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When Professor Santo Cortez is murdered while preparing a new Mayan exhibit at the Chicago Field Museum of Natural History, Det. Jack Riley and his Partner Det. Ken Alston begin to search for the killers. Teaming up with Riley's reporter girlfriend Moria Clark and Cortez's protoge Dr. Julie Carr, they track the killers from the mean streets of the Windy City to the jungles of the Yucatan Penninsula where they encounter the mastermind behind both the murder and the theft of priceless artifacts. A Man claiming to be the reincarnation of the ancient Mayan God Kulkulcan. Facing armed rebels and giant snake guardians as well as the wrath of an ancient God, Riley and company fight to make sure justice is served!
Treasure-hunting team Sam and Remi Fargo must protect a book that could help locate lost Mayan cities in this adventure in the #1 New York Times bestselling series. Husband-and-wife team Sam and Remi Fargo are in Mexico, packing medical supplies in the wake of an earthquake, when they come upon a remarkable discovery—the mummified remains of a man clutching an ancient sealed pot. Within the pot is a Mayan book, a codex larger than any known before. The book contains astonishing information about the Mayans, their cities, and about mankind itself. The secrets are so powerful that some people would do anything to possess them—as the Fargos are about to find out. Many men and women are going to die for that book.
Chichén Itzá ("mouth of the well of the Itza") was one of the great centers of civilization in prehistoric America, serving between the eighth and twelfth centuries A.D. as a religious, economic, social, and political capital on the Yucatán Peninsula. Within the ancient city there were many natural wells or cenotes. One, within the ceremonial heart of the city, is an impressive natural feature with vertical limestone walls enclosing a deep pool of jade green water some eighty feet below ground level. This cenote, which gave the city its name, became a sacred shrine of Maya pilgrimage, described by one post-Conquest observer as similar to Jerusalem and Rome. Here, during the city's ascendancy and for centuries after its decline, the peoples of Yucatán consulted their gods and made ritual offerings of precious objects and living victims who were thought to receive prophecies. Although the well was described by Bishop Diego de Landa in the late sixteenth century, its contents were not known until the early 1900s when revealed by the work of Edward H. Thompson. Conducting excavations for the Peabody Museum of Harvard University, Thompson recovered almost thirty thousand artifacts, most ceremonially broken and many beautifully preserved by burial in the deep silt at the bottom of the well. The materials were sent to the Peabody Museum, where they remained, unexhibited, for over seventy years. In 1984, for the first time, nearly three hundred objects of gold, jade, copper, pottery, wood, copal, textile, and other materials from the collection were gathered into a traveling interpretive exhibition. No other archaeological exhibition had previously given this glimpse into Maya ritual life because no other collection had objects such as those found in the Sacred Cenote. Moreover, the objects from the Cenote come from throughout Mesoamerica and lower Central America, representing many artistic traditions. The exhibit and this, its accompanying catalog, marked the first time all of the different kinds of offerings have ever been displayed together, and the first time many have been published. Essays by Gordon R. Willey and Linnea H. Wren place the Cenote of Sacrifice and the great Maya city of Chichén Itzá within the larger context of Maya archaeology and history. The catalog entries, written by Clemency Chase Coggins, describe the objects displayed in the traveling exhibition. Some entries are brief descriptive statements; others develop short scholarly themes bearing on the function and interpretation of specific objects. Coggins' introductory essay describes how the objects were collected by Thompson and how the exhibition collection has been studied to reveal the periods of Cenote ritual and the changing practices of offering to the Sacred Cenote.
On May 7, 1945, 92 gold bars are discovered in a crashed car at Bolzano, where it is said that no-one can cook a good spaghetti. The watch on the dead driver's wrist stopped at 2:41 a.m., the precise time of the end of the Second World War in Europe. Every gold bar in the crash is made from gold confiscated from the victims of the Third Reich and its allies across Europe, from prisoners of war, gypsies, political enemies, and the mentally and physically handicapped, but mainly from Jews. Each gold bar has a history. Gold relates those 92 histories, along with a postscript of the histories of nine more gold bars that should have been in that crash.
This volume accompanies a major international loan exhibition featuring more than three hundred works of art, many rarely or never before seen in the United States. It traces the development of gold working and other luxury arts in the Americas from antiquity until the arrival of Europeans in the early sixteenth century. Presenting spectacular works from recent excavations in Peru, Colombia, Panama, Costa Rica, Guatemala, and Mexico, this exhibition focuses on specific places and times—crucibles of innovation—where artistic exchange, rivalry, and creativity led to the production of some of the greatest works of art known from the ancient Americas. The book and exhibition explore not only artistic practices but also the historical, cultural, social, and political conditions in which luxury arts were produced and circulated, alongside their religious meanings and ritual functions. Golden Kingdoms creates new understandings of ancient American art through a thematic exploration of indigenous ideas of value and luxury. Central to the book is the idea of the exchange of materials and ideas across regions and across time: works of great value would often be transported over long distances, or passed down over generations, in both cases attracting new audiences and inspiring new artists. The idea of exchange is at the intellectual heart of this volume, researched and written by twenty scholars based in the United States and Latin America.