Teotihuacan: "Where the gods were born"

Pyramid of the Sun, Teotihuacan. In mid-March, Carole and I took off on an expedition we have long dreamed about. Caravan Tours runs a 9-day trip through the southern half of Mexico with stops at some of the most famous pre-hispanic ruins. In addition, we got to explore parts of Mexico City, Vera Cruz, Campeche, and Merida. We have been fascinated by ancient cultures ever since we stumbled across some Anasazi ruins while camping in a remote part of Arizona. After flying to Mexico City and receiving an evening briefing by Mauricio, our tour director, we set off the next day to visit Teotihuacan (Tayo-tee-wakan), the ancient capital of one of the most important of Mexico's great urban cultures.

The name Teotihuacan actually came from the Aztecs, who called the place "Where the gods were born". Teotihuacan was already ancient and had been abandoned for centuries when the Aztecs arrived. However, the site was so impressive that they attributed god-like qualities to those who had built it, and the Aztec emperors used to make pilgrimages on foot to Teotihuacan from their capital 30 miles away. In fact, no one really knows what people built this great city, or what name they gave it, or what they called themselves. And no one knows for sure why, in approximately 750 AD, they abandoned the great metropolis after 900 years of occupation and left it to fall into ruin.

Map of the central area of Teotihuacan. The city was actually much larger than what is shown on this map. Its population may have reached 200,000, making it one of the largest cities in the world in 600 AD, certainly larger than anything in Europe at the time. We only had time to visit a few of the areas shown above, including the Pyramids of the Sun and Moon, the Avenue of the Dead which connects them, and the Palace of Quetzalpapalotl. For more extensive maps of Teotihuacan, click here. The city was carefully planned, and laid out in a grid pattern, very unusual for pre-hispanic urban areas in Mexico. The orientation was north to south, with the Pyramid of the Moon on the North. I should note here, that all the names attributed to the various structures, as well as the name of the city itself, were given by others many centuries after Teotihuacan was abandoned. I am including this map courtesy of Bill Giovanni of MexicoAdvantage.

Pyramid of the Sun, from the Avenue of the Dead. The Pyramid of the Sun is staggeringly huge, the third largest in the world. Only two of the great pyramids of Egypt are larger. Some idea of scale can be gotten from the people than can be seen on top. Millions of tons of stone were quarried, moved, and raised to build the structure. This was accomplished by a culture that had no metal tools, and no draft animals or wheeled vehicles. The ancient Egyptians possessed bronze tools, as well as horses and wheeled carts, making the accomplishment of the Teotihuacan builders even more impressive. The structures seen in the foreground above are part of a series of temples built along both sides of the Avenue of the Dead, from end to end. They were for the worship of a bewildering array of gods.

A priestly elite occupied palaces directly in front of the Pyramid of the Sun. These structures lie within a wall that extends forward from each side of the pyramid and across the front, sealing it off from the rest of the city and ensuring that the priestly class was set apart from the commoners. The Pyramid of the Sun was probably the first big structure built in Teotihuacan, around 100 BC, and was the center of the city. In 1971, scientists discovered a cave, actually a long volcanic tube, lying under the pyramid. Such caves were considered sacred in ancient pre-hispanic cultures, both as entrances to the underworld of the dead and as spiritual wombs for rebirth. This may have been why the pyramid was built on this spot. Ironically, scientists now believe that the pyramid was for the worship of the rain god, Tlaloc, rather than for the sun, as the 16th Century Spanish thought when they named it. A water moat has been found around the base of the pyramid, and sacrificed children were buried at each corner--typical offerings to Tlaloc. Since rain threatened us throughout our tour, perhaps Tlaloc was sending us a bit of a reminder of his power.

The Pyramid of the Sun still exerts spiritual power. Above, a circle of young Mexicans gathers on the top of the pyramid to commune with the forces of the universe. Scientists have noted that the pyramid was built in such a way that from its top ancient priests would be able to determine the precise time of noon and midnight through use of the advanced astronomy they possessed at the time. Significantly, even after the city was abandoned, religious activities at the site continued for hundreds of years until well into Spanish times. The young Mexicans above are participating in this 2000-year-old tradition.

Avenue of the Dead, looking south from the Pyramid of the Sun. In the foreground, a party of tourists trudges up the extremely steep stairway to the summit of the pyramid. The broad Avenue of the Dead extends from the base of the Pyramid of the Moon, past the front of the Pyramid of the Sun and far into the distance. It can be seen extending from the center right of the photo toward the upper left trio of low peaks. The ancient city stretched out broadly on either side of the Avenue, with densely packed houses and shops covering an area of over 8 square miles. Teotihucan was a cosmopolitan city, with neighborhoods for many of the ethnic groups found in Mesoamerica at the time, including a substantial neighborhood of Mayas, hundreds of miles away from their homeland. There is some evidence that the many temples along the Avenue of the Dead functioned in part as social, as well as religious, centers for these disparate groups.

Avenue of the Dead looking south from the summit of the Pyramid of the Moon. On the upper left is the Pyramid of the Sun. Notice how the sillouette of the Pyramid of the Sun mirrors the mountain behind it. Similarly, the Pyramid of the Moon sillouettes the mountain behind it to the north. In the immediate foreground is a structure that formed part of the entrance area of the Pyramid of the Moon. In the center is an altar with stairways leading from the four cardinal points. The altar sits in the middle of a broad plaza surrounded by a group of temples which extend out from either side of the Pyramid of the Moon. Unlike the one in front of the Pyramid of the Sun, the plaza above is open, suggesting that it was the place of great public gatherings, and that the Pyramid of the Moon and its surrounding temples were open to the common people.

Broad steps lead to the top of a temple along the Avenue of the Dead. Thousands of people once thronged the Avenue and the plaza in front of the Pyramid of the Moon. On top of these platforms once stood structures made of perishable wood and thatch in which various rituals were performed, possibly including human sacrifice. Now, all stand silent under an arc of blue sky, disturbed only by the quiet, somewhat awed passing of tourists like me.

Vividly painted animals from an ancient world. This brightly colored painting was found on the wall of one of the temples along the Avenue of the Dead. The animal is a puma, or mountain lion. The wavy lines indicate a watery environment. The circles represent jewels, called chalchihuites. Some ancient artist of this lost world painted his vision on the temple wall almost 2000 years ago. It was only discovered by archaeologists in 1963.

Pyramid of the Moon from the top of the Pyramid of the Sun. The Pyramid of the Moon was built later than its more massive mate, and slightly uphill, giving it an appearance of equality. Teotihuacan was not only a great city, but the center of a far-reaching commercial and trading empire. Its trading networks drew in products such as exotic birds from Guatamala and turquoise from the Arizona/New Mexico area, and other goods from the Gulf and Pacific Coasts. In turn, goods produced by Teotihuacan artisans found their way to those faraway locations. Scientists are still debating whether the artifacts of Teotihuacan got in those places solely by trade or in part through conquest. Since the people of this great civilization left no written language, we can only speculate until archaeology brings new answers. Clearly, though, Teotihuacan had an enormous influence on all the contemporary cultures of what is now Mexico and Central America as well as the succeeding civilizations which sought to emulate it.

The Avenue of the Dead leads directly to the Pyramid of the Moon. Behind the pyramid, a great mountain mirrors the man-made structure, again probably not a coincidence. Although most the structures now existing give the appearance of rough stone, at one time they were covered by plaster and painted in vivid colors, including bright red, and many surfaces contained designs both abstract and of the natural world. The people who inhabited this civilization were highly intelligent, skilled in both engineering and the arts, and extremely well organized. While some of the other great ruined cities we visited were more aesthetically pleasing, or were set in more exotic locations, Teotihuacan left me with a unique sense of strength and power more akin to ancient Rome than to the other Mesoamerican civilizations that preceded or followed it. I can well understand why subsequent civilizations viewed Teotihuacan as a city created by giants, and as the birthplace of gods.

Stepped temple pyramids adjacent to the Pyramid of the Moon. Teotihuacan did not originate the idea of stepped pyramids in ancient Mesoamerica. That probably came from the Olmecs, the "mother of cultures," centuries before. But Teotihuacan's influence in its own time and in succeeding centuries ensured that the design was wide-spread.

Pyramid of the Moon. Although somewhat smaller than the Pyramid of the Sun, the Moon structure is still massive, as you can see from the people standing in front and walking up the steps. This structure was definitely built to impress. 

A steep climb. Even with a cable to clutch, the climb down was scary. A misstep and a tumble to the bottom could easily have fatal consequences. It was just such an accident at El Castillo in the Maya city of Chichen Itza that caused the Mexican government to forbid climbing the stairs there.

The Palace of Quetzalpapalotl is one of the most elegant in Teotihuacan. Quetzalpaplotl means quetzal-bird butterfly. The palace stands behind and adjoins one of the temples just to the right of the plaza in front of the Pyramid of the Moon. You can see the stepped structure of the temple on the right side of the picture above. In fact, part of the palace was buried by the erection of the temple, and the burial protected some of the wall frescos and carvings in the pictures below. From its proximity to the Pyramid of the Moon, it is probable that a priest-noble of considerable importance lived here.

An empty room reveals much. This large room is supported by stone pillars which were plastered with lime and then painted red. On the lower part of the walls are abstract red and white murals. The reconstructed ceiling is supported by large wooden rafters, over which are laid smaller sticks. Above the sticks is a layer of mud and plaster forming the floor of the room above.

One of the areas once covered by the construction of the adjacent temple. Delicately cut designs adorn the stones covering the pillars. Below the platform are vivid paintings in multiple colors. While the great pyramids on the site impressed and even awed me, I was touched in a different way by the rooms of the Palace of Quetzalpapalotl. People lived here, carried on relationships, raised children, and conducted their lives in a period very remote from our own. Even so, I could identify with their humanity and love of beautifully decorated spaces.

Detail of the palace wall decorations. These finely cut stone reliefs were once covered with bright paint. After 2000 years, some of the red pigment can still be seen. This conch shell trumpet design was repeated several times up the wall and in other places in the palace.

Brightly painted birds adorn the walls of the palace. These were assumed to be quetzal birds, but their beaks and body shapes may also be those of macaws or parrots. The initial assumption of the birds' identity led to the naming of the palace. Unfortunately, the excavation of the palace has led to exposure to air and humidity, and the paintings are deteriorating rapidly.

The Jaguar murals. The Quetzalpapalotl Palace is part of a group of dwellings known as the Jaguar Group, because most of them are embellished with beautiful murals of Jaguars, a very symbolic animal throughout Mesoamerican history. The one above was part of procession of Jaguars along the base of the wall in one of the Palace rooms. The Jaguar wears an elaborate feathered headdress, and along his back are a line of sea-shell trumpets. His left front paw clutches a conch-shell trumpet which is decorated with the long feathers of the quetzal bird. What emerges from the mouth of the trumpet are two drooping speech glyphs which represent the sound of the trumpet. The reach of Teotihuacan's trading empire can be seen in this mural. Both quetzal birds and seashells originate many hundreds of miles away.

Tlaloc, the rain god, peers down on the trumpet-blowing jaguar. This representation of Tlaloc is repeated several times along the top of the mural. Tlaloc is everywhere, from the great Pyramid of the Sun to rooms in private homes. This may give a clue to the fate of Teotihuacan. This part of Mexico has long been semi-arid, and thus dependent on rain for its crops. Hence, the importance of the rain god. In the process of building the vast metropolis of Teotihuacan, the mountains in the area were denuded of timber. The walls of the great pyramids and temples, as well as private palaces, were plastered with lime. The builders burned limestone, using the wood from the forests, to produce the lime. Deforestation may have caused the climate to become dryer and the crops to begin failing. The common people had been dominated for 700 years by a priestly class whose main job was to act as intermediaries with Tlaloc and the other the gods and ensure that the rains came and that, ultimately, people could eat. As long as the priestly class held up their end, Teotihuacan's population put up with forced labor, taxation, even human sacrifice. After years of drought, and multiple failed harvests, the common people may have said to their priestly rulers, in essence, "what do we need you for?" Around about 600 AD a great fire consumed parts of Teotihuacan. Interestingly, the areas burned were the temples and the dwellings of the elites. The great influence wielded by Teotihuacan over a huge area of central Mexico came to an abrupt end. The common people continued to occupy their neighborhoods for over 150 years, until 750 AD. Eventually, even they drifted away. Gradually the huge city fell to ruin, and its history was largely forgotten. But the mysterious structures were so vast and impressive that succeeding civilizations, including the Toltecs and the Aztecs, did their best to emulate the lost greatness. In some ways, Teotihuacan became the Atlantis of Mesoamerica.

Hopefully you enjoyed this posting on these wonderful ruins as much as we enjoyed visiting them. Feel free to send a link to this site to your family and friends. If you'd like to leave a comment, you can either use the comments section below or email me directly. If you leave a question in the comments section, PLEASE leave your email so that I may answer you.

Hasta luego! Jim

Colima Part 5: Suchitlan's mask craftsmen & Lago de Maria

Suchitlan craftsman puts finishing touches on a new creation. Gregonio Candelario Castro operates a small, rustic shop behind his house in the little town of Suchitlan, about 1/2 hour north of Colima. Carole and Maya and I wanted to see a mask craftsman at work, and Suchitlan has a reputation as the home of some of the best in the area. We also wanted to visit Lago de Maria, a scenic lake on the slopes of the Colima Volcano. For a map of the area, click here.

Suchitlan's plaza kiosko, simple but elegant. Suchitlan is a small town, with only about 1600 residents. It lies at an altitude of 4232 feet (1290 meters), about 1/2 way between Colima and the active volcano. We had to find El Centro and the plaza by continually heading down hill through the town from the main road, and occasionally asking directions. The whole area is wooded and very scenic, and the town was serenely quiet when we arrived. The serenity belied some of the town's history.

Friendly horse waits patiently outside the Suchitlan church. I have a soft spot for Mexico's animals and usually try to carry some carrots or an apple for the horses, who often lead hard lives. This one happily munched my little gift, and then posed with great dignity.

Near the church, I found a plaque detailing the origin of Suchitlan's "Fiesta de San Juan." During the Cristero War (1926-29) between the recently established revolutionary government and right-wing Catholic activists, Suchitlan was the scene of fierce fighting. One of the local Cristeros was named Maximino Avalos. Maximino ran low on ammunition and went to the plaza to find more. When he got there, he was amazed to find a piece of wood shaped in a human form by a smoldering campfire. Clutching the wood, he crawled through a storm of bullets to bring cartridges to his men. He figured his chances of survival were 100 to 1, but he made it and gave the credit for this "miracle" to the piece of wood he still carried. Maximino told his wife Tomasa all about it and she insisted they tell the local priest. The priest heard them out and decided that the piece of wood should be named after the saint of that day, St. John, or San Juan. Ever after, Maximino held an annual fiesta for San Juan in honor of the saint's help in saving his life. After he died, his relatives carried on the tradition, which Suchitlan still celebrates.

Gregonio's shop was not easy to find. When we asked various people for directions to the mask makers' shops, we got somewhat contradictory information. Finally, a little boy walked us up the street and pointed out a white house on the corner. There was no sign, but he indicated with a vigorous nod that this was the place. A young man finally answered the door and directed us to the rear of the house where we found Gregonio and a young assistant at work under a rustic, open shed. They were surrounded by masks in various stages of production.

Mask making is an ancient art, practiced with ancient tools and methods. For my picture above, Gregonio's assistant laid out a variety of adzes on the top of an old stump. These are handmade, probably by Gregonio himself, or the local blacksmith. An adze is a truly ancient tool, originating far back in the stone age. There are hieroglyphs from the Old Kingdom of ancient Egypt showing men using this tool, and it is found in cultures all over the New and Old World.

Early stage of mask making. We found various pieces like this scattered around the workshop. The inside of the mask is curved to fit the wearer's face, with eyeholes which may, or may not, correspond to the eyes of the mask itself.

Finished mask on the drying table. Mexican masks represent a variety of beliefs, mixing paganism, Catholicism, and history. The one above represents a handsome Spaniard on one side, but a figure of death on the other. This certainly seems to fit the indigenous people's experience with their Spanish conquerors.

Animals are another popular subject for mask carvers. Above, Gregonio's assistant models a jaguar mask. The jaguar is an extremely powerful animal, the third largest of the big cats, after lions and tigers. Jaguars have been a popular subject of indigenous carvers of Mexico back as far as the Olmecs, hundreds of years before Christ. In fact, the Olmecs would have related very well to the picture above, since one of their gods was the Were-Jaguar, half-man, half cat. To contact Gregonio Candelario Castro about his masks, go to his house on the corner of Lirio and Jasmin in Suchitlan, or call him on his cell phone at 044-312-100-6716.

Masks by Gregonio and other makers hung in this Suchitlan restaurant. Los Portales de Suchitlan can be found just off the plaza. From the outside, the restaurant is unimpressive, but a step inside brings a different picture.

Beautiful photos of Suchitlan and the Colima Volcano grace the walls. The restaurant has both inside and outside dining areas, with most of the tables outside under the trees.

Los Portales was once a coffee plantation. The outside dining area is much larger than this picture shows, capable of seating 200 people among a large grove of coffee trees. Food is traditional and quite good, and prices are very reasonable.

Lago de Maria was also on our agenda for the afternoon. The day was sunny with a light, cool breeze, perfect for a visit to this very scenic lake on the slopes of Volcan de Colima. There are areas for picnicking and camping a Lago de Maria, as well as a rustic motel. There were only a handful of people visiting that day and the overall scene was serene.

An agile duck. This little bird repeatedly outwitted a young Mexican trying to catch him. Apparently the ducks are used to this and this one seemed very unafraid. At one point, his pursuer dived for the bird and pitched headlong into the water. The Mexican's companions roared with laughter at his discomfiture and, with us, cheered for the bird.

A jungle rises from the water's edge. The drive from Suchitlan to Lago de Maria was wonderfully scenic as we rose up the skirts of the volcano. Deep forest alternated with wide-open views of the valleys leading down to Colima.

Maya enjoys a quiet moment beside the lake. Our friend Maya is a talented local artist who makes jewelry and collects folk art. I will soon be writing an article about her, and the highly unusual house where she lives, for a local on-line magazine called Mexico Insights.

Zzzzzzzzzzzzzz.... A young Mexican girl snoozes in a hammock strung from a convenient low-hanging branch beside the lake. This was just the sort of afternoon for a quiet nap, but we had to return to Colima, and to our home in Ajijic.

This completes Part 5, my final part, of our visit to the City of Colima and its surrounding area. I hope you have enjoyed the series. Feel free to share the link with this blog with family or friends. If you would like to leave a comment, please so do below, or email me directly. If you leave a question in the comments section PLEASE leave your email address so I can respond.

Hasta luego! Jim

Colima Part 4: Museum of Popular Arts, a collection of Mexico's finest folk art

Masked figure is a caricature of a Spaniard. We found the masked figure above in Colima's Maria Teresa Pomar University Popular Arts Museum, a few blocks north of the Jardin Libertad in El Centro. Carole picked this museum as one of her priority visits because it is reputed to contain some of the finest examples of Mexico's folk art. The figure above wears a costume typical of those used in many fiesta parades. The pink face, blonde wig, and beard show the figure to be a caricature of a Spaniard. For information about hours, location and a walking map to this and a variety of other museums in Colima, click here.

Dances and celebrations

Detail from mural in Popular Arts Museum. The photo above shows a detail of the large mural found beside the staircase in the museum. Costumed indigenous dances--especially with masks--have been popular for thousands of years in Mexico. Despite their obviously pagan origins, many of these dances have been incorporated into fiestas celebrating Catholic religious holidays. The figure in the top middle, with the bull on his head, is carrying a mobile fireworks display, represented by the multicolored disks along the side. I have seen just such a flaming bull during a fiesta in Ajijic. The person carrying the popping, sparking bull headdress ran through the fiesta crowd causing a stampede and much laughter.

Wizard figure. I wasn't able to determine the meaning of this figure, other than his striking resemblance to a wizard. Perhaps he represents one of the Magi, or Three Kings. Perhaps it was just the creator's imagination run wild. While there is much symbolic meaning to the masks and costumes, there is also a great deal of fun. Although both sexes dress up in costumes and masks, the dancers are predominantly male.

Animals are heavily represented in the masks and costumes. Above, one figure wears a crocodile around his waist, while a robed figure with a cow mask looks on. The natural world played a major role in indigenous religious practices, and this continued after the domination of Spanish Catholicism began in the 16th Century. We saw a similar crocodile in the mask museum of Zacatecas, but it was not until I saw the display above that I understood how it was worn.

Mask from Guanajuato does double duty. The masks of each region and culture differ considerably in their details and the materials they use. However, it is not uncommon to find a large mask with a gaping mouth, within which is another face, as you can see above.

Only thing missing is the apple. Above, a devil mask is framed by a serpent. It is fairly common for masks to contain several animals, sometimes representing a nose or ears or other feature of the face.

Clothing and textiles

Huichol Indians have preserved much of their culture. The Huichols, from the mountainous area bordered by Jalisco and Nayarit States, still dress in the manner shown above. At first I thought it was a gimmick for the tourists who buy their wonderfully complex beadwork and embroidery. I have since seen recent photographs of Huichols working in their fields and performing day-to-day tasks around their mountain villages dressed in this clothing. Huichols are quite averse to being photographed, so I was glad to have this inanimate figure with which to work. Leaning against the Huichol's knee is a hide quiver for a hunting arrows. Around the figure are various other examples of Huichol artistry.

Huichol art is highly symbolic. One of their art forms is a flat surface closely stitched with vividly colored forms and figures, some abstract, some of animal or human figures. A textile work like this takes an unbelievable amount of time and expertise. I once asked a Huichol artisan how long it took to create a work like this. His reply: "Until it is finished."

Beautifully embroidery borders this huipil. A huipil is an embroidered indigenous blouse or dress. Many Mexican indigenous cultures make huipiles, but they appear to have originated among the Maya and the Zapotecs of central and southern Mexico. They are simple garments, gorgeously decorated by stitching. The embroidery on the traditional garments identified the wearer's village, marital status, and personal beliefs.

Another form of huipil. Instead of simply embroidering the neck or shoulder area, this huipil displays vivid designs all over the garment. The previous garment was more of a blouse, while this one is a tunic.

Unusual high-backed sandals. There was an extensive display of leather footwear in the Popular Arts Museum, but I was particularly taken by these sandals with the high backs, a form I had never seen before.

Lacquer ware.

Laquer work in Mexico goes back to prehispanic times. Most Mexican lacquer work comes from the states of Guerrero, Chiapas, or Michoacan. The tray above was created by the master lacquer artist Francisco Coronel. Beginning in the 16th Century, the Spanish imported some lacquer work from China.

Lacquer chest uses wood with lacquer, silver leaf, and paint. The incredibly fine detail of this work certainly justifies its placement in a museum of popular arts.

Animals in popular art

Cheerful cow balances on bamboo legs. This cow, with its cheery grin, appears to have been made from paper mache. The hump on the cow's back and the horns indicate that the animal represented is probably a brahman. The brahman originated in India, where it developed resistance to disease and insects, and tolerance to high heat. The Museum of Popular Arts contains a large variety of works relating to animals.

Jaguars are prominent in prehispanic mythology. Jaguar once ranged throughout western and southern Mexico, and as far south as Paraguay and Argentina, and as far north as Arizona in the US. It is now extinct in much of Mexico and all of the US. The only big cats larger than the jaguar are the lion and tiger. The jaguar is closely associated with water and enjoys swimming. Unlike other large cats which kill by gripping the throat and strangling their prey, the jaguar bites the skull of the victim with such power that its fangs penetrate to the brain. Probably because of its power and ability to take down the largest prey, it appears in all the major Mesoamerican mythologies. The jaguar was believed to have the ability to cross between the actual and spiritual worlds and was associated with vegetation and fertility.

Toys and other amusements

Dolls with an unusual history. These articulated wooden dolls rested in a glass cabinet with a wide array of other dolls. Our friend Maya told us that these particular dolls had a practical use. In brothels, when a woman was busy with a customer, she would place a doll such as this on a small chair outside her room, indicating that she was presently unavailable.

Hand-made wicker airplane. All parts of this plane, except possibly the thread holding it together, were made of natural materials, woven together skillfully

Another sort of doll. This was one of several giant dolls in the museum. The chairs in the background give some sense of the scale of the doll, which is probably about 12 feet tall. Dolls like this are carried in parades at fiestas, and the arms are raised and moved about with long sticks operated by people walking beside the person toting the doll on his or her shoulders.

Complex mannequin show. There were several small puppet theaters on display, but I found this one the most interesting and complex. Not only the bull and matador are capable of movement, but also the mounted picador and the two matadors behind the barrier. I would have loved to see this show in action. Puppet shows are still popular in Mexico, and kids in Ajijic flock to the ones they produce here.

I hope you enjoyed the Maria Teresa Pomar University Popular Arts Museum. This is a "don't miss" museum if you come to Colima. There are thousands of items in the museum, and I only photographed a few of the total. Of those few, I discarded many photos because of poor lighting or reflections from glass cases. I still came up with more than 50 images that I had to boil down to the 19 in this display. As always, I appreciate your reactions, which you can either leave in the comments section below or send to me by direct email. If you ask a question in the comments section PLEASE leave your email address so I can respond. Feel free to share the link to this blog with whomever you'd like.

Hasta luego, Jim