This story began in July 1944. Voldemar Julsrud ran a hardware business in Acambaro, a small town about 300 kilometers north of Mexico City. Early one morning, while riding a horse ride on the slopes of El Toro Hill, he saw several hewn stones and pottery fragments protruding from the soil
Julsrud was originally from Germany, but was seriously interested in Mexican archeology and at the beginning of the century took part in excavations in the vicinity of Acambaro. Therefore, he was well versed in Mexican antiquities and immediately realized that the finds on the El Toro hill could not be attributed to any culture known at that time.
Dzhulsrud began his own research. True, not being a professional scientist, he acted very simply at first - he hired a local peasant named Odilon Tinajero, promising to pay him one peso (then it was equal to about 12 cents) for each whole artifact. Therefore, Tinajero was very careful during the excavations, and accidentally glue the broken objects together before taking them to Julsrud. This is how the collection of Dzhulsrud began to form, the replenishment of which was continued by his son, Carlos Djulsrud, and then by his grandson, Carlos II.
As a result, the collection of Dzhulsrud amounted to several tens of thousands of artifacts - according to some sources, there were 33.5 thousand, according to others - about 30 thousand! The collection was very diverse, the most numerous were figurines made of various types of clay, made using the technique of hand molding and fired over an open fire. The second category is stone sculptures, and the third is ceramics. It is noteworthy that in the entire collection there was not a single duplicate instance! The sizes of the figurines ranged from ten centimeters to one meter in height and one and a half meters in length. In addition, the collection included musical instruments, masks, obsidian and jade instruments. Along with the artifacts, several human skulls, the skeleton of a mammoth and the teeth of an Ice Age horse were found during excavations. During the lifetime of Voldemar Djulsrud, his entire collection, packed, occupied 12 rooms in his house. In the collection of Dzhulsrud there were many anthropomorphic figurines representing an almost complete set of racial types of humanity - Mongoloids, Africanoids, Caucasoids (including those with beards), Polynesian type and others.
But that was not what made the collection a sensation. Approximately 2,600 figurines were images of dinosaurs! Moreover, the variety of types of dinosaurs is truly amazing. Among them there are easily recognizable and well-known species to paleontological science: brachiosaurus, iguanodon, tyrannosaurus river, pteranodon, ankylosaurus, plesiosaurus. There are a huge number of figurines that modern scientists cannot identify, including the winged "dragon dinosaurs". But the most striking thing is that the collection contains a significant number of images of humans along with dinosaurs of various species.
The images suggest the only thought that humans and dinosaurs coexisted in close contact. Moreover, this coexistence included the entire spectrum of relationships - from the struggle between two such incompatible species of living beings to, possibly, the domestication of dinosaurs by humans.
The now extinct mammals - the American camel and the Ice Age horse, and the Pleistocene giant monkeys - were represented in smaller numbers in the collection of Dzhulsrud. It was this component of the Djulsrud collection that served as the reason for a long history of suppression and discrediting of his finds. This is understandable, since the fact of the coexistence and close interaction of man and the dinosaur not only refutes the linear evolutionism of the theory of the origin of species on Earth, but comes into irreconcilable contradiction with the entire modern worldview.
From the very beginning of his research, Voldemar Julsrud tried to attract the attention of the scientific community to his findings, but in the early years he was faced with the fact that his attempts were completely ignored. Only after several publications in American newspapers in the early 50s did professional archaeologists notice this unusual collection. In 1954, an official commission from the National Institute of Anthropology and History of Mexico arrived at Julesrud. The researchers themselves chose an arbitrary location on the slopes of the El Toro hill to conduct a control excavation, which took place in the presence of many witnesses. After several hours of excavation, a large number of figurines were found, similar to those from the Djulsrud collection. According to the archaeologists of the capital, examination of the found artifacts clearly demonstrated their antiquity. All members of the group congratulated Dzhulsrud on the outstanding discovery, and two of them promised to publish a report of their trip in scientific journals. However, three weeks after returning to Mexico City, the head of the commission, Dr. Norkwera, submitted a report claiming that the Giulsruda collection was a modern falsification, as it contains figurines depicting dinosaurs. In other words, a universal argument was used: "This cannot be, because it can never be." Neither repeated control excavations in 1955, nor repeated research by local authorities, which unequivocally confirmed the absence of such ceramic production in the area, could destroy the wall of silence around the Djulsrud collection.and two of them promised to publish a report of their trip in scientific journals. However, three weeks after returning to Mexico City, the head of the commission, Dr. Norkwera, submitted a report claiming that the Giulsruda collection was a modern falsification, as it contains figurines depicting dinosaurs. In other words, a universal argument was used: "This cannot be, because it can never be." Neither repeated control excavations in 1955, nor repeated research by local authorities, which unequivocally confirmed the absence of such ceramic production in the area, could destroy the wall of silence around the Djulsrud collection.and two of them promised to publish a report of their trip in scientific journals. However, three weeks after returning to Mexico City, the head of the commission, Dr. Norkwera, submitted a report claiming that the Giulsruda collection was a modern falsification, as it contains figurines depicting dinosaurs. In other words, a universal argument was used: "This cannot be, because it can never be." Neither repeated control excavations in 1955, nor repeated research by local authorities, which unequivocally confirmed the absence of such ceramic production in the area, could destroy the wall of silence around the Djulsrud collection.that the Djulsrud collection is a modern falsification, as it contains figurines depicting dinosaurs. In other words, a universal argument was used: "This cannot be, because it can never be." Neither repeated control excavations in 1955, nor repeated research by local authorities, which unequivocally confirmed the absence of such ceramic production in the area, could destroy the wall of silence around the Djulsrud collection.that the Djulsrud collection is a modern falsification, as it contains figurines depicting dinosaurs. In other words, a universal argument was used: "This cannot be, because it can never be." Neither repeated control excavations in 1955, nor repeated research by local authorities, which unequivocally confirmed the absence of such ceramic production in the area, could destroy the wall of silence around the Djulsrud collection.failed to break the wall of silence around the collection of Dzhulsrud.failed to break the wall of silence around the collection of Dzhulsrud.
Ramon Rivera, professor of history at the Acambaro Graduate School, spent a month in the field to investigate the possibility of locally producing the Giulsruda collection. After numerous surveys of the population of Acambaro and the surrounding areas (Rivera interviewed the elderly especially carefully), the professor stated that over the past hundred years in this area there was nothing like a large-scale ceramic production.
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Carried out in the 60-70s, studies of statuettes by radiocarbon analysis gave various results: some samples were dated to the second millennium BC, others - to the fifth. In the 70s-80s, public interest in the Djulsrud collection gradually subsided, the scientific community continued to ignore the fact of the collection's existence. Some publications in popular publications reproduced the version about the fake nature of the collection, based on the thesis that humans could not coexist with dinosaurs.
In the late 90s, the situation changed. The decisive turning point in the recognition of Julesrud's findings came as a result of the activities of two American researchers - anthropologist Denis Swift and geologist Don Patton. During 1999, they visited Acambaro five times. By this time, the collection of Dzhulsrud was "under lock and key" in the city hall and was not available to the public. The collection got there after the death of Dzhulsrud, when his house was sold.
As a result of the vigorous activities of Swift and Patton and the information campaign they organized in the Mexican media, the local authorities decided to open a special museum. At the end of the same 1999, part of the collection of Dzhulsrud was exhibited as a permanent exhibition in a house specially designated for the museum. However, today the museum is closed to the public again, and there are fears that the entire remaining part of the collection (and after the death of Dzhulsrud, most of his finds disappeared and no more than five thousand ended up in the museum) may simply disappear.
Andrey ZHUKOV, Candidate of Historical Sciences, Mexico, specially for "UFO" Photo by the author.
Source: UFO Magazine