Lubaantun Maya Site
Lubaantun – “Place of the Fallen Stones” (40.01 acres)
This Late Classic ceremonial center is noted for its unusual style of construction distinctive of southern Belize. The large pyramids and residences are made of stone blocks with no mortar binding them together. The buildings on top of the pyramids were made from perishable materials rather than masonry and hence do not remain. The name is Maya for “Place of Fallen Stones.”
This Late Classic ceremonial center is noted for its unusual style of construction distinctive of southern Belize. The large pyramids and residences are made of stone blocks with no mortar binding them together. The buildings on top of the pyramids were made from perishable materials rather than masonry and hence do not remain. The name is Maya for “Place of Fallen Stones.”
Archaeological Info
In the late 19th century the site was reported to the government of Belize by inhabitants in a settlement near Punta Gorda. In 1903 the governor of the colony of then British Honduras commissioned Dr. Thomas Gann to investigate the site. The site which named the Rio Grande Ruins was renamed Lubaantun by Dr. Thomas Gann in 1924.
Intensive excavations were conducted between 1915 and 1927 which yielded a wealth of information on the ancient Maya of Southern Belize. Notable finds include 3 carved ball courts discovered by R. E. Merwin which are housed at the Peabody Museum of Harvard University. In 1924 Gann returned to Lubaantun along with F.A. Mitchell-Hedges, where the latter claimed to have unearthed the Crystal Skull of Doom at the site.
Archaeologists who have excavate at Lubaantun include T. A. Joyce and J. Eric Thompson who led British Museum expeditions in 1926 and 1927 respectively. While the archaeology of Lubaantun was greatly expounded, numerous artifacts from Lubaantun are now held at the British Museum.
Work resumed at Lubaantun until 1970 when Norman Hammond, a PhD student at Cambridge started a season of excavation at the site. Hammond, spurred by lack of information on this region of the Maya Lowlands proceeded to map the ceremonial center and the area around it. Recent excavations have been conducted by Dr. Geoffrey Braswell of the University of California San Diego, to understand the relation between sites in southern Belize.
Lubaantun is unique for megalithic terraces built in the ‘stepped perpendicular’ style which was identified by T. A Joyce and interpreted by J. Eric Thompson. Like other sites in the south of Belize, Lubaantun was built without the use of mortar and the superstructures were constructed from perishable materials and do not remain today. Few carved monuments were found in comparison to nearby sites such as Nim Li Punit and Pusilha however many ceramic figurines and ocarinas of superb quality have been unearthed.
In the late 19th century the site was reported to the government of Belize by inhabitants in a settlement near Punta Gorda. In 1903 the governor of the colony of then British Honduras commissioned Dr. Thomas Gann to investigate the site. The site which named the Rio Grande Ruins was renamed Lubaantun by Dr. Thomas Gann in 1924.
Intensive excavations were conducted between 1915 and 1927 which yielded a wealth of information on the ancient Maya of Southern Belize. Notable finds include 3 carved ball courts discovered by R. E. Merwin which are housed at the Peabody Museum of Harvard University. In 1924 Gann returned to Lubaantun along with F.A. Mitchell-Hedges, where the latter claimed to have unearthed the Crystal Skull of Doom at the site.
Archaeologists who have excavate at Lubaantun include T. A. Joyce and J. Eric Thompson who led British Museum expeditions in 1926 and 1927 respectively. While the archaeology of Lubaantun was greatly expounded, numerous artifacts from Lubaantun are now held at the British Museum.
Work resumed at Lubaantun until 1970 when Norman Hammond, a PhD student at Cambridge started a season of excavation at the site. Hammond, spurred by lack of information on this region of the Maya Lowlands proceeded to map the ceremonial center and the area around it. Recent excavations have been conducted by Dr. Geoffrey Braswell of the University of California San Diego, to understand the relation between sites in southern Belize.
Lubaantun is unique for megalithic terraces built in the ‘stepped perpendicular’ style which was identified by T. A Joyce and interpreted by J. Eric Thompson. Like other sites in the south of Belize, Lubaantun was built without the use of mortar and the superstructures were constructed from perishable materials and do not remain today. Few carved monuments were found in comparison to nearby sites such as Nim Li Punit and Pusilha however many ceramic figurines and ocarinas of superb quality have been unearthed.
Directions
Lubaantun is located north of the Colombia River, one mile past the village of San Pedro Colombia, and is accessible by public transportation. From Belmopan, take the Hummingbird Highway for 45 miles to the junction of the Southern Highway Exit. Turn right unto the Southern Highway and travel an additional 70 miles (2 hours) until you reach the Silver Creek cut off. Travel through the villages of San Miguel and San Pedro Columbia. Exit right on the all weather gravel road and continue for about 1 1/2 miles until you reach the reserve. |
Opening Hours
365 days in the year from 8:00 am to 5:00 pm Fees & Reservations
Belizeans: BZD $5.00 Non-Belizeans: BZD $10.00 Belizeans enter FREE on Sundays and Public and Bank Holidays, take along some form of ID! School groups and Government Officials need to contact the IA Office prior to their visit for an official pass. |
Lubaantun (pronounced lubaːnˈtun) is a pre-Columbian ruined city of the Maya civilization in southern Belize, Central America. Lubaantun is in Belize's Toledo District, about 26 miles northwest of Punta Gorda, and approximately 2 miles from the village of San Pedro Colombia, at an elevation of 200 feet above sea level. One of the most distinguishing features of Lubaantun is the large collection of miniature ceramic objects found on site; these detailed constructs are thought to have been charm-stones or ritual-accompanying accoutrements.
Structures are mostly built of large stone blocks laid with no mortar. The city dates from the Maya Classic era, flourishing from the AD 730's to the 890's, and seems to have been completely abandoned soon after. The architecture is somewhat unusual from typical Classical central lowlands Maya sites. Lubaantun's structures are mostly built of large stone blocks laid with no mortar, primarily black slate rather than the limestone typical of the region. Several structures have distinctive "in-and-out masonry"; each tier is built with a batter, every second course projecting slightly beyond the course below it. Corners of the step-pyramids are usually rounded, and lack stone structures atop the pyramids; presumably some had structures of perishable materials in ancient times.
The center of the site is on a large artificially raised platform between two small rivers; it has often been noted that the situation is well-suited to military defence. The ancient name of the site is currently unknown; "Lubaantun" is a modern Maya name meaning "place of fallen stones".
Structures are mostly built of large stone blocks laid with no mortar. The city dates from the Maya Classic era, flourishing from the AD 730's to the 890's, and seems to have been completely abandoned soon after. The architecture is somewhat unusual from typical Classical central lowlands Maya sites. Lubaantun's structures are mostly built of large stone blocks laid with no mortar, primarily black slate rather than the limestone typical of the region. Several structures have distinctive "in-and-out masonry"; each tier is built with a batter, every second course projecting slightly beyond the course below it. Corners of the step-pyramids are usually rounded, and lack stone structures atop the pyramids; presumably some had structures of perishable materials in ancient times.
The center of the site is on a large artificially raised platform between two small rivers; it has often been noted that the situation is well-suited to military defence. The ancient name of the site is currently unknown; "Lubaantun" is a modern Maya name meaning "place of fallen stones".
The next expedition was led by R. E. Merwin of Harvard University's Peabody Museum in 1915 who cleared the site of vegetation, made a more detailed map, took measurements and photographs, and made minor excavations. Of note Merwin discovered one of the site's three courts for playing the Mesoamerican ballgame, which had stone markers with hieroglyphic texts and depictions of the ballgame.
In 1924 Gann revisited the ruins, and then led adventurer F.A. Mitchell-Hedges to the site. In his typically sensationalistic fashion, Mitchell-Hedges published an article in the Illustrated London News claiming to have "discovered" the site. Gann made a new map of the site. The following year Mitchell-Hedges returned to Lubaantun as a reporter for the Illustrated London News, accompanied by his companion Lady Richmond Brown. Anna Mitchell-Hedges, the adoptive daughter of F. A. Mitchell-Hedges, would later claim that she not only accompanied her father on the expedition, but also that it was she who found the (in)famous crystal skull there. But there is no evidence that Anna was ever in Belize, and if the skull actually had been excavated at Lubaantun it would be hard to explain why none of the official reports mention it, why other expedition members deny that it was found there, and why the publicity-loving Mitchell-Hedges did not publish even a single mention of the skull before the 1950s. According to Nickell, there is a plethora of mystery surrounding the crystal skull allegedly found at Lubaantun. New Age believers assert that there are thirteen crystal skulls that when brought together will unite humanity and heal the world. There is little evidence to suggest that the skulls have any mystical or psychic properties other than anecdotal evidence presented by Anna Mitchell-Hedges. She claimed that the skull was the secret to her longevity, and that it has the ability to kill whoever dares mock its power. Moreover, some scholars believe that the skulls may be Aztec but assert that they certainly are not Pre-Columbian or the 3,000 years old as postulated by F.A. Mitchell-Hedges. Additionally, many archaeologists postulate that most, if not all, of the skulls are European forgeries.
In 1924 Gann revisited the ruins, and then led adventurer F.A. Mitchell-Hedges to the site. In his typically sensationalistic fashion, Mitchell-Hedges published an article in the Illustrated London News claiming to have "discovered" the site. Gann made a new map of the site. The following year Mitchell-Hedges returned to Lubaantun as a reporter for the Illustrated London News, accompanied by his companion Lady Richmond Brown. Anna Mitchell-Hedges, the adoptive daughter of F. A. Mitchell-Hedges, would later claim that she not only accompanied her father on the expedition, but also that it was she who found the (in)famous crystal skull there. But there is no evidence that Anna was ever in Belize, and if the skull actually had been excavated at Lubaantun it would be hard to explain why none of the official reports mention it, why other expedition members deny that it was found there, and why the publicity-loving Mitchell-Hedges did not publish even a single mention of the skull before the 1950s. According to Nickell, there is a plethora of mystery surrounding the crystal skull allegedly found at Lubaantun. New Age believers assert that there are thirteen crystal skulls that when brought together will unite humanity and heal the world. There is little evidence to suggest that the skulls have any mystical or psychic properties other than anecdotal evidence presented by Anna Mitchell-Hedges. She claimed that the skull was the secret to her longevity, and that it has the ability to kill whoever dares mock its power. Moreover, some scholars believe that the skulls may be Aztec but assert that they certainly are not Pre-Columbian or the 3,000 years old as postulated by F.A. Mitchell-Hedges. Additionally, many archaeologists postulate that most, if not all, of the skulls are European forgeries.
It is clear from investigations made by Joe Nickell & Norman Hammond that the skull was not found at Lubaantun at all, but was actually purchased by Mitchell-Hedges at a Sotheby's art auction in 1943. The skull had previously belonged to the collector Sydney Burney (see below).
The British Museum sponsored investigations and excavations with Geoffrey Laws & T.A. Joyce and Mitchell-Hedges in 1926-1927, establishing the mid to late Classic period chronology of the site. They noted that the site lies upon the line dividing of two geographical units (San Pedro Colombia village) & the (head of Colombia River). The ruins are located in the area formed by the convergence of two small tributaries of this river. His reports, along with several other scholars, noted that Lubaantun was rigorously accessed to & from water transport.
The British Museum sponsored investigations and excavations with Geoffrey Laws & T.A. Joyce and Mitchell-Hedges in 1926-1927, establishing the mid to late Classic period chronology of the site. They noted that the site lies upon the line dividing of two geographical units (San Pedro Colombia village) & the (head of Colombia River). The ruins are located in the area formed by the convergence of two small tributaries of this river. His reports, along with several other scholars, noted that Lubaantun was rigorously accessed to & from water transport.
According to T.A. Joyce's observations, the complex at Lubaantun was 900 feet long and 600 feet wide toward the north. During his excavation the archaeologist found pottery fragments which were both shaped and painted along with stone items and shell ornaments. He believed that most of the material culture at the site indicated that it was an Early Classic site but this assertion has since been dismissed by the archaeological community. Notably, he thought that the site must have been under strict centralized control since the architectural styles found would have required large amounts of physical labor.
He also identifies four “classes” of masonry: megalithic cut blocks, smaller perpendicular blocks, “in and out” structures that lacked stucco, and also poorly constructed blocks that suggest that the Maya failed to build another “in and out” building style. In addition, he details the two great pyramids that he excavated are in the “in and out” style which stand approximately 40 feet tall. Furthermore, Joyce documented the presence of large, megalithic terracing which he thought were reminiscent of Peruvian styles. He noted the absence of “ornamental” stone carvings which other scholars have recorded as well.
He also identifies four “classes” of masonry: megalithic cut blocks, smaller perpendicular blocks, “in and out” structures that lacked stucco, and also poorly constructed blocks that suggest that the Maya failed to build another “in and out” building style. In addition, he details the two great pyramids that he excavated are in the “in and out” style which stand approximately 40 feet tall. Furthermore, Joyce documented the presence of large, megalithic terracing which he thought were reminiscent of Peruvian styles. He noted the absence of “ornamental” stone carvings which other scholars have recorded as well.
Despite the lack of hieroglyphs and a stelae, Joyce discovered an abundance of pottery-whistle figurines. The whistles often depict important cosmological figures, and officials in ceremonial garb. Joyce identified two physical types of figurines, those he calls “chubby” and the other as “classical.”
- The classical features include people, depicting cranial modification, ear flares, and nose ornaments.
- The chubby figures include a large forehead and cheeks, and there is an absence of facial ornaments.
- Men often were shown wearing girdles, capes, and long skirts. Girdles may be indicative of a warrior class distinction. Men are depicted as carrying provision bags, spears, and rattles highlighting their association with field work & hunting.
- While women became associated with the sombrero. Women are depicted as carrying water jars, baskets of agricultural products.
Many of the artifacts from Lubaantun, can be found at the British Museum. In 1970, an excavation was led by archaeologists Norman Hammond, together with Kate Pretty, and Frank P. Saul. Their research team, in congruence with Sharer and Traxler, believed that the site was founded in the Late Classic period as opposed to the Early Classic, suggested by Joyce.
In addition, they postulated that the site saw no Post-Classic reoccupation and that it perhaps was subjected to various looting activities. Their excavations primarily dealt with one Maya family tomb. Problems they encountered in excavating the tomb were water damage and collapsed masonry walls. Unlike prior surveys, their team found pottery vessels which may have been painted at one point but time has since faded their decorative coating. Hammond's team also found several skeletal remains that were also badly damaged by water, though tooth preservation remained relatively good. Saul reported that the tomb contained 15 adults, both male and female of various ages. All of the skulls had cavities except for one individual and virtually all of the remains indicated malnutrition in early childhood.
In addition, they postulated that the site saw no Post-Classic reoccupation and that it perhaps was subjected to various looting activities. Their excavations primarily dealt with one Maya family tomb. Problems they encountered in excavating the tomb were water damage and collapsed masonry walls. Unlike prior surveys, their team found pottery vessels which may have been painted at one point but time has since faded their decorative coating. Hammond's team also found several skeletal remains that were also badly damaged by water, though tooth preservation remained relatively good. Saul reported that the tomb contained 15 adults, both male and female of various ages. All of the skulls had cavities except for one individual and virtually all of the remains indicated malnutrition in early childhood.
The pottery vessels primarily appear in Tepeu 2 style, with some in Tepeu 3. The ceramic data suggest that the tomb was not utilized for a very long; no more than a century. They also found in the tomb, ground & polished stone, obsidian blade flakes, ear/nose plugs and a stylized flower. They claim that the site is unique because it is 1 of 26 sites (out of 115) which indicate multiple burials.
Normand Hammond provided a new map for the site in 1970. His work suggests that Lubaantun was occupied “briefly” from 700 to 870 AD. There is also evidence that the site was a main production center for cacao and that Lubaantuun was the local capital in that particular area. Also discovered at the site are: an acropolis, one ball court, and Quirigua-style architecture in the form of large masonry terraces. However, the site lacks two major components, which would indicate that Lubaantuun was a Late Classic site, not an early Classic site. There are no vaulted buildings or carved sculptured monuments. Also discussed are the space and placement of buildings at the site. Lubaantun, being a smaller Maya site, has discernible open public & closed private spaces.
Normand Hammond provided a new map for the site in 1970. His work suggests that Lubaantun was occupied “briefly” from 700 to 870 AD. There is also evidence that the site was a main production center for cacao and that Lubaantuun was the local capital in that particular area. Also discovered at the site are: an acropolis, one ball court, and Quirigua-style architecture in the form of large masonry terraces. However, the site lacks two major components, which would indicate that Lubaantuun was a Late Classic site, not an early Classic site. There are no vaulted buildings or carved sculptured monuments. Also discussed are the space and placement of buildings at the site. Lubaantun, being a smaller Maya site, has discernible open public & closed private spaces.
Little is known about how Lubaantun traded with other neighboring communities. Sharer and Traxler’s work primarily pertained to the cacao trade, while Heather McKillop’s work at Stingray Lagoon revealed the importance of salt production and trade. The presence of molded Lubaantun-style whistle figurines (found at the site), along with unit-stamped pottery, provide supporting evidence that salt production was part of Lubaantun's trade.
Excavations demonstrate that the site is renowned for its mass of molded whistle ceramic figurines, manos, and metates, as well as its stair-like architecture. New research reveals that the site has three ball courts, to the east, west, and south of the major "E group" buildings. Scholars also estimate that the population at Lubaantun may have consisted of 600 people per square kilometer.
Archaeological evidence suggests that Lubaantun was built at a strategic spatial location in order to maintain access the natural ecological resources and take advantage of the pre-existing trade networks. Other research suggests that language spoken at Lubaantun was most likely a dialect of Cholan, one of the many dialects spoken in the Classic Maya heartland.
Lubaantun is now accessible to visitors by automobile and has a small visitor's centre.
Excavations demonstrate that the site is renowned for its mass of molded whistle ceramic figurines, manos, and metates, as well as its stair-like architecture. New research reveals that the site has three ball courts, to the east, west, and south of the major "E group" buildings. Scholars also estimate that the population at Lubaantun may have consisted of 600 people per square kilometer.
Archaeological evidence suggests that Lubaantun was built at a strategic spatial location in order to maintain access the natural ecological resources and take advantage of the pre-existing trade networks. Other research suggests that language spoken at Lubaantun was most likely a dialect of Cholan, one of the many dialects spoken in the Classic Maya heartland.
Lubaantun is now accessible to visitors by automobile and has a small visitor's centre.
The Crystal Skull of Lubaantun
Crystal Skull of Lubaantun - The Alleged Story
The most famous crystal skull is the Mitchell-Hedges "skull of doom" allegedly discovered by a 17-year old Anna Mitchell-Hedges in 1924 or 1927 while accompanying her adoptive father on an excavation of the ancient Mayan city of Lubaantun in Belize. Mitchell-Hedges was in Belize, because he believed he would find the ruins of Atlantis. The Mitchell-Hedges skull is made of clear quartz crystal, and both cranium and mandible are believed to have come from the same solid block. It weighs 11.7 pounds and is about five inches high, five inches wide, and seven inches long. Except for slight anomalies in the temples and cheekbones, it is a virtually anatomically correct replica of a human skull. Because of its small size and other characteristics, it is thought more closely to resemble a female skull and this has led some to refer to the Mitchell-Hedges skull as a "she."
Closer Examination
The Mitchell-Hedges family loaned the skull to Hewlett-Packard Laboratories for extensive study in 1970. Art restorer Dr. Frank Dorland oversaw the testing at the Santa Clara, California, computer equipment manufacturer, a leading facility for crystal research. The HP examinations yielded some startling results. Researchers found that the skull had been carved against the natural axis of the crystal. Modern crystal sculptors always take into account the axis, or orientation of the crystal's molecular symmetry, because if they carve "against the grain," the piece is bound to shatter -- even with the use of lasers and other high-tech cutting methods.
To compound the strangeness, HP could find no microscopic scratches on the crystal which would indicate it had been carved with metal instruments. Dr. Dorland's best hypothesis for the skull's construction is that it was roughly hewn out with diamonds, and then the detail work was meticulously done with a gentle solution of silicon sand and water. The exhausting job, assuming it could possibly be done in this way would have required man-hours adding up to 300 years to complete.
The most famous crystal skull is the Mitchell-Hedges "skull of doom" allegedly discovered by a 17-year old Anna Mitchell-Hedges in 1924 or 1927 while accompanying her adoptive father on an excavation of the ancient Mayan city of Lubaantun in Belize. Mitchell-Hedges was in Belize, because he believed he would find the ruins of Atlantis. The Mitchell-Hedges skull is made of clear quartz crystal, and both cranium and mandible are believed to have come from the same solid block. It weighs 11.7 pounds and is about five inches high, five inches wide, and seven inches long. Except for slight anomalies in the temples and cheekbones, it is a virtually anatomically correct replica of a human skull. Because of its small size and other characteristics, it is thought more closely to resemble a female skull and this has led some to refer to the Mitchell-Hedges skull as a "she."
Closer Examination
The Mitchell-Hedges family loaned the skull to Hewlett-Packard Laboratories for extensive study in 1970. Art restorer Dr. Frank Dorland oversaw the testing at the Santa Clara, California, computer equipment manufacturer, a leading facility for crystal research. The HP examinations yielded some startling results. Researchers found that the skull had been carved against the natural axis of the crystal. Modern crystal sculptors always take into account the axis, or orientation of the crystal's molecular symmetry, because if they carve "against the grain," the piece is bound to shatter -- even with the use of lasers and other high-tech cutting methods.
To compound the strangeness, HP could find no microscopic scratches on the crystal which would indicate it had been carved with metal instruments. Dr. Dorland's best hypothesis for the skull's construction is that it was roughly hewn out with diamonds, and then the detail work was meticulously done with a gentle solution of silicon sand and water. The exhausting job, assuming it could possibly be done in this way would have required man-hours adding up to 300 years to complete.
SPOILER ALERT - Crystal Skull at Lubaantun
The archaeological site here is about an hour’s drive from Punta Gorda in the south of the country. It’s a popular landmark for tourists theses days, although it’s never too crowded because tourist numbers are peacefully-low in this part of Belize. The site of the old city stretches out over a relatively large area. It doesn’t take too long to walk from one side to the other. But, as you explore each of the ruined buildings and climb up and down the steps, it can take an hour or more to see it all properly. It was here that a woman called Anna Mitchell-Hedges says she found her crystal skull in 1924. She says she discovered the skull under a collapsed altar inside a temple at Lubaantun when she was just a child, while her adopted father was working on an excavation here. She didn’t reveal it to the world until much later and, since then, it has become the subject of a lot of theory and research.
The short version is that there is no record from anyone on the site’s excavation that a crystal skull was found. (In fact, there’s no evidence that Anna was even in Belize at the time.) There’s evidence the skull was owned by several other people before being sold to Mitchell-Hedges at auction in the 1940s, and scientific testing shows it was probably made using relatively-modern technology.
The archaeological site here is about an hour’s drive from Punta Gorda in the south of the country. It’s a popular landmark for tourists theses days, although it’s never too crowded because tourist numbers are peacefully-low in this part of Belize. The site of the old city stretches out over a relatively large area. It doesn’t take too long to walk from one side to the other. But, as you explore each of the ruined buildings and climb up and down the steps, it can take an hour or more to see it all properly. It was here that a woman called Anna Mitchell-Hedges says she found her crystal skull in 1924. She says she discovered the skull under a collapsed altar inside a temple at Lubaantun when she was just a child, while her adopted father was working on an excavation here. She didn’t reveal it to the world until much later and, since then, it has become the subject of a lot of theory and research.
The short version is that there is no record from anyone on the site’s excavation that a crystal skull was found. (In fact, there’s no evidence that Anna was even in Belize at the time.) There’s evidence the skull was owned by several other people before being sold to Mitchell-Hedges at auction in the 1940s, and scientific testing shows it was probably made using relatively-modern technology.
Mitchell-Hedges Skull
In 1924, the Crystal Skull was allegedly discovered by Anna Mitchell-Hedges, the adopted daughter of British adventurer and popular author F.A. Mitchell-Hedges. Anna Mitchell-Hedges claimed that she found the skull buried under a collapsed altar inside a temple in Lubaantun, in British Honduras, now known as Belize. Her father, F.A. Mitchell-Hedges made no mention of the alleged discovery in any of his writings on Lubaantun. Others present at the time of the excavation neither recorded the discovery of the skull or Anna's presence at the dig.
Anthropological Journal Man (July 1936)
The earliest published reference to the skull is the July 1936 issue of the British anthropological journal Man, where it is described as being in the possession of Sydney Burney, a London art dealer who was said to have owned it since 1933, and from whom evidence suggests F.A. Mitchell-Hedges purchased it.
Sotheby's Art Auction (London) October 15, 1943 (Sydney Burney) Art Dealer Sold the Crystal Skull
Recent evidence has come to light, showing that F.A. Mitchell-Hedges purchased the skull at a Sotheby's art auction in London on October 15, 1943 from art dealer Sydney Burney.
F. A. Mitchel-Hedges - Purchased the Crystal Skull on October 15, 1943
In December 1943, F.A. Mitchell-Hedges disclosed his purchase of the skull in a letter to his brother, stating plainly that he had aquired it from Burney. F. A. Mitchell-Hedges mentioned the skull only briefly in the first edition of his autobiography, Danger My Ally (1954), without specifying where or by whom it was found. He merely claimed that "it is at least 3,600 years old and according to legend it was used by the High Priest of the Maya when he was performing esoteric rites. It is said that when he willed death with the help of the skull, death invariably followed". All subsequent editions of Danger My Ally omitted mention of the skull entirely.
Frank Dorland's (1970) Freelance Art Restorer
The skull is made from a block of clear quartz about the size of a small human cranium, measuring some 5 inches (13 cm) high, 7 inches (18 cm) long and 5 inches (13 cm) wide. The lower jaw is detached. In the early 1970s it came under the temporary care of freelance art restorer Frank Dorland, who claimed upon inspecting it that it had been "carved" with total disregard to the natural crystal axis, and without the use of metal tools. Dorland reported being unable to find any tell-tale scratch marks, except for traces of mechanical grinding on the teeth, and he speculated that it was first chiseled into rough form, probably using diamonds, and the finer shaping, grinding and polishing was achieved through the use of sand over a period of 150 to 300 years. He said it could be up to 12,000 years old. Although various claims have been made over the years regarding the skull's physical properties, such as an allegedly constant temperature of 70 °F (21 °C), Dorland reported that there was no difference in properties between it and other natural quartz crystals.
Richard Garvin - Testing Hewlett Packard's Laboratories
While in Dorland's care the skull came to the attention of writer Richard Garvin, at the time working at an advertising agency where he supervised Hewlett-Packard's advertising account. Garvin made arrangements for the skull to be examined at Hewlett-Packard's crystal laboratories in Santa Clara, California, where it was subjected to several tests. The labs determined only that it was not a composite as Dorland had supposed, but that it was fashioned from a single crystal of quartz. The laboratory test also established that the lower jaw had been fashioned from the same left-handed growing crystal as the rest of the skull. No investigation was made by Hewlett-Packard as to its method of manufacture or dating.
Norman Hammond - Mayanist Archaeologist
As well as the traces of mechanical grinding on the teeth noted by Dorland, Mayanist archaeologist Norman Hammond reported that the holes (presumed to be intended for support pegs) showed signs of being made by drilling with metal. Anna Mitchell-Hedges refused subsequent requests to submit the skull for further scientific testing.
Anna Mitchell-Hedges - 1970
In a 1970 letter Anna also stated that she was "told by the few remaining Maya that the skull was used by the high priest to will death." For this reason, the artifact is sometimes referred to as "The Skull of Doom". Anna Mitchell-Hedges toured with the skull from 1967 exhibiting it on a pay-per-view basis.
Anna Mitchell-Hedges (1988-1990)
Somewhere between 1988 and 1990 she toured with the skull. She continued to grant interviews about the artifact until her death.
Bill Homann (2002) Ann Mitchell-Hedges Husband
In her last eight years, Anna Mitchell-Hedges lived in Chesterton, Indiana, with Bill Homann, whom she married in 2002. She died on April 11, 2007. Since that time the Mitchell-Hedges Skull has been owned by Homann. He continues to believe in its mystical properties.
Jane MacLaren Walsh (2007-2008) Smithsonian's National Museum
In November 2007, Homann took the skull to the office of anthropologist Jane MacLaren Walsh, in the Smithsonian's National Museum of Natural History for examination. Walsh carried out a detailed examination of the skull using ultraviolet light, a high-powered light microscope, and computerized tomography.
Homann took the skull to the museum again in 2008 so it could be filmed for a Smithsonian Networks documentary, Legend of the Crystal Skull, and on this occasion, Walsh was able to take two sets of silicone molds of surface tool marks for scanning electron microscope (SEM) analysis. The SEM micrographs revealed evidence that the crystal had been worked with a high speed, hard metal rotary tool coated with a hard abrasive, such as diamond. Walsh's extensive research on artifacts from Mexico and Central America showed that pre-contact artisans carved stone by abrading the surface with stone or wooden tools, and in later pre-Columbian times, copper tools, in combination with a variety of abrasive sands or pulverized stone. These examinations led Walsh to the conclusion that the skull was probably carved in the 1930s, and was most likely based on the British Museum skull which had been exhibited fairly continuously from 1898.
Gloria Nusse - Forensic Artist Facial Reconstruction
In the National Geographic Channel documentary, "The Truth Behind the Crystal Skulls", forensic artist Gloria Nusse performed a forensic facial reconstruction over a replica of the skull. According to Nusse, the resulting face had female and European characteristics. As it was hypothesized that the Crystal Skull was a replica of an actual human skull, the conclusion was that it could not have been created by ancient Americans.
British Museum
The crystal skull of the British Museum first appeared in 1881, in the shop of the Paris antiquarian, Eugène Boban. Its origin was not stated in his catalogue of the time. He is said to have tried to sell it to Mexico's national museum as an Aztec artifact, but was unsuccessful. Boban later moved his business to New York City, where the skull was sold to George H. Sisson. It was exhibited at the meeting of the American Association for the Advancement of Science in New York City in 1887 by George F. Kunz. It was sold at auction, and bought by Tiffany and Co., who later sold it at cost to the British Museum in 1897. This skull is very similar to the Mitchell-Hedges skull, although it is less detailed and does not have a movable lower jaw. The British Museum catalogues the skull's provenance as "probably European, 19th century AD" and describes it as "not an authentic pre-Columbian artefact". It has been established that this skull was made with modern tools, and that it is not authentic.
In 1924, the Crystal Skull was allegedly discovered by Anna Mitchell-Hedges, the adopted daughter of British adventurer and popular author F.A. Mitchell-Hedges. Anna Mitchell-Hedges claimed that she found the skull buried under a collapsed altar inside a temple in Lubaantun, in British Honduras, now known as Belize. Her father, F.A. Mitchell-Hedges made no mention of the alleged discovery in any of his writings on Lubaantun. Others present at the time of the excavation neither recorded the discovery of the skull or Anna's presence at the dig.
Anthropological Journal Man (July 1936)
The earliest published reference to the skull is the July 1936 issue of the British anthropological journal Man, where it is described as being in the possession of Sydney Burney, a London art dealer who was said to have owned it since 1933, and from whom evidence suggests F.A. Mitchell-Hedges purchased it.
Sotheby's Art Auction (London) October 15, 1943 (Sydney Burney) Art Dealer Sold the Crystal Skull
Recent evidence has come to light, showing that F.A. Mitchell-Hedges purchased the skull at a Sotheby's art auction in London on October 15, 1943 from art dealer Sydney Burney.
F. A. Mitchel-Hedges - Purchased the Crystal Skull on October 15, 1943
In December 1943, F.A. Mitchell-Hedges disclosed his purchase of the skull in a letter to his brother, stating plainly that he had aquired it from Burney. F. A. Mitchell-Hedges mentioned the skull only briefly in the first edition of his autobiography, Danger My Ally (1954), without specifying where or by whom it was found. He merely claimed that "it is at least 3,600 years old and according to legend it was used by the High Priest of the Maya when he was performing esoteric rites. It is said that when he willed death with the help of the skull, death invariably followed". All subsequent editions of Danger My Ally omitted mention of the skull entirely.
Frank Dorland's (1970) Freelance Art Restorer
The skull is made from a block of clear quartz about the size of a small human cranium, measuring some 5 inches (13 cm) high, 7 inches (18 cm) long and 5 inches (13 cm) wide. The lower jaw is detached. In the early 1970s it came under the temporary care of freelance art restorer Frank Dorland, who claimed upon inspecting it that it had been "carved" with total disregard to the natural crystal axis, and without the use of metal tools. Dorland reported being unable to find any tell-tale scratch marks, except for traces of mechanical grinding on the teeth, and he speculated that it was first chiseled into rough form, probably using diamonds, and the finer shaping, grinding and polishing was achieved through the use of sand over a period of 150 to 300 years. He said it could be up to 12,000 years old. Although various claims have been made over the years regarding the skull's physical properties, such as an allegedly constant temperature of 70 °F (21 °C), Dorland reported that there was no difference in properties between it and other natural quartz crystals.
Richard Garvin - Testing Hewlett Packard's Laboratories
While in Dorland's care the skull came to the attention of writer Richard Garvin, at the time working at an advertising agency where he supervised Hewlett-Packard's advertising account. Garvin made arrangements for the skull to be examined at Hewlett-Packard's crystal laboratories in Santa Clara, California, where it was subjected to several tests. The labs determined only that it was not a composite as Dorland had supposed, but that it was fashioned from a single crystal of quartz. The laboratory test also established that the lower jaw had been fashioned from the same left-handed growing crystal as the rest of the skull. No investigation was made by Hewlett-Packard as to its method of manufacture or dating.
Norman Hammond - Mayanist Archaeologist
As well as the traces of mechanical grinding on the teeth noted by Dorland, Mayanist archaeologist Norman Hammond reported that the holes (presumed to be intended for support pegs) showed signs of being made by drilling with metal. Anna Mitchell-Hedges refused subsequent requests to submit the skull for further scientific testing.
Anna Mitchell-Hedges - 1970
In a 1970 letter Anna also stated that she was "told by the few remaining Maya that the skull was used by the high priest to will death." For this reason, the artifact is sometimes referred to as "The Skull of Doom". Anna Mitchell-Hedges toured with the skull from 1967 exhibiting it on a pay-per-view basis.
Anna Mitchell-Hedges (1988-1990)
Somewhere between 1988 and 1990 she toured with the skull. She continued to grant interviews about the artifact until her death.
Bill Homann (2002) Ann Mitchell-Hedges Husband
In her last eight years, Anna Mitchell-Hedges lived in Chesterton, Indiana, with Bill Homann, whom she married in 2002. She died on April 11, 2007. Since that time the Mitchell-Hedges Skull has been owned by Homann. He continues to believe in its mystical properties.
Jane MacLaren Walsh (2007-2008) Smithsonian's National Museum
In November 2007, Homann took the skull to the office of anthropologist Jane MacLaren Walsh, in the Smithsonian's National Museum of Natural History for examination. Walsh carried out a detailed examination of the skull using ultraviolet light, a high-powered light microscope, and computerized tomography.
Homann took the skull to the museum again in 2008 so it could be filmed for a Smithsonian Networks documentary, Legend of the Crystal Skull, and on this occasion, Walsh was able to take two sets of silicone molds of surface tool marks for scanning electron microscope (SEM) analysis. The SEM micrographs revealed evidence that the crystal had been worked with a high speed, hard metal rotary tool coated with a hard abrasive, such as diamond. Walsh's extensive research on artifacts from Mexico and Central America showed that pre-contact artisans carved stone by abrading the surface with stone or wooden tools, and in later pre-Columbian times, copper tools, in combination with a variety of abrasive sands or pulverized stone. These examinations led Walsh to the conclusion that the skull was probably carved in the 1930s, and was most likely based on the British Museum skull which had been exhibited fairly continuously from 1898.
Gloria Nusse - Forensic Artist Facial Reconstruction
In the National Geographic Channel documentary, "The Truth Behind the Crystal Skulls", forensic artist Gloria Nusse performed a forensic facial reconstruction over a replica of the skull. According to Nusse, the resulting face had female and European characteristics. As it was hypothesized that the Crystal Skull was a replica of an actual human skull, the conclusion was that it could not have been created by ancient Americans.
British Museum
The crystal skull of the British Museum first appeared in 1881, in the shop of the Paris antiquarian, Eugène Boban. Its origin was not stated in his catalogue of the time. He is said to have tried to sell it to Mexico's national museum as an Aztec artifact, but was unsuccessful. Boban later moved his business to New York City, where the skull was sold to George H. Sisson. It was exhibited at the meeting of the American Association for the Advancement of Science in New York City in 1887 by George F. Kunz. It was sold at auction, and bought by Tiffany and Co., who later sold it at cost to the British Museum in 1897. This skull is very similar to the Mitchell-Hedges skull, although it is less detailed and does not have a movable lower jaw. The British Museum catalogues the skull's provenance as "probably European, 19th century AD" and describes it as "not an authentic pre-Columbian artefact". It has been established that this skull was made with modern tools, and that it is not authentic.
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