health, crops, cattle and the fate of humans.
Good relations with these powerful beings
were essential and could be maintained
through offerings, which were deposited at the
threshold of the dwelling place of the divinities.
Valuable items such as grain, antlers, pottery,
wheels, weapons and jewellery were left in the
bogs, turning them into immense reservoirs of
gifts. Anything of value could be used as an
offering. Even people were sacrificed to
propitiate or thank the gods.
Even in the medieval period the old ritual of
offering in the bogs continued (© Drents
Museum, Assen)
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The gloomy features in the face of the
reconstruction of the 16 year old Yde girl seem
to reflect her mournful fate (© Drents Museum,
Assen).
Yde-girl, a Dutch bogbody now in the Drents
Museum, was strangled in the first century A.D
(© Drents Museum, Assen).
In early modern times, people began to
exploit the bogs. As huge quantities of turf
were cut for fuel, the gifts that had been buried
for the gods were gradually uncovered,
providing a glimpse of the life of our ancestors.
One of the themes of the exhibition is the
practice of making offerings, through which
prehistoric people tried to control their fate.
Visitors to the exhibits will be astonished by the
wide range of objects that were carefully laid
down in the bogs. These items shed light on
religious practices in north-west Europe in
prehistoric times and provide substantial
information on daily life. This will be
complemented by a number of everyday
objects
from
different
archaeological
sites showing the special character and value
of the bog finds.
“The Mysterious Bog People” is the first
international touring exhibition to tell the story
of life in northern Europe from the Stone Age to
the end of the 16th century and to reveal the
importance of the discoveries in European
bogs, which shed light on the everyday lives,
ideas and beliefs of ancient peoples. Through
artefacts, text panels, settings, lighting and
sound, the exhibition aims to provide visitors
with a full experience of the bog offerings and
the bog environments in north-west Europe,
which have preserved these fascinating relics.
A unique item on display includes the remains
of the only known wooden Bronze Age temple.
The artefacts selected for display tell the story
of the people and their culture who lived near
the bogs. They will include bog mummies and
details on the reconstruction of individuals like
the ‘Yde Girl’ using modern forensic science.
The technique of reconstruction using modern
forensic science is also examined. Scientists
are able to reconstruct facial features from a
skull that is very well-preserved. Using clay or
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The famous necklace found in Exloo, The
Netherlands, comprises amber tin and glass
beads (© Drents Museum, Assen).
wax, the tissues and skin are modelled on a
copy of the skull. Other facial features such as
eyes and hair are also added, giving an
impression of what the individual looked like. A
host of objects found in the bogs, such as flint
and bronze axes, pottery, bronze swords,
leather shoes, textiles, gold coins, jewellery,
musical instruments and agricultural tools are
also a part of this display. The exhibition will
also feature one of the oldest artefacts from a
European bog: the Pesse dugout canoe, which
was found in 1955 and has been carbon dated
between 8040 and 7510 BC. It is the oldest
known boat in the world and was made from a
Scots pine with the use of flint axes. This
remarkable object will serve to explain what a
bog environment is like and how it acts to
preserve organic matter.
The exhibition also reveals the botanical
nature of bogs, which preserve objects that
would decay under normal burial conditions.
The history, biology and preservation
properties of bogs are clearly demonstrated.
The scientific techniques and forensic analysis
used to determine the age of the objects found
in the bogs of north-west Europe are explored
as well. The scientific component of the
exhibition places it at the leading edge of
international archaeological discovery about
prehistoric Europe. Forensic research currently
being conducted on one of the bog mummies
of the Niedersächsisches Landesmuseum is
revealing
interesting
historical
and
archaeological evidence in support of the
theory that the bogs were indeed centres of
spiritual activity and significance to early
northern Europeans. The Mysterious Bog
People is a unique exhibition. Never before
have so many bogmummies and offerings
been brought together, providing valuable
insight into the practices of our ancestors.
Among the prehistoric persons that visitors will
encounter are Red Franz, found in 1900 in
Germany, and the already mentioned 16-yearold girl from Yde, discovered three years
earlier in The Netherlands. Although these two
ancient Germans could not have met while
alive, they will lie peacefully side-by- side in the
exhibition. Fans of Vincent Van Gogh will also
have a rare opportunity to see a painting that
captures the often desolate atmosphere of the
bogs.
Background
Bog finds have continued to enjoy the
interest of many scholars at home and abroad
since the time of the Drents Museum founding.
The Drents Museum was one of the first
museums in The Netherlands to have its own
archaeologist. From the time of the First World
War (1918) to the 1950s, Dr. A. E. Van Giffen
was responsible for maintaining and expanding
the Museum’s archaeological department. As
director and professor of the distinguished
Biological and Archaeological Institute of the
University of Groningen, he was the first to
apply an approach to archaeological digs in the
northern regions of The Netherlands that was
both systematic and scientific.
Due to intensive bog and heath drainage
carried out before and between the two world
wars, the number of archaeologists involved
with the Museum grew. As a result of the work
of Van Giffen and his successors, the Drents
Museum in Assen has one of the most
important archaeological collections in Northwest Europe. The same could be said of the
collection belonging to the Niedersächsisches
Landesmuseum in Hanover, another of the
partners in this project.
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www.PalArch.nl
The Weerdinge couple: two Iron-age men that
were sacrificed in the bogs of Drenthe, The
Netherlands (© Drents Museum, Assen).
In Germany, the first studies of the thenknown bog bodies were carried out by a
woman pioneer of archaeology in the 1870s:
Johanna Mestorf. She wrote a catalogue of
bog bodies, interpreting them as the victims of
murder. This interpretation would change over
the years, but German archaeologists were still
among the first to discuss bog finds and bog
mummies seriously. From 1907 on, Hans
Hahne, Director of the Niedersächsisches
Landesmuseum, conducted some very
important research which is today carried on by
a number of specialized archaeologists
excavating spectacular bog sites in Lower
Saxony.
It was not until the mid-1980s that
Drents Museum archaeologist Dr. W. A. B. Van
der Sanden began his work on the artefacts
from the highly productive Drenthe marshes. In
1990, he published the results of his research
in a thesis entitled “Mens en Moeras” (or: “The
Bog People”). As a direct result of his research,
the head of one of the bog mummies was
reconstructed to produce an image of what we
know as the Yde Girl. Since 1994, this
resurrected prehistoric girl has formed the
gruesome centrepiece of any visit to the
Museum’s prehistory department.
The Niedersächsisches Landesmuseum
possesses one of the best-known bog
mummies: Red Franz, a man with bright red
hair and beard, killed around 300 AD.
Exclusively for “The Mysterious Bog People” a
facial reconstruction was made by the famous
English forensic pathologist Dr. R. Neave, who
also reconstructed the Yde girl. Both
reconstructions and the original bodies are
major attractions of the exhibition. Both
national and international interest in mummies
found in the bogs has soared, resulting in the
release of two films on Yde girl, one made in
1997 by Discovery Channel and the other in
1998 by the BBC, and with an exhibition of the
bog mummies, organised by the Drents
Museum and presented in Silkeborg, Denmark.
More recently two more films on bog mummies
have been produced by National Geographic
Channel, starring bog bodies from the
collection of the Drents Museum. An 30 min.
episode of the ‘Tales of the Living Dead’
reveals the magic background of the medieval
Wijster bog bodies and an episode of ‘The
Mummy Road Show’ dealt with research on the
Weerdinge couple. All films will be shown in
the Drents Museum on a regular basis.
While in Ottawa, the exhibition enticed some
(native?) visitors to secretely make offerings on
top of the showcases. The little bags contained
tobacco (© Canadian Museum of Civilization,
Ottawa).
25
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Exhibition
The palaeoart of Joe Tucciarone
All the objects are displayed in a
beautiful decor designed by GSM in Montreal.
The impact as the bogs must have had on
prehistoric man is reflected in the mysterious
atmosphere the designer has created. It makes
people walk
around respectfully
and
whispering. In Ottawa the exhibition was
awarded with the Grand Prix du Tourism de
l'Outaouais.
The exhibition is to be seen at the
Drents Museum in Assen (The Netherlands)
from September 18th 2004 until January 9th
2005. The international tour (after stops in
Hanover, Ottawa and Calgary) will continue
from then on to:
By J. Tucciarone
Manchester [UK] February - May 2005
Chicago [USA] June - September 2005
Pittsburgh [USA] October 2005 - January 2006
Los Angeles [USA] March - September 2006
Milwaukee [USA] October 2006 - January 2007
Negotiations concerning an Australian
extension on the tour are still going on. The
bilingual exhibition is accompanied by a richly
illustrated book, available in four language
versions (English, French, Dutch and German).
More information is available on the website
www.bogpeople.org or www.drentsmuseum.nl.
I had three hobbies when I was a child.
Like many children, I enjoyed drawing and
colouring pictures. When I was eight years old,
my mother enrolled me in Saturday morning art
classes for children at the Butler Institute of
American Art in Youngstown, Ohio. In addition
to art, I was also fascinated by the moon and
stars. At the age of ten I became captivated by
astronomy after my first look at the moon
through a small telescope. But above all else I
was spellbound by dinosaurs. I could not
believe that such colossal and ferocious
animals had ever lived. There was a seminal
moment in my life when I opened my first book
about prehistoric times and I realized that
these terrible creatures once ruled the
peaceful, well-ordered world I thought I knew
so well.
I made many trips to the local library
until I had read every book it contained about
dinosaurs. In my art classes I had little interest
in drawing traditional subjects like seascapes
and pastoral scenes. Instead, I much preferred
creating illustrations of my favourite dinosaurs!
Although dinosaurs were immensely intriguing
to me, the focus of my attention gradually
drifted upward to the heavens. I grew up in the
1960s when the Space race was in high gear,
and images of the astronauts and the moon
were everywhere. At the age of twelve I built
my first telescope, and by the time I had
graduated from high school I decided that I
wanted to become an astronomer. In order to
achieve that goal, I studied astronomy and
My first drawing of a dinosaur (© J.
Tucciarone).
26
www.PalArch.nl
physics in college. After receiving my Masters
Degree I embarked on a professional career,
but not as an astronomer. I combined my
interest in art with my education in astronomy
and became a planetarium artist. For more
than twenty years I specialized in creating
space art for domed theatres. The high point in
my profession as an astronomical artist was
reached when National Geographic magazine
commissioned and published a collection of my
illustrations. Then, a chance event added a
new dimension to my artistic endeavours.
About eight years ago I was given a
script and asked to transform it into an
educational and entertaining planetarium
show. I had no enthusiasm for that particular
project, so I asked my clients if I could write
and produce a show about something more
interesting to me. I convinced them I could
create a planetarium show about dinosaurs,
even though I hadn't drawn a picture of one
since I was a child! After many months I
managed to research, write and illustrate the
show for my clients. However, of more
importance for me was the reawakening of my
interest in dinosaurs. With the success of the
‘Jurassic Park’ books and films, I found that
dinosaurs were as popular with adults as they
were with children, and illustrations of my
prehistoric beasts soon began appearing in
books, magazines and even movies. As a
child, I never wondered how or why I had
become so thoroughly entranced by dinosaurs.
I was simply amazed by their monumental size
and totally alien appearance.
I am still awed by prehistoric animals,
but my childhood wonderment has been
tempered by my need to learn as much as I
Cryolophosaurus (© 2003 J. Tucciarone).
http://members.aol.com/Dinoplanet/cryo.html.
can about their physical characteristics. Since I
now create dinosaur illustrations for publishers,
I have begun to study them very closely in
order to produce accurate paintings of them.
Palaeontologists excavate their bones and
reconstruct their skeletons. My job is to add
flesh to those bones and, at least on paper,
bring the dinosaurs back to life.
It might seem that art and the science of
palaeontology would have absolutely nothing
in common, but just the opposite is true.
Palaeontology and art have a good deal in
common and are very closely interwoven on
many levels. There are no living dinosaurs
roaming the earth today, so book and
magazine publishers employ artists when they
need images of prehistoric creatures. This
requires that such artists have some scientific
background. To create a realistic and accurate
depiction of a dinosaur, an artist must
understand anatomy, geometry, perspective
and the interaction between light and matter.
In order to accurately portray an extinct
animal, the first step I take is to read as much
about it as I can. A description of the fossil
remains written by a palaeontologist is the best
source of information. It is important to
have some idea of the creature's posture and
whether it habitually walked, ran, or even
glided through the air. It is also vital to know
when and where the animal lived in order to
depict it in its proper environment and
surrounded by its biological contemporaries.
Yet, no matter how much data I gather about a
specific dinosaur, one gap in the information
always remains: what did the living animal look
like? Scientists can tell us much about its
skeleton, a little about its musculature but
almost nothing about the texture and colour of
its flesh. Such ‘life restorations’ lie in the realm
of the artist. In many cases the remains of
dinosaurs are so fragmentary that the full
reconstruction and depiction of the creature is
necessarily speculative. It is one thing to see a
dinosaur's crumbling remains in a museum. It
is another thing altogether to envision it as a
living, breathing creature. That is the challenge
of creating this kind of illustration. For me,
producing such a painting is an enjoyable
exercise that is only possible because of the
wonderful marriage of art and science.
Once I have all the necessary
background information about my subject , I
27
www.PalArch.nl
Night stalkers (© 1999 J. Tucciarone).
http://members.aol.com/Dinoplanet/mega.html
Allosaurus maximus (© 2002 J. Tucciarone).
http://members.aol.com/Dinoplanet/a_maximu
s.html.
can begin the process of creating an
illustration. I always begin a dinosaur
illustration with a series of pencil sketches of
the animal. For these, I rely heavily on the
skeletal reconstructions of the animal's
remains. Once I have made a basic drawing of
the stance and pose of a dinosaur, I must
decide what the surface of its skin will look like.
I base much of the life appearance of my
dinosaurs on their ancestry and their closest
living relatives. The system of cladistics shows
that dinosaurs belong to the monophyletic
group ‘Reptilia’. Since this group also includes
crocodiles and alligators, their general
characteristics are sometimes useful when
rendering images of dinosaurs. Evidence has
been found indicating that birds descend from
dinosaurs. If this is true, the behaviours and
appearances of birds can be used as guides in
the illustration of dinosaurs. Birds are warmblooded, agile and many of them are quite
colourful. Some or all of these traits may be
used as templates in the reconstruction of the
life appearances of dinosaurs.
I have my own artistic style that is
somewhat different than those of most other
palaeo-artists. I seldom include anything but
the simplest scenic elements in my paintings.
One of my favourite artists is Frank
Frazetta. His subjects lie mainly in the realm of
fantasy and science fiction, but I have always
enjoyed his artistic style. He includes little or
no background scenery in his paintings, which
serves to emphasize the heroic figures he
portrays. My artistic style is heavily influenced
by the drama of Frazetta's paintings. Of
course, my style is also based on my passion
for these primordial monsters.
For me, dinosaurs have always loomed
larger-than-life,
and
sensational
new
discoveries constantly add to their superstar
status. New discoveries give me opportunities
to illustrate new kinds of animals. Such finds
drive my work by inspiring me to paint and
creating a demand for my illustrations.
Palaeontologists are digging up new kinds of
dinosaurs at an accelerating pace all around
the world, and better science is giving us a
more refined and detailed view of their
appearances and ways of life. Dinosaurs are
no longer regarded as the reptilian slugs we
used to see squatting in dusty museums. We
now know that many of them were intelligent
and agile. Headlines proclaim the discoveries
of the largest land animals that have ever lived,
the discovery of feathered dinosaurs and even
the discovery of the fossil image of what
appears to be a dinosaur's four-chambered
heart. Their avian physiologies link them to
living birds, and their sudden disappearance
lends an element of mystery to their
story. They are like comic book superheroes
engaged in a real-life, historical drama where
they roam the frontiers between fact and
fiction. For me, they will always be the scaly
lords of an ancient realm; the masters of a
bygone world forever lost in the depths of time.
28
www.PalArch.nl
More work can be seen on my website:
http://members.aol.com/Dinoplanet/joe.html.
Egypt in photographs
By Z. Kosc
Ozymandias
"... Two vast and trunkless legs of stone Stand in the desert... The lone and level sand stretch far
away." The Ramesseum, Luxor West Bank, Egypt. Photography Z. Kosc © 2004 (See also:
http://members.ams.chello.nl/zkosc/index.html).
Colophon
The Newsletter is an initiative of the
PalArch Foundation and is edited by A.J.
Veldmeijer ([email protected]) and S.M.
van Roode ([email protected]). The illustration
editing is done by A.M. Hense (www.egyptarchaeology.com/,
[email protected]).
The Newsletter is offered for free to the
supporters
of
the
Foundation
(see
http://www.palarch.nl/information.htm,
3.6
Membership); back issues will be offered for
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