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Full-Size, 3-D Replicas
o f t h e
Mysterious Rosetta Stone
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A#1 - RosettaStoneReplicas.com
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A#1 -
Rosetta Stone Replicas ~
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© 2006-2010 Rosetta Classic, LLC.
All rights reserved.
Anyone
interested in the fields of archaeology,
Egyptology,
cryptology,
publishing,
geology, science,
writing, mathematics, translation work and/or
languages
understands the significance of this
famous artifact.
The
“Rosetta Stone," as it is known, has become a metaphor...
...a metaphor for anything that is important to the process of
decryption or the unraveling of a complex problem -- cracking a code
of some sort. Perhaps even a global metaphor for hope, creativity
and perseverance for many who are trying to learn a new language,
attempting to solve a relational puzzle, or seeking to decipher the
cryptic issues of these tough economic times...
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View from west bank of the
Nile at the Ft. Rashid
site
(photo by Dr. Joel A. Freeman)
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Even if you are quite knowledgeable about the
Rosetta Stone, perhaps you will learn some new things by the
time you have finished reading this page. Plus, you just might
want to own a stunning, museum-quality replica (45" x 30" x 11")
of the Rosetta Stone. Review the eight innovations of the Rosetta
Stone below, including a planned 3-D holographic image. You'll be
pleasantly surprised. But first, let's take a step back in time...
The Rosetta Stone was/is an
irregularly shaped slab of rock weighing about 1,700 pounds. The face has 14 lines
of hieroglyphs (It is estimated that there were 29 lines prior
to breakage), 32 lines of cursive Demotic, and, at the bottom,
54 lines of ancient Greek (language introduced after the
conquest of Egypt by Alexander the Great). All proclaim the same
message
(feel free to read it later). |
Historian, Richard Moore states, "The French attempt
to exert influence over Egypt was due to economics, a political need
to weaken Britain and the personal needs of General Napoleon
Bonaparte, who saw the shadow of unemployment - and a loss of
influence - looming as his armies in Italy were nearing the end of
their successful struggles against Austria. Having seen the benefits
of Britain's profitable colonies, France's Directory listened to
Bonaparte's idea to invade Egypt, expel the ruling Marmalukes and
establish a modern style of government friendly toward French ways."
The Napoleonic Egyptian Campaign started in 1798. In
1799, as French soldiers were preparing to build the foundation for
Fort Julian (later known as Fort Rashid) on the West Bank of the
Nile, the soldiers found the Rosetta Stone (see photo above).
That village, called Rashid, was translated as “Rosetta;” hence the
name.
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The Greek text was quickly translated and the last
line of the Greek text impacted everyone who read it: "This
decree shall be inscribed on a stela of hard stone in sacred
(hieroglyph)
and native (demotic script) and Greek characters...."
This meant that a parallel version of the same text was presented in all three
languages! The Stone was deemed to be priceless! Everyone
quickly recognized that the Rosetta Stone could very well unlock
the secrets to ancient Egypt. The
ability to read hieroglyphs had been lost for almost two
centuries, but now they had hope of understanding this ancient
language.
The stone, a fragment of an ancient
slab proclaiming the “Memphis Decree” in 196 BC, praised the Egyptian king Ptolemy V
on the first anniversary of his coronation. Even though the
British defeated the French, a battle of intrigue followed. |
In September 1801
English Colonel Turner, who had fought and won at Aboukir Bay and
Alexandria, went to visit General Menou to take the stone back to
Britain under the terms of the Treaty of Capitulation. Turner
cited the 16th article of the treaty, and Menou handed it over
grudgingly. The French had the foresight to make several copies of
the inscriptions, which served them well after the British acquired
the stone. Both the French and the British knew they had something
valuable on their hands, but it would take years to crack the code
inscribed on the Rosetta Stone. Only then would its true worth be
revealed.
Scholar, Margie Parent writes, "...in the spasmodic voyage from Egypt to
England, many of the Egyptian antiquities were damaged. Because
of the importance of the Rosetta Stone, however Colonel Turner
personally accompanied this precious cargo on its journey aboard
a frigate. The Rosetta stone left Egypt from Alexandria and
sailed into the English Channel in February 1802. At Deptford
the stone was placed in a small boat and taken through customs.
It was [initially] lodged at the quarters of the Society of
Antiquaries so experts could examine it...."
The Rosetta Stone, on display in
the British Museum, has text inscribed on it that permanently
tells a story. On the left side, the painted text reads: "Captured
in Egypt by the British Army in 1801." On right side it
reads: "Presented by King George III."
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Jean Champollion
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The
hieroglyphic images were studied by many (Rev. Stephen Weston,
Dr. Thomas Young, etc.), but the Rosetta Stone was ultimately
deciphered
in 1822 (approximately 23 years later) by Jean-Francois Champollion (see image to right), the
brilliant French academic who specialized in ancient languages of
the Middle East.
The Rosetta Stone
story is remarkable, recounting the many decrees of Ptolemy IX
upon the anniversary of his reign. Ptolemy IX had succeeded
during the previous year of subduing a rebellion by a certain
temple and priesthood who had refused to pay tithes and taxes to
the Pharaoh. They occupied a fort-like temple on the banks of
the Nile. Rather than attacking the temple with his army,
Ptolemy diverted the Nile River around the Temple by damming,
digging trenches and canals around it, depriving them of food
and water. A few months later, the rebel priesthood surrendered.
Ptolemy decreed a
general amnesty for the rebels (except for the leaders). Allowed
many of the priests to retain their homes and wealth, decreed a
national celebration of the jubilee of his reign and gave the
people a tax break (really).
Ptolemy IX also
declared himself a deity to be worshipped in all temples of
Egypt, with a facsimile of himself in stone to be the object of
veneration with the burning of incense and prayer 3 times per
day.
His final decree was that the entire record of this adventure be
inscribed in stone in the 3 languages of the kingdom and that
the decree should be placed prominently in all temples in Egypt
and other important places and towns.
Champollion compared the three
texts, all stating the same Decree. Since these three languages
were all used at the time, the Decree had to be “published” in all
of them. The overwhelming importance of the translation is that
it made it possible to read hundreds of hieroglyph inscriptions
on tombs, obelisks and other ancient objects.
Cracking the code
of the hieroglyphs was enormously important for understanding
the history and culture of
ancient Egypt, thus revealing details of a civilization going
back close to 4,000 years BC. The genuine Rosetta
Stone is housed at the British Museum in London.

1st-generation cast of the Rosetta
Stone owned by The Freeman Institute
from The Freeman Institute History Collection
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In the 1970’s, the British Museum made a mold of
the full face of the authentic Rosetta Stone, and cast a small number of
first-generation reproductions.
The Freeman Institute
obtained one of these facsimiles (see image to left) from a gentleman
who was informed by the British Museum that only 12-15
first-generation replicas had ever been made, and that he had
acquired the last one. (It had been stored in the basement of
the British Museum and
the museum cleaned it before selling it to him.)
It is a
first-generation, full-size, life-size
facsimile (in black resin) with the characters in white (carnauba
wax and chalk compound), made from a direct mold of the
original Rosetta Stone face.
The size of the casting is approximately 40 inches in height, 30
inches in width, and the resin is molded so that it has two-inch sides.
A representative of the British Museum Company (in charge of sales
& marketing for the British Museum) emailed the
following: “Unfortunately
we do not have any records of how many Rosetta Stone casts were
produced. However, (we) estimate that it would have been two or
three a year (in the 1970s) at the very most.”
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Based upon the emailed correspondence and other anecdotal
evidence, it is safe to say there
are relatively few full-size, first-generation facsimiles of the
face of the Rosetta Stone (manufactured in the 1970s) that exist in the
entire world.
R
O
S
E
T
T
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The Stone That Told The
Sphinx's Secrets
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How would you like to
own
& exhibit a full-size, 3-D
replica of the Rosetta Stone?
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One of our Rosetta Stone replicas used on
the Vancouver movie set of Night At The Museum 3
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A MEMORABLE
CONVERSATION
PIECE
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A museum
will want to own and exhibit the replica, with an exhibit of
Jean Champollion
and the
global impact that emerged from cracking of the linguistic code of hieroglyphics.
A corporation will want to
own and exhibit the full-size
3-D replica in the "public-area" foyer of the
entryway.
A
company that has a presence at their industry trade shows will want
to own and exhibit a
replica as a "show-stopper" -- attracting many inquisitive attendees
to their booth.
The Egyptology
Department of a university may want to get a grant to
own & exhibit the full-size replica as a "hands-on" educational
piece.
The
ultimate "Legacy" or "Life-Time Achievement" Award presentation piece
for one-of-a-kind
individuals -- recognizing (with a Bronze Rosetta)
those
who have displayed world class accomplishments throughout
their lives.
Fine
restaurants. Colleges. Publishers. Law firms. Language translation
companies.
Organizations specializing in cryptology. Large city libraries.
Bio-research companies.
The
"suspended-in-air" holographic image of the Rosetta Stone. An
educational jaw-dropper.
A unique
gift for someone who has everything.
So many
ideas...
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A#1 -
Rosetta Stone Replicas
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ACQUIRING A
MUSEUM - QUALITY REPLICA
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B A C K G R O U N D
T E C H N O L O G Y
B A C K G R O U N D |
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The
arduous process of developing these replicas has been time-consuming
and expensive -- taking well over four years. Under the umbrella of
The Freeman
Institute® Foundation,
Joel Freeman
(Rosetta Classic, LLC) is developing a life-size, 3-D mold of the
Rosetta Stone (45" tall x 30" x 11" thick).

Early 1900s
"magic lantern"
glass slide image of
the Rosetta Stone
from The Freeman Institute History Collection |
The face of the mold, which is the most
important part of the Stone, has been lasered from the face of the
1st generation cast mentioned above (see photos below). The sides and rear of
the Rosetta Stone replica have been painstakingly rendered
artistically from photos of the various views of the Rosetta Stone taken by Dr.
Freeman on his many visits to the British Museum over the
decades.
The Rosetta Stone was cleaned in 2004 by the
British Museum. Along with
many other interesting aspects, the cleaning of the Rosetta Stone
basically revealed that it was made of granodiroite, not basalt.
We are confident that the cleaning process did not alter the
original integrity of the face of the Rosetta Stone. If that is the case, the
cleaning of the Rosetta Stone did not alter the
structure, the precise placement or design of the lettering, or its
external shape/form. It is those elements upon which we focus.
The museum-quality facsimiles we are designing will
be about as close as anyone can get to owning or exhibiting the
real thing. We are also constructing a cylinder base (30" tall x 28"
across),
similar to the one pictured to the left, except for the square
platform at the bottom of the base.
Why are we doing all this? Watching reruns of
the "Jay Walking"
segments
with Jay Leno on evening TV reveals how little knowledge people
possess about modern or ancient history. It's as sad and as
frightening as it is humorous. |
Our desire is to educate people -- young and old
alike -- about the significance of the Rosetta Stone, understanding
its role in cracking the code to Hieroglyphics -- which helped to
spawn the intriguing fields of Archaeology and Egyptology -- a
cryptologist's dream.
People viewing the Rosetta Stone replica
exhibitions will want to learn more.
Our main passion is to develop an excitement in the hearts of people
to want to travel to view the real artifact/artefact (Rosetta Stone), which is exhibited in
London at the British Museum. The reconstruction part
of making the life-size mold is a painstaking process and we
will take our time to make sure that the face of the replica is
designed as close to perfection as is possible. We have already
developed a 3-D digital image of the Rosetta Stone through
Direct Dimensions (see image to right). From this image we
created the mold. The mold is now used to fabricate the
full-size, 3-D replicas. See how it all works below:
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LASER SCANNING
(Non-Contact)
Laser Scanning is the process of shining
a structured laser line over the surface of an object in order
to collect 3-dimensional data. The surface data is captured by a
camera sensor mounted in the laser scanner which records
accurate dense 3D points in space. Laser Scanners are
non-contact devices used to gather 3D digital data from a
variety of objects. A beam of light passes over the object while
a camera mounted inside the scanner records the position of the
laser. This 3D data is then transferred to the computer and the
image is "drawn" in 3D on the screen. The Xystum XSM (pictured
to the right) automatic 3-axis machine with a laser scanning
probe option is what was used on the Rosetta Stone Replica
project. Accuracy: 0.0005" -- Below are images of the
Rosetta Stone replica being scanned. One of the leading
companies in this technology in the world has completed this
project...Direct
Dimensions (see more photos below). |

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Digital Modeling is the process of creating a computer model
of an object that exactly replicates the form of the object.
Laser scanners are used to capture the 3D data of the object,
and then this data is transferred to the computer where it is
aligned and edited and finalized as a complete 3D model. Here's
how it works:
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scanning item |

digital information transferred to computer |

computer model |

mold created and replica manufactured |

exact replica |
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3-D Digital Model of the Rosetta Stone
[provided by Direct Dimensions]
you will have to download software to view and
manipulate the image
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The progression of the digital reconstruction of the Rosetta
Stone replica -- 3-D digital model
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I M P O R T A N T
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The main purpose of Dr. Joel Freeman, The Freeman
Institute Foundation and Rosetta Classic, LLC is to
educate and inspire the masses (especially young people)
about the impact the Rosetta Stone has had upon our
understanding of Egypt (located in Africa) and the rest of
the world.
It is amazing to how
many have never even heard of the Rosetta Stone -- let
alone being aware of the historical and archaeological
significance of this artifact.
One of the objectives
for the 3-D replica and 3-D holographic project is to
provide a new and different way to reach/teach young
people. Educators know that the engagement of any extra
sense (visual, auditory, tactile, olfactory, etc.)
increases the immediate understanding and retention of a
topic. We are hoping that these models will be viewed (and
touched) by millions around the world -- making it a
memorable experience for each person.
As visitors to Rosetta
Stone replica exhibits become more aware of the Rosetta
stone, they just might go home and read about it on the
Internet.
We also want to
create a desire within everyone who actually sees a
replica and learns more about it, to travel to London to
experience the genuine Rosetta Stone -- currently
exhibited at the British Museum
You can hire Dr. Freeman (bio) to come to your organization to
make a highly visual & educational
presentation/exhibition about the historical &
contemporary significance
of the Rosetta Stone.
email info
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Eight Unique Innovations
of the Rosetta Stone
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C
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(1). CLASSIC
ROSETTA:
info/pricing
-- Classic Rosetta
full-size 3-D replica (about 11 inches
thick -- approx. 45" high x 30" wide). The coloration
will be designed to mimic (as closely as possible) the
genuine Rosetta Stone. (2).
CLASSIC BRONZE ROSETTA: info/pricing
-- Classic Bronze Rosetta
limited edition (only 750) full-size, 3-D cold bronze
model (resin & bronze).
(3). CLASSIC SILVER
ROSETTA: info/pricing
-- Classic Silver Rosetta
limited edition (only 750) full-size, 3-D cold silver
model (resin & silver).
(4). CLASSIC FINE ART
BRONZE ROSETTA: info/pricing
-- Classic Fine Art Bronze Rosetta
rare, limited edition
(only 250) full-size, 3-D "lost-wax" bronze foundry process
designed
for highly valued fine art pieces that are immortalized in like manner.
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CLASSIC / BRONZE / SILVER / FINE ART ROSETTA PEDESTAL BASES:
info/pricing -- Exhibition
30" high x 28" wide base (with iron cradle
option) to exhibit replica. (see 2 exhibition concepts below)
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(5). CLASSIC, JR. ROSETTA: info/pricing
-- Classic, Jr Rosetta
2/3 size, 3-D replica (about 7.5" thick --
approximately 30" high x 20" wide, 25 pounds).
Nothing like it in the world! Remarkable
likeness that fits in any home, office or
(6). HYBRID ROSETTA:
info/pricing
-- Hybrid Rosetta
unique, dual-purpose model: unscrew the 4 legs
from the coffee table (40" long x 30" wide x 2.5" thick)
and now you have a beautiful piece of
archaeological art to hang on your wall.
(7). BRONZE PLAQUE ROSETTA:
info/pricing -- Bronze Plaque Rosetta
limited edition
(only 1,500) full-size flat cold
bronze (or silver) model & "lost wax" bronze wall-art
model.
- (a bronze plaque-like model...approximately 40" tall x 30"
wide x 1.5" thick).
(8). HOLOGRAPHIC ROSETTA:
info
-- Holographic Rosetta
we are in the beginning stages of working on an
absolutely stunning 3-D digital holographic image of
the Rosetta Stone
that is suspended in mid air. The
initial descriptions indicate that there is nothing else
like it
-- to be made available for museum exhibits, special events, etc.
An educational jaw-dropper...
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Official
Dimensions
of Genuine Rosetta Stone
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Height: 114.400 cm (max.)
Width: 72.300 cm
Thickness: 27.900 cm |
Exhibition Pedestal Base Concepts
We will recreate the cylinder of the original exhibition base you see in
the image (London Illustrated, 1874) below, except
there will be no square piece at the bottom of the pedestal base. These
exhibition bases will be comprised of a sand-filled,
granite-like resin cylinder (about 30" tall x 28" across) -- available only for the full life-size,
Classic Rosetta
models.
We also have another exhibition concept (designed
especially for mobility...greater ease in shipping the
replica & base to/from trade shows, for instance), attaching the
Rosetta Stone replica to a black matte pipe screwed into the
bottom at a very slight forward angle. The other end of the pipe
will be screwed into a large granite-like resin base filled with sand -- or a flat piece of
steel. We are currently working on the viability/stability of
the base concepts and the pricing of the
exhibition
base ideas. We will also be developing exquisitely framed copies of
the 1874 London Illustrated image -->
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from The Freeman Institute History Collection |
It was originally thought by experts that the
Rosetta Stone inscription was carved into basalt. But in recent
years (after the cleaning in 2004) it has been determined that the genuine Rosetta
Stone is actually granodiorite rock from an Aswan quarry (see
samples below).

Granodiorite /
Main Rosetta Stone

Coarse pinkish granite vein in upper
left hand corner of Rosetta Stone |
GRANODIORITE:
This is a strange, mixed rock. It has a high quartz content,
like a granite, but also a high mafic (amphibole/biotite)
content (10-25%) more like a diorite. Granodiorite is typically
intermediate colored with a mixture of light colored
microcline, sodium plagioclase and quartz, and dark colored amphibole and biotite. The granodiorite from Aswan, however, is unusual in
that its mafic content is 25-35% and this gives the rock a dark
gray to nearly black color that is broken only by the
occasional, large pink microcline and white plagioclase crystals.
We reached out to many
geologists around the world trying to identify the specific variety
of granodiorite used in the creation of the Rosetta Stone.
Everyone we emailed stated that Dr. Harrell was the
leading expert on the topic.
For 20 years Dr. James
"Jim" Harrell (Professor Emeritus of Geology, University of Toledo)
has been conducting a survey of Egypt's ancient mines and
quarries. To date 210 mines and quarries have been identified.
Dr. Harrell, an expert in archaeological stone, has traveled
extensively throughout the region (sometimes at great personal
peril), discovering that about 75% of the quarries are in or
adjacent to the Nile Valley, including the quarries for granite
and granodiorite in the Aswan region.
<< The color chips to the left were selected by Dr.
Harrell and shown here (with his permission) as the best samples
from his
collection, representing the truest examples of granodiorite from the Aswan region used to create the original
Rosetta Stone. We have utilized his hi-rez images to create the
filler used to color the replicas during the resin casting process.
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The
Classic Rosetta,
Classic Bronze, Classic Silver, Baby Rosetta
and Hybrid Rosetta
models are being fabricated by Mannetron, utilizing the
Rotational Casting technology and will be hollow (about 1/2"
thick, with an internal layer of high density foam), so that the
shipping cost will be minimized. The foam will also strengthen the
walls of each replica.
The
Classic Fine Art Bronze and
Bronze Plaque
models are being fabricated by a foundry.
The Classic "Lost Wax" Bronze Rosetta model will be made of real bronze,
using the "lost wax" process that is utilized for highly valued fine
art pieces that are immortalized in like manner.
These bronze models will be about 1/2" thick and will weigh 3-4
times more than the resin models. Consider developing a "Legacy"
or "Lifetime Achievement" Award in your community. A
Bronze Rosetta would be the ultimate award, prized by anyone who
receives such an honor.
Even though the main purpose for creating the Rosetta Stone
Replicas has been to provide them as educational exhibits for
the Black History galleries
The Freeman
Institute® Foundation is
developing, there has been substantial interest from individuals
and educational entities for purchasing certain models.
These stunning, museum-quality replicas will be expensive. It has
been a long process (4+ years)...bringing this project to the point where
we are almost ready to start the fabrication of replicas fit for
public exhibition. Ask about discounts, available only for educational
institutions, libraries & museums. This is
not a cheap "Made-In-China" assembly-line
replica project. Nor is it a washed-out, flat resin copy of a
copy of a copy of a copy of a copy of a copy of the
face of the Stone, cast in someone's back yard. |
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A close-up of the
corner of the 3-D digital model |
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Each Rosetta Stone replica (fabricated from a
1st-generation facsimile) is individually and lovingly hand crafted
by artisans in an expert environment and will be as strong and
as durable as a cultured marble-type counter top -
40% resin / 60% granodiorite filler.
The shipping, handling (including the construction of secure wooden box for
transport), and insurance costs will be borne by the buyer. The
cost of S&H and insurance will be determined by the final
destination to which the replica will be shipped and the least
expensive (yet secure) method of shipping via a credible shipper
(preferably by air).
We absolutely guarantee
that the replica will be delivered to the shipper in pristine
condition. In the unlikely event of damage occurring during shipping...that
will be taken up with the
shipper's insurance company. The rule of thumb is that the
quicker an object like this arrives, the less potential damage.
Ground shipping will be the least-viable option.
Feel free to
email
us with your thoughts and questions. We look forward to
providing full-size, 3-D, museum-quality replicas of the Rosetta
Stone very soon. Rosetta Classic, LLC is listed at the American
Association of Museum's "Museum
Marketplace." All purchases of the Rosetta Stone replicas through
Rosetta Classic, LLC will benefit
the goals and objectives of
The Freeman Institute Foundation
(see more info below), which is directed by
Dr. Joel Freeman.
Excellence. Satisfaction guaranteed. Period.
Feel free to take a look at the
other
Rosetta
Stone-related items in
The Freeman Institute®
collection.
______________________________________________________________
Here is a 3-D Digital Model of the Rosetta Stone
[provided by Direct Dimensions]
you will have to download software to view and
manipulate the image
~~~~~~~~~~~~~~~~
THE FREEMAN
INSTITUTE®
FOUNDATION
~~~~~~~~~~~~~~~~
Main Purpose For
Developing the Rosetta Stone Replicas
The Freeman Institute®
owns a
Black History collection of
well over 2,500 vintage
documents and artifacts, with the oldest piece dated
1553. The goal is to develop Black History galleries,
connecting the African American experience with galleries in major
U.S. cities and in selected cities internationally (parts of Canada,
Europe, Africa and South America and every Caribbean country) --
designed to educate and inspire this generation.
Each gallery will have a
wall dedicated to some of the White abolitionists who
sacrificed their time...and some their lives for the anti-slavery cause.
This vision also includes the
exhibition of replicas of the Rosetta Stone in
every gallery in the world.
Dr. Joel Freeman,
The Freeman
Institute®
Foundation and Rosetta Classic, LLC are supervising the creation of a mold and the
fabrication of replicas.
Why?
A life-size, 3D reproduction of
the Rosetta Stone in each gallery provides a literal touchstone to
ancient times -- reminding people that Egypt is in Africa...not the
Middle East -- giving an opportunity to showcase the
accomplishments of other ancient African Kingdoms that
have passed down much of their history through oral
tradition (Ghanian,
Songehay, Great Zimbabwe, Malian, etc.). The
exhibition of the replica also provides a context for
African American history, reminding visitors that
ancient African history did not start with slavery. Black History
started with inventiveness, creativity, royalty,
perseverance and so much more...providing a context
for all of the documents and artifacts exhibiting the
part African Americans played in the past four
centuries of American history. |

The Freeman Institute®
Foundation
Black History Gallery
(2,000 sq ft
gallery concept) |
~ B L A C K
H I S T O R Y G A L L E R I E S ~
Please
contact us if you represent a corporation looking
for sponsorship
opportunities (title or otherwise) of such an
educational/inspirational project.
f
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FOR
SALE //////////////\\\\\\\\\\\\\\\
82 Plates/Prints (from "Description de l'Egypte) from the
Napoleonic Egyptian Campaign -- circa 1820
--
FOR MORE INFO: Dr. Freeman owns (and is willing to sell one at a
time) 82 extremely rare original plates/prints ( from "Description
de l'Égypte"
from the Napoleonic Egyptian Campaign, circa 1820.
These
official
plates/prints came from a huge lot sold in an auction in
2001, Paris -- the seller was the
French Government
-- from the
cellars of the French Government
Publications Office. Average plate/print size
is 29 inches x 22 inches. Some of the plates in this
collection are 56 inches long! --
(Description de l'Égypte was the result of the collaboration
of prominent scholars, several famous European scientists,
cartographers, topographers, and more than 160 artists and
technicians. They accompanied Napoleon's army during
Napoleon's expedition to Egypt in 1798. Their goal was to
methodically collect information in areas as widely varied
as architecture, geography, botany and the humanities.
Description de l'Égypte was published in
23
volumes from 1809 to 1828 and includes over 900 plates.)
Regions depicted/represented by the official plates in Dr.
Freeman's
collection are: Thebes, Karnak,
El Kab, Medynet-Abou, Hypogees, Elethyia, Heptanomide,
Beny-Hasan, Tentyris, Memnonium, Byban El Molouk, Latopolis,
Ile de Philae, Edfou, Louqsor and much, much more... |

Description
de l'Égypte: Official plates/prints previously owned by the
French Government. |
Rosetta Stone Replicas

Box 305, Gambrills,
Maryland 21054
TEL 410.991.9718
FAX 410.729.0353
EMAIL
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Some Related Pieces From
The Freeman Institute Collection
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"Capture of Rosetta"
|
A
genuine issue of the January 7th, 1799 Connecticut
Courant, detailing the "Landing of Buonaparte's
(sic) army
in Egypt" and its progress in Cairo. Fascinating
content.
-- Authentic issue of the Salem Gazette (Dec.
7, 1798), containing a literal translation of General
Napoleon Buonaparte's (sic) proclamation to the Arabs in Lower
Egypt. Intriguing content.
<-- July 14, 1801 issue of the New England Palladium
describing the capture of Rosetta, Egypt by British
troops. The report comes from Major General J. H.
Hutchinson. "It is with great pleasure that I am to
inform you of the success of a corps of Turks and British
under the command of Col. Spencer. They were ordered from
hence about ten days ago, for the purpose of forcing the enemy from the
town and castle of Rosetta, which commands the navigation of the
Nile...
|
...We are now masters of the western branch of that
river, and of course have opened a communication with the Delta, from
which we shall derive the necessary supplies, as the French have
scarcely any troops there, and none capable of making a serious
resistance. The enemy had
about 800 men at Rosetta when they were attacked. They made but a
feeble effort to sustain themselves, and retired to the right bank of
the Nile, leaving a few men and prisoners. They left a garrison at the
fort, against which our batteries opened on the 16th infantry and it
surrendered on the 19th infantry. The condition of the same as were
granted to the castle of the Aboukir..."
-- In August 1799, just over a year after Napoleon launched his
invasion of Egypt at Alexandria, a great discovery was made. Under the
leadership of Lt. Pierre Bouchard, French soldiers were
building up their defenses around the area of Fort St. Julian,
near the northern city of Rosetta, when a soldier or engineer
found in the ruins an ancient stone. With its cryptic inscriptions, it
was immediately recognized as an object of great importance. It was
sent to Cairo, where it was housed in the Institute d’Egypte. Members
of Napoleon’s special civilian corps dispersed around the country were
requested to go there at once. The rare map to the right is of the
mouth of the Nile, picturing Fort Julian, now known as Fort Rashid --> |

Map of Rosetta region at the
mouth
of the Nile, with Fort Julian
on the West Bank of the river. |
--
A three-volume
1803
English
edition (quite rare)
of "Travels in
Upper and Lower Egypt During the Campaigns of General
Bonaparte in That Country", written and illustrated by
Vivant Denon, published by
T.N. Longman &
O. Rees (London).
In the spring of 1797, with
a direct assault against Britain out of the question,
Napoleon Bonaparte suggested threatening Britain's rich
commerce with India by invading
Egypt. A unique feature of the expedition, which set
sail on 19 May 1798, was the large number and high caliber
of the attached civilians, among them Baron
Dominique Vivant Denon
(1747-1825). Denon was one of the founders of the Louvre
Museum, and was responsible for saving many works of art and
monuments of French culture from destruction during the
French Revolution. Denon was entrusted by Napoleon to
assemble a team of artists, archeologists, linguists and
scholars to study the antiquities of Egypt for the first
time since Antiquity. In addition to assisting in the
formulation of practical measures for the rule of
Egypt, the 167 savants
accompanied the army to every corner of the country.
Protected by the French troops, Denon was able to explore
the country extensively. This book conatins many etchings of
Egypt, including the famous etching of the Sphinx of Giza
shown below.

Jean Champollion in Egypt |
-- Lettre Ecrites D'Egypte et de Nubie en 1828 et
1829, by Champollionn le Jeune (Letters Written in
Egypt and Nubia in 1828 and 1829 by Francois Champollion)
with all illustrations intact. This very, very rare First
Edition by the translator of Egyptian Hieroglyphics is
seldom seen on the open market. Most copies are in large
University or Public library rare book collections. This
work is an important insight into the early work of one of
the Fathers of Egyptology. These are his own reflections and
opinions regarding the monuments of Egypt. It is important
to remember that Champollion only ever made one trip to
Egypt as he died soon after his return. A great loss to the
science of Egyptology.
-- Jean-Francois Champollion, a 10 year old child saw
some of the Egyptian artifacts and enquired about the
strange pictures (Hieroglyphs) where he was told that
no one yet understands what these pictures means. Since that
time Champollion committed himself to decipher the
Hieroglyphs. By the age of 16 he became a professor
mastering 10 languages at the same time. Champollion then
compares the two cartouches of PTOLEMY & CLEOPATRA
found on the Rosetta stone which contains similar
characters. He continued deciphering more cartouches and
texts from the temple of El Karnak. It took Champollion 24
years until he published his work in a book " Precis du
systeme Hieroglyphique ". Sadly Champollion died by a stroke
on 1832 when he was 41 years old. |
-- Two extremely rare First
Edition French volumes, "Complete Summary of
Archaeology" by Jean Champollion-Figeac
(Published in Paris, 1825 and 1826, just a few years after
he cracked the code to hieroglyphics in 1822). Divided into
volumes. First: Monuments of architecture, Sculpture
and Painting, including/understanding constructions of any
kind, the statues, low-reliefs, figurines, tombs, furnace
bridges, vases painted, mosaic, etc...with an introduction
historical and finished by a vocabulary divides into
volumes. Second: Containing the treaties on the
engraved stones, the inscriptions, the medals, the utensils
crowned and common, movable, weapons, etc, followed by the
biographies of the most famous antique dealers,
archéologieque bibliography and of a vocabulary.
-- Hardbound Volume IV of American Quarterly Review
(September and December, 1828). This 546 page book contains
reviews of historical, scientific, and travel literature
published by Carey, Lea & Carey, Chesnut Street,
Philadelphia; 546 pages. Twenty-six of those pages are
dedicated to reviewing Jean Champollion's May/June
1827 article published in the Bulletin Universal
entitled, "Apercu des Resultats Historiques de la
decouverte de l'alphabete Hieroglyphique Egyptienne"
par M. Champollion le Jeune.
-- Magnificent extremely rare plate/print
(one of 511 plates), expertly backed with linen, of
Thutmose III from the monumental 1843 work of Jean
Champollion, the first to decipher Egyptian hieroglyphs
(20" x 27").
--
Rare First Edition copy of "L'Univers Pittoresque. Egypte
Ancienne" by M. Champollion-Figeac (Jean
Champollion), Paris, Firmin
Didot, 1839. It contains 92 illustrations and an antique
folding map of Egypt. First few pages have some foxing, with
the rest in excellent condition. 500 pp., & 92 plates,1/2
maroon morocco with 5 raised bands & leather label, marbled bds. & endpapers.-- Very scarce First Edition, Egyptian Antiquities in
the British Museum, 1862. Details 250 exhibits.
Published by Smith, 196 pages. Excellent condition. In fact,
it appears to be unread. Over 6 pages, with three diagrams,
dedicated to the Rosetta Stone.
-- Intriguing early 1900s glass slide of the Rosetta Stone
by Moore, Bond &Co. (Chicago).
-- Two Copper engravings (22"x9" -- Battle Plan for
Alexandria and Map of Nile) titled, "Plan of the
Action of the 21st. of March Fought near ALEXANDRIA, by the
French under General Menou, and the English under Sir Ralph
Abercrombie" and also
"A Map of the
Western Branch of the Nile from the Latest Authorities".
Issued in 1803 as part of Robert Thomas Wilson's "History
of the British Expedition to Egypt To which is Subjoined a
Sketch of the Present State of That Country and its Means of
Defence".
-- This
collection has 82 extremely rare original plates/prints ( from "Description
de l'Égypte"
from the Napoleonic Egyptian Campaign, circa 1820.
These
official
plates/prints came from a huge lot sold in an auction in
2001, Paris -- the seller was the
French Government
-- from the
cellars of the French Government
Publications Office. Average plate/print size
is 29 inches x 22 inches. Some of the plates in this
collection are 56 inches long! --
(Description de l'Égypte was the result of the collaboration
of prominent scholars, several famous European scientists,
cartographers, topographers, and more than 160 artists and
technicians. They accompanied Napoleon's army during
Napoleon's expedition to Egypt in 1798. Their goal was to
methodically collect information in areas as widely varied
as architecture, geography, botany and the humanities.
Description de l'Égypte was published in
23
volumes from 1809 to 1828 and includes over 900 plates.)
Regions depicted/represented by the official plates in this
collection are: Thebes, Karnak,
El Kab, Medynet-Abou, Hypogees, Elethyia, Heptanomide,
Beny-Hasan, Tentyris, Memnonium, Byban El Molouk, Latopolis,
Ile de Philae, Edfou, Louqsor and much, much more... |

Description
de l'Égypte: Official plates/prints previously owned by the
French Government. |
--
Very rare
L'expédition
d'Égypte, 1798-1801, par Clément de Lajonquière.
Five large volumes in wraps, total of
about 3400 pages! (1902, 2nd edition).
Among the campaigns of the revolution, consigning Egypt
is both one of the most popular and less well known.
Thus began the
monumental work of Clement Draveurs
(Clément de La Jonquière).
Published
(about 100 years after the Napoleonic military campaign) from 1899 to
1907 under the auspices of the History Section of the État de l'Armée,
Paris, he tells one of the most extraordinary adventures of the
revolutionary period.
Many
testimonies, more or less reliable contemporaries; also numerous texts
on the science of "oriental dream."
The work of Georges Rigault on the last leg of the
expedition to Egypt and those of Pierre de La Grèverie on Regiment
Dromadaires round off the work of a master in the final volume.
Vol. I: 673 p., Vol. II: 632 p., Vol. III: 720 p., Vol. IV: 688 p.,
Vol. V: 692 p. A complete set. With numerous foldout maps. Vol. I: A
rebinding copy. Rear cover missing, backstrip missing parts and
frayed. Shaken. Internally excellent: text leaves clean and neat. Vol.
II: Missing front wrap cover, else in excellent condition – tight and
clean. Vol. III: a Very Good volume. Tight and clean with some wear to
covers. Vol. IV: A rebinding volume – shaken, backstrip cracked.
Covers off and frayed. Internally clean and neat. Vol. V: A Very Good
volume. Tight and clean. Covers with some wear and leaves somewhat
yellowed. A remarkable complete set.
BACKGROUND:
(translated
from French) In 1797, after the victory early, and unexpected,
Napoleon in Italy, England remains the main enemy.
One can oppose
it either by attempting an invasion, either by intervening on its
links with India.
The conquest
by Bonaparte of Ionian Islands in August 1797 opened the way to the
Orient and reanimate the idea of conquest of Egypt, which would allow
the opening of the Isthmus of Suez, thus controlling of a more
commercial path runs to the riches of India.
As a first
step, in January and February 1798, the policy of the Executive moves
to the invasion.
Bonaparte
examines all possibilities of invasion from ports in the north, the
troops are assembled, a fleet is formed, but the operation seems far
too risky and it is abandoned.
But we must
fight against England, and incidentally get rid of a Bonaparte too.
Talleyrand,
confirmed his analysis by the intervention of Magallon, will therefore
attempt Eastern map.
The decision
to intervene in Egypt was taken on March 5, 1798.
On August 22,
1799, Bonaparte, after the unfortunate expedition to Syria, even
Egypt, called for new targeted France.He left the expedition under the
command of Kleber, which does little to maintain in Egypt.
But Kleber is
totally convinced of the importance of scientific work, which
continues, despite the setbacks and delays of the policy. It creates
Similarly, on November 19, 1799 a commission to study more
particularly modern Egypt.
On Nov. 22,
1799, he took the decision to consolidate all the work of scholars of
the commission in a unique work, the Description of Egypt.
Kleber enters
into negotiations with the British and the Ottomans, to evacuate
honorably and Egypt to participate in military actions in Europe.
An agreement
was concluded on January 23, 1800 for the return in France, but its
implementation is not possible, given the internal divisions among
English, the sultan of procrastination and the resumption of
hostilities in Egypt.
After the
victory of Heliopolis Kléber on the Ottomans, March 20, 1800, there is
no question of return, but the morale of the troops, such as scholars
rose.
Unfortunately, on June 14, 1800, when the victory of Marengo, Kléber
was assassinated in Cairo.
The General
Menou, being the oldest in the highest rank succeeded him as head of
the army.
Any momentum
had been able to restore Kléber members of the expedition despite the
failure of the draft back, disappears with him.
Until the
final departure to France, scholars no longer leave little near the
Cairo and Alexandria in order to be ready to leave at the first
opportunity.
However Menou
continues the work of reorganization and modernization begun by
Bonaparte and continued by Kleber.
To him we owe
the fact that the publication of the description will not be provided
by private funds but rather by the state, so that is recognized and
sanctioned the importance of the work done by scholars.
After many
tribulations, scholars, gathered in Alexandria, obtain permission to
leave Egypt on May 13, 1801, but the English do not want to pass up,
unless they abandon all material collected during the exploration and
their notes and sketches.
The
negotiations, sometimes tragic, lasting several months and it was not
until September that the first members of the committee may leave
Egyptian soil, having left in the hands of English the heaviest items
that they had found, including the famous Rosetta Stone.
-- Vintage framed image of Dr. Thomas Young.

Dr. Thomas Young
(1773-1879) |
Background: Dr. Thomas Young is
the man who undertook
the task had perhaps the keenest scientific imagination and
the most versatile profundity of knowledge of his generation
— one is tempted to say, of any generation. For he was none
other than the extraordinary Dr. Thomas Young, the
demonstrator of the vibratory nature of light. Young had his
attention called to the Rosetta Stone by accident,
and his usual rapacity for knowledge at once led him to
speculate as to the possible aid this tri-lingual
inscription might give in the solution of Egyptian
problems. Resolving at once to attempt the solution himself,
he set to work to learn Coptic, which was rightly believed
to represent the nearest existing approach to the ancient
Egyptian language. His amazing facility in the acquisition
of languages stood him in such good stead that within a year
of his first efforts he had mastered Coptic and assured
himself that the ancient Egyptian language was really
similar to it, and had even made a tentative attempt at the
translation of the Egyptian scroll. His results were only
tentative, to be sure. Yet they constituted the very
beginnings of our knowledge regarding the meaning of
hieroglyphics. Just how far they carried has been a
subject of ardent controversy ever since. Not that there is
any doubt about the specific facts; what is questioned is
the exact importance of these facts. For it is undeniable
that Young did not complete and perfect the discovery, and,
as always in such matters, there is opportunity for
difference of opinion as to the share of credit due to each
of the workers who entered into the discovery.
|
--
A fine 1719 original, copperplate engraved views of the
Pyramids and of the Sphinx, Giza, Egypt, with engraved
cursive commentary as borders: Description des Piramides
d'Egypte . . . Avec une Description tres Curieuse du
Sphinx, from Chatelain, Henri Abraham, Atlas
Historique..., Volume 6, Amsterdam: . First edition.
Excellent condition, heavy paper, crisp dark impression;
uncolored as always (any color seen in these images/maps is
applied by modern hands.) Dimensions: 17 1/2" x 21 1/4"
(overall)...
-- And much,
much more.... |

Rosetta Stone in Situ
1895 image
from The Freeman Institute History Collection
____________________________________________________________________________________

1798 view of Sphinx of Giza...drawn by Vivant Denon.
from The Freeman Institute History Collection
--
order postcard
of Sphinx of Giza
___________________________________
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