Traditional Architecture and Culture: Collecting and photographing on Nias in 1925-2003 for the National Museum of Denmark

The National Museum of Denmark began collecting and photographing on the island of Nias as early as 1925.
The Danish medical doctor Agner Møller (1892-1976) was commissioned to take up service in the military in Dutch East India. His first posting was on Java, but he was transferred relatively quickly to Nias with his wife and children.
Dr. Møller was kept well occupied; in a letter to his father he described his daily routine and titles:

“Military Commander/doctor, Chief Military physician, garrison physician, military chief pharmacist, district physician for south Nias, chief physician for the civil hospital, in charge of the meteorological observations (thermometer readings),veterinarian”¹.

As if that were not enough, he also began to study astrology and the calendar of Nias in conjunction with collecting eels for professor Johs. Schmidt and specimens of mosquitoes, for a lab in Batavia.In addition to this, he received a request for help in collecting ethnographical artefacts to document the local culture and architecture. This request came from Thomas Thomsen the curator of the Ethnographic Department at the National Museum of Denmark.
Thomas Thomsen (1870-1941) began his academic career as a chemistry student, but subsequently stopped and instead, took up studying Danish and history. He was employed at the National Museum as an assistant in 1894, His work prevented him from finishing his exams and it also hindered his progress that he became interested in archaeology. He participated in many epoch making excavations in Denmark. He also travelled to west Greenland, where he participated in excavations and collected ethnographical objects from the local population.
He became curator in 1919 and head curator of the ethnographical department in 1921. In the following years he received large and important collections of artefacts from around the globe. He was known as being a quiet and friendly man; his personality often helped him in achieving his goals².
Thomsen knew that there was a rich and unique culture on Nias and he wanted to procure a few objects for the National Museum.
In 1924 he wrote to a Danish pharmacist Alb. Mattiesen on Nias, but he did not have the time to find and buy any objects, so he recommended Agner Møller.  Møller on his part was very positive and Thomsen wrote to say thank him:

“We have to rely on Danes abroad, objects that we receive directly have more value than the ones we receive second hand” he described which objects the museum would like to receive ”Loincloths, bags for carrying fish, dibble” He ended the letter by writing “we will be able to procure objects for approximately 200 kroner, that’s all the money we have at the moment”.

Thomsen would eventually use 10.426,73 kroner. a substantial amount of money at that time.

Agner Møller immediately threw himself vigorously into the task and in august 1924 he was able to send the first small package (180 kg) to Copenhagen. He also wrote to tell Thomsen that he would like to continue collecting, but he was unsure about how long his employment would last.
Møllers commanding officers and colleagues where not happy about all the time he was spending on matters not related to his job as a G.P. (general practitioner), later he would in fact receive a formal reprimand from his superior officer.
In the letter, he enthusiastically gave a description of the local weaponry and he mentioned that the sword sheath had a ball made of wickerwork to which the teeth of a tiger had been attached:

“I don’t think there has ever been tigers on Nias, so the teeth are very valuable and they are a better currency than money (you can’t by any chance, get me some?) ³.

Thomsen heartily thanked Møller because he wanted to continue to collect for the museum.
In May 1925 Møller wrote about the problems of procuring swords with tiger teeth attached;

“I have tried in vain to offer 100 guilders for one of the really nice swords; but as they are an heirloom, they will not sell them.  If the teeth from polar bears are similar to that of the tiger (about this, I don’t know) and if they are easy to procure, I would be grateful for a selection. If the locals do not have them, I will attach the bears teeth to a couple of swords that I have already bought” ⁴.

It is interesting to note that the locals did not want to sell artefacts that still had some importance to them and that Agner Møller was unable to convince them otherwise, that fact suggests that they had not lost their independence and right of property completely, when it came to personal matters.
In the same letter Møller informed Thomsen that his wife had left for Denmark and would arrive on the 10^th of May. She would bring 6 crates of artefacts, which Møller would like to keep for himself; he asked if they could be stored in the museum, until his return to Denmark. Eventually however, the National Museum would in fact purchase most of the objects, due to Møllers dire financial situation.
Being that his wife had left him, one would assume that Møller would become lonely… he was not. At one point in his stay, he made the acquaintance of the chief’s daughter Zoeri Saroemaha. They got married in a local ritual that consequently at a later date, would save Møller from a charge of bigamy issued by the Danish authorities, it however did not elevate his standing whatsoever, with the Dutch military authorities, and his request to extend his service was refused, and he wrote to Thomsen:

“I have in vain requested to stay on Nias, but the General does still not answer my letters” ⁵.

In other words the authorities wanted to get rid of him.

Thomsen answered by asking for another favour. He wanted Møller to photograph the local population and architecture. This time Møller put his foot down and told that he did not have the time, but he knew a Chinese travelling photographer Ho Teng Lin who might be able to help. Møllers acquaintance with Ho Teng Lin was a stroke of luck, as Lin had a real talent for photography. In spite of the fact that his camera was primitive and worn out, he succeeded under difficult circumstances to take some really unique photographs and thereby document Nias for posterity. When the photographs arrived in Copenhagen, they were a real eye opener, portraying the uniqueness of the culture on Nias, and funding the ‘buying spree’ for Thomsen and Møller, making it progressively easier. The photographs and the combination of Lin’s creative talent were thereby an important element in the success of the collecting and documentation.

Now crates with artefacts arrived in Copenhagen in a steady stream, every time Thomsen wrote a friendly letter back to Møller and stated what he should try to procure for the museum. In Møllers home on Nias the objects began to pile up. In October 1925, he was told to move to Goenung Sitoli with only three days warning. He almost panicked and immediately started to pack the priceless objects there was of course, no time to do this properly. An hour later he received a counter order, stating that he was to stay put. He wrote bitterly to Thomsen:

“I am living out of crates. I am told that I am to stay here a couple of months, but it could easily change into years, if I know the Dutch well”

More importantly, he wrote about a visit he had made for the first time to the village Hilli Mondregeraja:

“Since I wrote you the last time, I have visited a place approximately 10 km from here, where I think the second largest house on Nias is located. The “main room” is as I remember it, approximately 9x13 m^2. There are a large number of carvings in the house, among them, [illegible] being one that seems to be quite rare.  It is a big undertaking for a museum caretaker, as there is a lot to do, but it is about time.  Unfortunately I don’t think it is possible for me to do any thing about it. The house is rather old and dilapidated in every sense of the word. Also what makes things worse is that the roof is no longer being repaired.  It rains every other day here on Nias, and even the strongest wood will deteriorate. I did find a dry spot on the large wooden floor, just big enough for my camp bed. Large parts of the once so solid floor, is now rotten and has sizable holes in it. So one has to balance carefully, to avoid crashing through the floor. Some of the beautiful carvings are already totally destroyed where as others are affected by dry rot. One third of the back part of the house which is divided into one large room (with carvings as well), but here the roof and the two outer walls have fallen down, including two small rooms. This is the only habitable part of the house were the owners can live”.
“The title of chief has been transferred to another part of the family, due to deafness and muteness [the two present owners were handicapped], and they are now building a new and more “modern” house. What needs to be done is to buy the whole house. If it possible for 300-500 guilders, I don’t know. But that would be the least expenditure; the carvings have to be detached from the walls by using a saw and also huge crates would be needed. I think you should send a man out here, if you want the work done. I have spoken to the Dutch officer concerned: although he has no interest whatsoever in the objects, they will in fact be returned to Holland, if we fail to salvage them, that is at least better than if they were left to rot. In a year’s time, I doubt whether there will be anything left” ⁶.

The house was situated in the village Hili Mondregeraja. Møller had travelled there on one his excursions, that he so enjoyed, which in the mind of the Dutch authorities took up too much of his time. As an escape from the humdrum of daily life, Møller used possible outbreaks of typhus as an excuse. He normally rode on horseback with a group of soldiers led by a sergeant as an entourage. As soon as he set eyes on the building, he could tell that it had great potential and also that it had to be saved before it totally disintegrated. But he also knew immediately that it could only be a matter of selecting elements from the house, as the building was on the verge of collapsing. Photographs taken just before the house was dismantled, document the dilapidated state the building was in. The conditions of the house also bore witness to the climate on Nias, according to the local villagers it was build I 1870 by the chief Siwalowalani, the house was in other words, a little over 50 years old and already a ruin, that was the result of the relentless rain, the unforgiving sun, termites and lately total lack of maintenance. Møller estimated that these factors meant that there was not a building on the island that was more than a hundred years old⁷.  

Møller and Thomsen exchanged enthusiastic letters, they discussed what objects Møller should try to buy, and how to pack and send them to Denmark, Thomsen replied every time he received another package from Nias, he also noted if any of the objects had not fared well, especially those in stone that were fragile.
On the 28 of February 1925 Møller was working near the house, were he met the Chinese photographer Ho Teng Lin who was, to Møllers great surprise, a really talented photographer, and he regretted afterwards, that they had not taken more photographs, even though the price was 3 guilders for three glass negatives. He also found out that the house was for sale for the price of 1000 guilders and even though he had the money, he did not purchase it at that point, as he found it to be too expensive. He went through the house one more time and concluded that due to the dilapidated state, he would not be able to save as many carvings as he first thought. He also did foresaw how difficult it would be to tear down this massive building, He concluded that it was a matter of being patient as the deterioration was progressing at such a rapid pace, that in a couple months the owner would be forced to sell at a lower price, maybe as low as 500-600 guilders because:

“There will come a time when the Dutch authorities will demand that the house be torn down. Then the owners will receive no money, and we will not get anything either, because everything will be destroyed if the locals tear it down” ⁸.

Even though on several occasions Møller had stated that he was not into trading, as he wasn’t willing to pay any asking price. He spent a great deal of time on drawing up a rather detailed plan of the house with the position and angels indicating where Ho Teng Lin photographs had been taken, so that Thomsen could get a precise perspective of the majestic proportions of the house. Thomsens reaction was more than positive; he expressed his and his colleague’s admiration for his work effort. If Møller had missed any form of recognition from the Dutch authorities, he received it from Thomsen instead. There is no doubt that it boosted both Møllers moral and work ethics, when it came to helping the National Museum, however this was no compensation for the Dutch Army. Thomsen continued describing enthusiastically, how the objects were to be displayed in Copenhagen:

“I feel confident that if this task is completed, you will have created a collection that has no equivallent in the world”.

And he commented on one of Ho Teng Lins photographs:

“The photograph of the fireplace is a “small” Rembrandt” ⁹.

Thomsen knew that if they were to complete this monumental task of buying and transporting the remains of the house to Denmark he needed to obtain money from The New Carlsberg foundation. He therefore gave copies of the photographs to the foundation with the hope that it would awaken some interest.
Thomsen wanted to procure the house as fast as possible and he quickly wrote to Møller that he should buy it for no more than 1000 guilders. Thomsen could not rest until this was done, he later wrote:

“I could not find any rest; it is not commonplace to discover that a house like this exists, and that it is possible to purchase it and also that there is a Dane on site, who is not only conscientious but has a sound judgment that the museum can fully trust, and furthermore is willing to sacrifice himself for the task at hand”¹⁰.

Soon after, Møller was informed by the military that his service would terminate the 17. December 1926 and he wrote and told Thomsen that he probably could not help any more before his term of service had ended. But he had at least bought an Osa Osa, and he had hired three men to restore the colours. He was however, quite dissatisfied with the result:

“in spite of clear instructions, the restoration of the colours has been done badly and carelessly and I think with European colours. Those people can’t do anything that I ask them to do, unless I am standing beside them and keep an eye on their work” ¹¹.

It sounds like a harsh criticism and it is quite possible that Møller was influenced by the opinions shared by most Europeans at the time, concerning the conception about the local population. But it is important to underline that Møller was a great admirer of the people on Nias, not least the art they produced. He had not isolated himself from the locals as many other Europeans did at the time. He studied local astrology, not as a curiosum, but he actually believed in it himself. He spoke the local dialect and married a local girl. That alone must have put him at arms length with his European colleagues and their wives, so it was evident that he was not a typical colonial stereotype suppressor.
Many years later when he worked as a medical doctor on a ship during Second World War, he found time to reflect on his feelings:

“When one has lived in a isolated place for some years, experiencing intense pleasure in the peculiar culture of that place, one will absorb much more than just the knowledge than one will obtain” ¹².

Of the local population he wrote:

“In spite of Kiplings to often quoted words about “east” and “west” it seems like the resemblance between primitive and civilised people is both greater and more essential than the difference between the two” ¹³.

Later in life he also philosophised regarding the difference between what he called cultural and primitive people:

“How come that moral and intellectual genius in this period of time primarily has arisen in cultural people, yes that is another question. But it is hardly because the genetic tendencies among primitive people lack the capacity to produce genius. Is the cause not power? The great races are all more or less equal. We are all human beings” ¹⁴.

Møller not only genuinely liked the local population but also helped them in various ways, indeed to such a degree that in the summer of 1926 he received a visit from his military commander who told him in no uncertain manner that he was spending to much time on the local population, and that he should instead concentrate his energies more on the soldiers. He was strictly forbidden to make any further expeditions to the isolated villages¹⁵.
This decision not only had a negative effect on the treatment of the villagers but also on the collecting and photographing.
Now that it was forbidden for him to travel, his efforts to purchase the house had to wait until after the 17 of December. He did not share Thomsens confidence in him and he was sure that he would not be able to buy the house and that it would be impossible to salvage any of the carvings and that they would be ultimately destroyed. Møller, apart from struggling with his superior, also had to contend with Mother Nature, as termites threatened to consume everything that he had collected and it was raining through sixteen holes in the roof. The letters that Thomsen received began to have a desperate undertone.
Thomsen reacted immediately, he send a letter to Møller and expressed his hope that he would not capitulate at such an advanced stage. He furthermore informed him that it had never been the idea that he should work for free, and the museum would of course pay his salary and all his expenses. He also wrote he had been granted money for a project in New Zealand, but it was more than likely that it would not be accomplished, and then he wrote:

“It would be very painful, if this [the Nias project] be abandoned at this point, which both myself the New Carlsberg Foundation are very interested in, as from my letters you well know by now; also that would possibly result in the foundation being reticent in the future” ¹⁶.

The last remark was probably a threat. Why would Thomsen tell Møller that the foundation might be more reticent in the future? Because Møller planned to produce a doctorial thesis based on his knowledge on Niasian chronology and astrology.  The work had to be financed. It is more than likely that Thomsen used this to urge Møller to continue his work, which he did.

But now it was Ho Teng Lin who gave him problems, during the summer he had bought paper copies of the photographs and he was promised by Lin that he would receive the negatives as part of the deal. But when he received them he was told that the Swiss Dr. Wirz had tried to buy the photographs for 5 guilders each. Møller was upset because he wanted exclusive access and ownership of the photographs and now he feared that Ho Teng Lin had sold copies to Dr. Wirz (which he had). He felt that he had to pay some money to insure Ho Teng Lins loyalty, in case his assistance was needed in the future. This was a wise move, as Lin was one of the few people who t agreed to help Møller in the salvage of the house in Mondregeraja.
He wrote Thomsen and told that he would prepare the work, if the house still existed. He would travel to Mondregeraja with a Chinese carpenter and a local workforce. He ended the letter by asking:

”What about the teeth from polar bears?” ¹⁷.

He never received any teeth, no swords in the collection in Copenhagen has teeth attached.

Møller was now becoming progressively more nervous, as to whether or not he would loose the house to Dr. Wirz. He was sure that Wirz had visited Mondregeraja, and it would have been easy for him to buy a couple of carvings. He tried to obtain any information on Dr. Wirz and his whereabouts, but that was a complete failure as he was half deaf and couldn’t understand a word of what was said over the telephone. At the same time Thomsen had to help Møller with private matters, he was well aware that Møllers work was of greater benefit to him and the museum than to himself and he therefore transferred money to his wife in Denmark. Another problem arose when Møller was ordered not to leave his station for more than a day at a time and at same time Thomsen kept putting pressure on him to buy the house. The next letter to Thomsen was not encouraging. Møller had made an agreement with a Chinese carpenter but:

“He is so wealthy that he doesn’t want to work as a carpenter anymore, and he has discovered, that he wants to build a movie theatre (the first in Goenung Sitoli) it seems like a easier way to earn money, so the last couple of months the company hasn’t done anything but repairing their own house and install it as a movie theatre; as they have not been busy they have more than enough time to spare, but it hasn’t even been possible to persuade them to build a couple of tables and chairs for the hospital”¹⁸.

Møller was horrified by the thought that he had to personally conduct work on the house himself, he was by no means a practical man, none the less on 29 March 1927 Thomsen received a letter stating that the house had been bought.
The 23 of December 1927 Møller had left Goenolung Sitoli and his post to travel on horseback to Mondregeraja. His arrival was delayed mostly because he wanted to ascent Lolo Matoea:

“From where one would be able to see most of Nias, if the largest trees were felled and cleared, including the shrubbery, but that is all in the future; Nothing is gained from the climb, other than the knowledge of having done it; but that is for some people to whom I belong , quite enough”

When he got closer to his destination he chose to stay in Hili Namozaoea  it was very close to  Hilli Mondregeraja and he thought is was cleaner and more organized. He arrived in Mondregeraja 13.01.1927. He used wooden crates as a table. Sitting comfortably in the shadows of the remains of the gigantic Chiefs house he wrote a description of how he came to purchase the property:

“In Mondregeraja the Lasara in the centre had fallen to the ground and everything was more decayed that a year ago. I told them [the owners] that they had thrown another 100 guilders away, now I would only pay 400 guilders for the remains and in a few months there would be nothing left. I negotiated with the two deaf mute brothers and the present chief. It was impossible to meet them all together at one time. Time and time again I tried to arrange a meeting for the next day, but when I arrived, one or more had gone boar hunting. And if they had not left, they fled so I couldn’t get hold of them. At last I found out why, for the two brothers it was not a matter of money, they were ashamed of having to sell the house and they would actually prefer if the house were left to decay and the present chief had nothing to do with the matter, he is from another village and had moved to Mondregeraja; for him it is just a matter of money; at one point he said unashamedly to me that I should pay him 100 guilders, without showing it to the others and then we could make a deal, at that point I knew that he had nothing to do with the house, so I stopped all communication with him.

Of the two deaf-mutes, the eldest was the decision maker and he was also the one that was most ashamed. At last I received a message from him that I could buy the house for 400 guilders, if I left the remains of the house that I did not want for the museum and if he didn’t have to show himself. The money I had to pay to an old man Waahili. This I did on the 18 January, in the light from the small lamps that you have seen. To find help was not easy. Fortunately the Chinese photographer, who was photographing the house, helped with the destruction of the structure. He has done very well. On the 26 January we started demolishing the house. The chief stood in front of his new house waving his arms while shouting that he had not sold the house. But nobody answered him and finally he slunk away” ¹⁹.

The 400 guilders that were paid for the house, was a good price and even less that what the museum paid Møller for a months work. And furthermore Møller didn’t have to completely demolish the house; he only had to take the carvings and wall panels that were not totally eaten by termites. There were still logistic problems though. The massive carvings had to be securely packed and sent to the coast and be shipped to Denmark. It was a rather costly affair.
Fortunately Thomsen had been in contact with the director of the National Museum, Dr.Phil Mackeprang, who was also in contact with the New Carlsberg foundation, although they financed the operation they also had reservations, buying artefacts from Nias was probably a very eccentric notion for a foundation that was normally accustomed in supporting the European collections of classical pieces. Ho Teng Lins photographs were, as stated before, with out a doubt the decisive factor that helped the foundation to make the decision to grant funding to the project.
One of the greatest expenses was not the actual purchase of the house, but the salary to the workforce, building of crates, transport costs to the coast and so on. The freight costs to Denmark was done for free by the Danish Owned East Asian Company (Østasiatisk Kompagni) it was an old tradition that the company helped the museum as well as they could for patriotic reasons, but in this case they were slightly annoyed that the museum expected a shipment of this size to be transported to Denmark without charge²⁰.
Møller worked hard to pack and send the artefacts to the coast, but he was running out of the funding that he received from the museum, which was in fact paid directly to his wife in Denmark to cover her living expenses. He was also running out of hay, which he used to wrap up the carvings in and he was also afraid that Thomsen would be angry because the expenses were so high, he was exhausted, desperate and he nearly gave up but on June the 25 Møller wrote from Sabang:

“At last, so far so good. I received the 1200 guilders so that I could expedite the last crates and send them off to the coast to be transferred onto the same ship in which I am traveling²¹.

The job was well done; more than 750 objects had been procured and successfully send to Copenhagen. Soon Møller and his new wife and her brother arrived in Denmark, where for the first time he met Thomsen, they instantly took a liking to each other. The objects were immediately exhibited and were greatly admired by several generations. Thomsen died in 1941 after the exhibit was completed, he nearly completed his doctorial thesis on Nias but it was never found. Møller and his wife met with a bleak and unhappy future, Zoeri died in 1972 in a mental institution and Agner Møller died unsuccessful and poor in 1976, neither of them ever revisited Nias.

To this day some of the inhabitants in Hili Mondregeraje remember Møller and his beautiful wife Zoeri. The village can only be reached on foot along narrow gruelling slippery forest paths, which needless to say can take hours. The first sight that one sees, on the top of the steep staircase to the entrance of the village, is an empty raised platform where the magnificent house once stood, until Møller arrived in the twenties. The villagers are Christians today but they still have a connection to the forefathers. All Danes that visit Hili Mondregeraja are suspected to be in family or offspring of Møller and Zoeris marriage returned to help the village.

Today only a few objects are on exhibit due to rebuilding of sections of the Ethnographic Department. Scientific work, collecting of objects and photo documentation is still carried out as Nias is of special interest to the National Museum of Denmark. My colleague and the curator for South East Asia Dr. Bente Wollf often travels to Nias and in 2003 I also travelled to Nias, funded by the Ministry of Foreign Affairs, to photograph and document as many villages in the south as possible. Compared with Ho Teng Lins photographs I was able to document that village structure and classical architecture were largely intact but that was before the earthquake.
One of the only means today to generate substantial money on Nias is tourism, of which there is none at the moment. As with all the villages in the south it is imperative to keep the historical village structure intact, not only for sentimental reasons or to promote tourism, but because of the immense artistic heritage which until now has been preserved. Not only will the present inhabitants benefit, but it is also an obligation to preserve the unique architecture for the future generations, but time is running out.

Jesper Kurt-Nielsen 2006

SOURCES:

1.  Agner Møller letter to his parents: nr. 73. Telok Dalem 10 august 1923. Private ownership, N. Grue-Sørensen.

2.  Dansk Biografisk Leksikon. 1983, København. Side 502.

3.  46/24 ES. 1924 august.24. ES. arkiv.

4.  14/25 ES. 1925 maj 8. Modtaget 10.06.25. ES. arkiv.

5.  14/25 ES. 1925 Octbr. 28. Modt. 07.12.25. ES. arkiv.

6.  14/25 ES. 1925 Octbr. 28. Modt. 07.12.25. ES. arkiv.

7.  Thomsen, Thomas. Nationalmuseets Arbejdsmark 1929. København 1929. Side 56.

8.  8/26. 1926 Marts 8. Modt. ES. arkiv.

9.  8/26 ES. d.22. April 1926. ES. arkiv.

10.  Thomsen, Thomas. Nationalmuseets Arbejdsmark 1929. København 1929. Side 52.

11.   8/26 ES. 1926 Marts 30. ES. arkiv.

12.   Møller, Agner. Fodfigurer på Nias. Geografisk Tidskrift, 42. Bind. København 1939.
     Side 31.

13.   Møller, Agner. Fodfigurer på Nias. Geografisk Tidskrift, 42. Bind. København 1939.
     Side 34.

14.  Agner Møller, Tanker hos et Naturfolk III, udateret. Private ownership,
      N. Grue-Sørensen.

15.  8/26 ES. 1926 Juni 30. ES. arkiv.

16.  8/26. = 4/27 ES. 15. Aug. 1926. ES. arkiv

17.  8/26 ES. 1926 Juli 19. Modt. 19.08.26. ES. arkiv.

18.  4/27 ES. 1926 Dec. 8. modt. 17.01.27. ES. arkiv.

19.  4/27 ES. 1927 Febr. 20. modt. 29 Marts. ES. arkiv.

20.  8/26 ES. 1926 Juni 30. ES. arkiv.

21.  4/27 ES. 1927 Juni 25. modt. 20.07.27. ES. arkiv.

AGNER MØLLER:

• Møller, Ag. Beitrag zur Beleuchtung des religiösen Lebens der Niasser. Separat-abdruk aus: Internationales Archiv Für Ethnografie. Band XXXII, Heft III-VI. Leiden 1934

• Møller, Agner. Fodfigurer på Nias. Geografisk Tidskrift, 42. Bind. København 1939.

• Lasaraföna, Jakob. En Skibslæges Papirer I. Søtang 1949.

• Lasaraföna, Jacob. En Skibslæges Papirer II. Gutenberghus 1973.

• Möller, Ag. Einige Meskalinversuche. Sonder-Abdruk, Acta Psychiatrica Neurologica Vol. X. Fase.

THOMAS THOMSEN:

• Nationalmuseets Arbejdsmark. Hili Mondregeraja og dens Høvdingehus. København 1929.