BGuthrie Photos: AZ -- Flagstaff -- Museum of Northern Arizona

AZ -- Flagstaff -- Museum of Northern Arizona:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. MUSNAZ_220715_018.JPG: Melissa S. Cody is a fourth generation Dine weaver and artist raised on the Navajo Reservation. She chose her "Spider Woman Crosses" and "Burntwater" designs to be interpreted for this bus stop in conjunction with the Museum of Northern Arizona. This dynamic color scheme is typical of Cody's work, which reflects traditional design, but imbues it with a vibrancy and energy for which the artist has been recognized and awarded throughout the region.
2. MUSNAZ_220715_029.JPG: Progression by Dan Namingha
3. MUSNAZ_220715_030.JPG: Progression by Dan Namingha
4. MUSNAZ_220715_035.JPG: Please keep one coelophysis apart
5. MUSNAZ_220715_038.JPG: Colorado Plateau (outlined in gray) and the Four Corners States
6. MUSNAZ_220715_044.JPG: Harold S. Colton and Mary-Russell Ferrell Colton
7. MUSNAZ_220715_057.JPG: The Colorado Plateau
8. MUSNAZ_220715_060.JPG: The Orientation Wall
9. MUSNAZ_220715_062.JPG: The Pecos Classification System
10. MUSNAZ_220715_064.JPG: Glossary of Terms
11. MUSNAZ_220715_071.JPG: Dendrochronology
12. MUSNAZ_220715_074.JPG: Dendrochronology
13. MUSNAZ_220715_076.JPG: Paleo-Indian 15,000-8,000 BC
14. MUSNAZ_220715_078.JPG: Desert Culture 8000 to 100 BC
15. MUSNAZ_220715_095.JPG: Paleo-Indian 15,000 to 8,000 BC
16. MUSNAZ_220715_097.JPG: Desert Culture 8000 to 100 BC
17. MUSNAZ_220715_098.JPG: Basketmaker II 100 BC to AD 500
18. MUSNAZ_220715_101.JPG: Basketmaker III AD 500 to 700
19. MUSNAZ_220715_104.JPG: Sinagua AD 500 to 1400
20. MUSNAZ_220715_111.JPG: Pueblo II AD 900 to 1150
21. MUSNAZ_220715_112.JPG: Pueblo III AD 1150 to 1300
22. MUSNAZ_220715_114.JPG: Pueblo IV AD 1300 to 1600
23. MUSNAZ_220715_120.JPG: Historic Hopi AD 1600 to Early 20th Century
24. MUSNAZ_220715_123.JPG: Contemporary Hopi Earth 20th Century to Present
25. MUSNAZ_220715_126.JPG: Pai Havasupai, Hualapai, Yavapai AD 1600 to Present
26. MUSNAZ_220715_128.JPG: Historic Navajo AD 1600 to Early 20th Century
27. MUSNAZ_220715_130.JPG: Contemporary Navajo Early 20th Century to Present
28. MUSNAZ_220715_132.JPG: The Anasazi Tradition
29. MUSNAZ_220715_138.JPG: Basketmaker III AD 500 to 700
30. MUSNAZ_220715_142.JPG: Basketmaker II 100 BC to AD 500
31. MUSNAZ_220715_144.JPG: Sinagua AD 500 to 1400
32. MUSNAZ_220715_146.JPG: Agriculture
33. MUSNAZ_220715_148.JPG: Sunset Crater
34. MUSNAZ_220715_151.JPG: Architecture and Settlement Patterns
35. MUSNAZ_220715_164.JPG: Trade
36. MUSNAZ_220715_168.JPG: Pueblo I AD 700 to 900
37. MUSNAZ_220715_170.JPG: Architecture and Settlement Patterns
38. MUSNAZ_220715_176.JPG: Pueblo III AD 1150 to 1300
39. MUSNAZ_220715_179.JPG: Architecture and Settlement Patterns
40. MUSNAZ_220715_181.JPG: Three Pueblo II Sites
41. MUSNAZ_220715_184.JPG: Pueblo IV AD 1300 to 1600
42. MUSNAZ_220715_187.JPG: Pueblo Abandonment
43. MUSNAZ_220715_189.JPG: Kiva Murals
44. MUSNAZ_220715_192.JPG: Social Organization
45. MUSNAZ_220715_195.JPG: 1540: The Spanish Arrival
46. MUSNAZ_220715_200.JPG: Native Peoples of the Colorado Plateau
47. MUSNAZ_220715_205.JPG: Zuni
48. MUSNAZ_220715_211.JPG: Havasupai
49. MUSNAZ_220715_216.JPG: Hualapai
50. MUSNAZ_220715_219.JPG: Conflict and Resilience
51. MUSNAZ_220715_222.JPG: Yavapai-Apache
52. MUSNAZ_220715_229.JPG: Dine (Navajo)
53. MUSNAZ_220715_233.JPG: "For some of us, the Longest Walk never ended."
54. MUSNAZ_220715_237.JPG: Save the Confluence
55. MUSNAZ_220715_239.JPG: Hweeldi (The "Long Walk")
56. MUSNAZ_220715_243.JPG: Invasion of our Homeland
57. MUSNAZ_220715_246.JPG: Returning Home
58. MUSNAZ_220715_252.JPG: Hopi
59. MUSNAZ_220715_255.JPG: Ute
60. MUSNAZ_220715_257.JPG: Invasion of Our Homeland
61. MUSNAZ_220715_259.JPG: Paiute
62. MUSNAZ_220715_261.JPG: Acoma
63. MUSNAZ_220715_268.JPG: Maize
64. MUSNAZ_220715_278.JPG: Kiva
65. MUSNAZ_220715_285.JPG: Warrior's Song Rick Nez, Dine, no date
66. MUSNAZ_220715_290.JPG: Poetry on the Plateau
67. MUSNAZ_220715_292.JPG: Daro Flood Turning the Flock, 1977
68. MUSNAZ_220715_307.JPG: The Discovery of Tim's Cave
69. MUSNAZ_220715_313.JPG: Inside Tim's Cave
70. MUSNAZ_220715_317.JPG: Preservation
71. MUSNAZ_220715_351.JPG: The Cretaceous World
72. MUSNAZ_220715_353.JPG: Life in the Sea
73. MUSNAZ_220715_364.JPG: The End of the Dinosaurs
74. MUSNAZ_220715_381.JPG: The Triassic World
75. MUSNAZ_220715_384.JPG: Turned To Stone
76. MUSNAZ_220715_393.JPG: The Jurassic World
77. MUSNAZ_220715_395.JPG: Fossilized Social Insect Nest This is a natural sandstone cast of the tunnels that made up the underground nest of a colony of social insects, possibly termites or ants.
78. MUSNAZ_220715_404.JPG: Theories about the Cutting of the Grand Canyon
79. MUSNAZ_220715_410.JPG: The North Rim is Higher!
80. MUSNAZ_220715_412.JPG: San Francisco Mountain
81. MUSNAZ_220715_417.JPG: Drainage area of the Grand Canyon
82. MUSNAZ_220715_419.JPG: How Did Monument Valley Form?
83. MUSNAZ_220715_424.JPG: Not a True Valley!
84. MUSNAZ_220715_430.JPG: The Colorado Plateau
85. MUSNAZ_220715_433.JPG: The Vastness of Geologic Time
86. MUSNAZ_220715_435.JPG: Geologic Time Scale
87. MUSNAZ_220715_438.JPG: Our Restless Planet Earth
88. MUSNAZ_220715_443.JPG: The Changing Face of Earth
89. MUSNAZ_220715_450.JPG: Precambrian World
90. MUSNAZ_220715_457.JPG: Stromatolites
91. MUSNAZ_220715_463.JPG: The Paleozoic World
92. MUSNAZ_220715_475.JPG: The Cenosoic World
93. MUSNAZ_220715_476.JPG: The Early Tertiary
94. MUSNAZ_220715_478.JPG: The Late Tertiary
95. MUSNAZ_220715_483.JPG: Where Did These Animals Go?
96. MUSNAZ_220715_486.JPG: The Arrival of Humans on the Colorado Plateau
Wikipedia Description: Museum of Northern Arizona
From Wikipedia, the free encyclopedia

The Museum of Northern Arizona is a museum in Flagstaff, Arizona, United States, that was established as a repository for Indigenous material and natural history specimens from the Colorado Plateau.
The museum was founded in 1928 by zoologist Dr. Harold S. Colton and artist Mary-Russell Ferrell Colton from Philadelphia, Pennsylvania, and is dedicated to preserving the history and cultures of northern Arizona and the Colorado Plateau.

History

"Someone ought to tell the world about it," wrote Harold Sellers Colton and Frank E. Baxter in a 1932 guide for the northern Arizona traveler. They eloquently described the wonders of the vast region—colors to delight the artist, Native American peoples to engage the anthropologist, traces of human occupation to occupy the archaeologist, an open textbook for the geologist, plants and wildlife to intrigue the biologist and botanist—in short, an area abundant with treasures to delight both scientist and visitor. The authors were reiterating what had already been stated—northern Arizona and the Colorado Plateau were definitely worth exploring.
Northern Arizona sits on part of the Colorado Plateau which extends over parts of four western states: Arizona, Utah, Colorado, and New Mexico. The section in northern Arizona features the towering volcano known as the San Francisco Peaks, the ever-changing palette of the Painted Desert, the unequaled Grand Canyon, beautiful Lake Powell, curious Petrified Forest, lush Oak Creek Canyon, bountiful Verde Valley, and the verdant White Mountains, just to name a few high-lights. Living amongst these physical marvels are the native peoples who, in the course of maintaining their cultural traditions, acknowledge and celebrate the natural wonders surrounding them. Elevations extend three miles vertically—from the 12,637 foot-high Humphrey's Peak of the San Francisco Peaks to the one-mile-deep Grand Canyon. In between are nearly limitless examples of the Earth's natural history, brought close together in an area that provides an unending laboratory for the inquisitive.
Into this land came Harold Sellers and Mary-Russell Ferrell Colton and their family. Dr. Colton was a zoology professor at the University of Pennsylvania whose zest for knowledge went far beyond that field and who would be forever excited by the many research opportunities in northern Arizona. Mrs. Colton was equally intrigued by the native peoples and scenic grandeur of the region, and she spent many hours sketching and painting them. After numerous visits to the region, they moved to Flagstaff in 1926 to pursue their mutual and individual interests.
The Coltons became involved in efforts to create a local museum that would display the natural and human wonders of the area. Combining their skill and benevolence, and in response to the urging of prominent citizens of both Flagstaff and Tucson, they helped the community found the Museum of Northern Arizona (MNA) in 1928. The Museum is a regionally based institution that researches, collects, and exhibits all that represents northern Arizona and the Colorado Plateau. Dr. Colton became MNA Director and Mrs. Colton the Curator of Art and Ethnology, allowing them to follow and explore their respective interests in science and art, and making MNA the spirited, multifaceted institution we enjoy today. With its unique blend of science and art, MNA stands alone. At MNA, research and public exhibits intertwine with collections to present a rich, composite view of northern Arizona and the Colorado Plateau.
In 1930, they hired Katharine Bartlett a physical anthropologist from Denver to curate the museum. Bartlett spent the next 51 years organizing first the museum and then the library. Her cataloging procedures became the foundation of the research facility the museum has become. The Museum of Northern Arizona offers its visitors many opportunities to become familiar with the area through public exhibits and programs. At the same time, its staff and researchers continue their studies, because science, like life, is not static—it is ever-evolving. MNA continually explores ways to preserve this distinctive region and ensure that its uniqueness endures.
MNA's three components—public programs, research, and collections—complement one another in a continual circle. Scientists study the data, utilize the collections, and develop public exhibits designed to introduce the Colorado Plateau. Museum visitors, after this introduction, often seek further knowledge, stimulating the scientists to reconsider the data and to reexamine the collections. This ongoing cycle is considered optimal for a museum, as each component is dependent upon the other. MNA is a private, nonprofit organization supported by its members and by supplemental funding. Its exhibit areas have grown from two rooms in the Flagstaff Woman's Club in 1928 to today's 24,700-square-foot Exhibits building that hosted over 91,000 visitors in 1996. On an adjacent part of the campus are its research and collections facilities.

Flagstaff and The Establishment of MNA

"A happy accident...would take me...to and through Arizona..." said forester Bernhard E. Fernow in 1897, writing about his trip with biologist C. Hart Merriam to explore Arizona. Fernow told the National Geographic Society about his delight at the unique environs of Arizona and desire to return as often as possible. He was not alone in this thinking as heightened awareness of the area brought more and more researchers. Scientific study of northern Arizona had begun in the 1850s with government-sponsored road and railway surveyors who preceded the settlers. The surveyors' reports to Washington, D.C., describing the natural wonders of the Flagstaff area and the Colorado Plateau, prompted other scientists to explore the area.
Construction of the transcontinental roads and railroads brought the first settlers to Flagstaff in the 1870s. Laborers, shopkeepers, and saloon owners liked its scenic location at the base of the San Francisco Peaks, which offered a permanent water supply. The town's remoteness caused less-than-desirable residents to appear, providing Flagstaff with its share of rough-and-rowdy early days. Additional settlers moved in and earned a living from the natural resources of the area, including timber and grazing land.
By the time of the Coltons' arrival in 1926, the 4,000 Flagstaff residents were encouraging the newly arrived educators, scientists, and artists to help steer their town away from its wild-west beginnings. In Flagstaff, the Coltons sought avenues to pursue their respective interests of science and art. Both believed that they should help others and use their time and money for the accomplishment of lasting contributions. In Flagstaff, they saw propitious opportunities for all of their interests.
Dr. Colton made an immediate connection in Flagstaff scientific circles during the first summer they camped in Flagstaff, due to a letter of introduction from Professor Edward S. Morse, a personal friend of both Dr. Colton and Percival Lowell, to Dr. V.M. Slipher of Lowell Observatory. The Observatory, founded in Flagstaff in 1894 by Percival Lowell and the site of pioneering astronomical work, is located in Flagstaff specifically for the clear dark skies that present opportunities for unclouded space study.
Northern Arizona Normal School, later Arizona State Teachers College and still later Northern Arizona University, opened in the fall of 1899 with classes for those preparing to be teachers. Its Faculty contained a few scientists and artists Beginning in 1929 with Lyndon Hargrave, MNA anthropology staff donated their time to teach classes at the college, with Dr. Colton underwriting the costs. This continued until the 1950s, when NAU finally supported an anthropology faculty.
Henry H. Robinson arrived in Flagstaff from Yale University in 1901 for a summer's work of graduate studies on the San Francisco Peaks volcanic field. He returned for the following two summers to complete his dissertation on the geology of the Peaks. His work followed, by nearly half a century, the establishment of the U.S Geological Survey, which still maintains a facility in Flagstaff.
The youthful U.S. Forest Service established the nation's first forest research experiment station in nearby Fort Valley at the request of Flagstaff lumbermen T.A. and M.J. Riordan, who sought the answers to why the Ponderosa pine trees, once so profuse, were not regenerating after logging. Station Director Gustaf A. Pearson began studies into this problem in August, 1908. He served as an ex-officio MNA Trustee until his retirement in 1945 and today has a building at the Research Center named after him.
Pearson also helped Dr. Colton and former Lowell employee Andrew E. Douglass to pioneer studies in tree-ring dating. Pearson provided Douglass with tree-boring equipment, which Douglass used to perfect the science of determining the age of trees based on their growth (Dendrochronology), greatly aiding researchers in dating archaeological sites. Douglass experimented with trees on MNA property, and the first tree-ring conference was held in 1934 under pines near the Colton House.
Perhaps the most visible scientific presence in northern Arizona contributing to the evolution of MNA was that of the geologists and archaeologists who arrived in Flagstaff via the train in early summer, where they purchased supplies that were taken to remote sites located out on the Plateau. Then, in late summer, the bearded, sandy, and windblown scientists returned with boxes and crates filled with materials removed from the sites. Flagstaff residents watched with resentment as "their" artifacts disappeared when the men boarded the trains to return to eastern museums with their finds. Thus began the desire for a local place where regional materials could be housed, studied, and displayed.
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