Here’s that ornithopod-skeleton anaglyph you ordered
November 26, 2022
While I was thinking about Diplodocus atlas ribs, I was reminded of the ribs on the atlas of a diplodocine skull-and-three-cervicals exhibit that Matt and I saw at MOAL(*) back in the heady days of the Sauropocalypse.
And that reminded me that I have other pairs of photos from the MOAL visit, which I took with the intention of making anaglyphs. like the one I did of the diplodocine. So here is an anaglyph of a small bipedal ornithischian whose exact identity I evidently didn’t bother to write down:
Does anyone know what this is? Maybe Dryosaurus or something along those lines?
(*) When Matt and I visited this museum, it was known as the North American Museum of Ancient Life, or NAMAL for short. Since then, it’s dropped the “North American” and promoted the “of”, and it’s now the Museum Of Ancient Life, or MOAL for short. But we’re sticking with the existing category (see link below) for continuity with other things we’ve posted from there.
Putative atlantal ribs of Diplodocus
November 23, 2022
Last time, I showed you a photo of the head and neck of the London Diplodocus and asked what was wrong. Quite a few of you got it right (including Matt when we were chatting, but I asked him not to give it away by posting a comment). The 100 SV-POW! dollars, with their cash value of $0.00, go to Orribec, who was the first to reply that the atlas (cervical 1) is upside-down.
Here is again, from the other side:

The Natural History Museum’s Carnegie Diplodocus cast, skull and anterior cervical vertebrae in left lateral view. Photograph by Mike Taylor.
I noticed this — when it seems the people putting up the skeleton did not, unless this is a deliberate joke — because I happened to be particularly tuned into atlas ribs at the time. You can see what appears a tiny rib hanging below the atlas, but no neural arch above it projecting up and back to meet the prezygapophyses of the axis (cervical 2). In fact the “cervical rib” on this left side is the neural arch of the right side, rotated 180 degrees about the axis of the neck.
Here’s how this should look, from the Carnegie Museum’s own Diplodocus:

The Carnegie Museum’s Diplodocus mount, skull and anterior cervical vertebrae in left lateral view. Photograph by Matt Lamanna.
In this picture, the atlas seems to be pretty much fused onto the axis, as seen in Gilmore (1936: figure 6) which Matt helpfully reproduced in Tutorial 36.
(Digression 1: you might think that this atlas is the real thing, since the Carnegie’s mount is the one with the real CM 84/94/307 material in it. But no: the atlas does not belong to any of those, which all lack this element. It seems to be a sculpture, but we can’t figure out what it’s based on.)
(Digression 2: you might notice that the London and Carnegie skulls are rather different. That’s because the London cast still has the original skull supplied in 1907, which is a sculpture based on CM 622 (rear) and USNM 2673 (the rest), while the Carnegie’s mount at some point had its skull replaced by a cast of CM 11161 — though no-one knows when.)
(Digression 3: the diplodocine originally catalogued as CM 662, on which the rear of the skull was based, was named as the holotype of a new species Diplodocus hayi by Holland (1924), traded to the Cleveland Museum of Natural History in 1956 where it was numbered CMNH 10670, then traded on the Houston Museum of Natural History in 1963 where istbecame HMNS 175, mounted in Houston in 1975, remounted between 2013 and 2015, and finally moved to its own new genus Galeamopus by Tschopp et al. 2015. Yes, this stuff gets complicated.)
In fact, it’s amazing how much stuff we actually don’t know about these classic specimens, including the source of the atlas for both the Carnegie mount and the various casts — which are not the same. If only there was a single definitive publication that gathered everything that is known about these mounts. Oh well, maybe some day.
Now everyone knows that all the Carnegie Diplodocus mounts around the world were cast from the same molds, and so they all have the same altas <SCREEEECH> wait what?

The Muséum National d’Histoire Naturelle’s Carnegie Diplodocus cast, posterior part of skull and anterior cervical vertebrae in left lateral view. Photograph by Vincent Reneleau.
Here we are in Paris, and the atlas has these two honking great ribs. I have not seen these in any other Carnegie Diplodocus. I know they’re absent from the Berlin cast (thanks to Daniela Schwarz), from the Vernal re-cast (personal observation) and of course from the London cast. I would welcome observations (or even better, photos) from anyone who’s in a position to look at the Vienna, Bologna, Moscow, La Plata, Madrid or Mexico City casts.
So where did these atlas ribs come from? As with so much of this, no-one really knows. It’s especially mysterious as the Paris mount is supposed to be completely unchanged since its initial mounting. But some clue to the origin of the ribs in this mount is found in Holland (1906:249–250):
Accompanying the elements of the atlas sent to the writer for study by the kindness of Professor Osborn [i.e. AMNH 969] are two bones, undoubtedly cervical ribs. They are both bones belonging on the right side of the centra. They are reported to have been found at the same place at which the atlas was found. The writer is inclined to think that the larger of these two bones (Fig. 20), was probably the rib of the atlas and indeed it requires but little effort to see that it might very well have served such a function, and that the smaller bone (Fig. 21) was the rib of the axis. Were the stump of the rib which remains attached to the axis in the Carnegie Museum, and which Mr. Hatcher has figured, removed, this smaller rib might take its place and would undoubtedly articulate very neatly to the facet
In case you’re too lazy to go and look at Holland’s illustrations for yourself, here they are.
The atlas rib:
The axis rib:
Holland went on:
In case the view entertained by the writer is correct, the form of the atlas and the axis with their attached ribs would be as given in the accompanying sketch (Fig. 22) rather than as given in the figure which has been published by Mr. Hatcher. Such a location of these parts has in its favor the analogy of the crocodilian skeleton.
Here is that composite atlas/axis complex:
(This arrangement with closely appressed atlas and axis ribs should ring a bell for anyone who’s looked much at croc necks, as for example in Taylor and Wedel 2013:figure 19.)
The atlas ribs on the Paris mount look a decent match for the one illustrated by Holland (1906:figure 20), so it seems a reasonable guess that they were sculpted based on that element. But that only leaves us with two more mysteries:
- Why do we see these atlas ribs only on the Paris cast, not in the Carnegie original or any of the other casts (that I know of)?
- Why does this cast have atlas ribs based on one of Holland’s elements, but not axis ribs based on the other?
Anyone?
References
- Holland, W. J. 1906. Osteology of Diplodocus Marsh with special reference to the restoration of the skeleton of Diplodocus carnegiei Hatcher presented by Mr Andrew Carnegie to the British Museum, May 12 1905. Memoirs of the Carnegie Museum 2(6):225–278.
- Holland, William J. 1924. The skull of Diplodocus. Memoirs of the Carnegie Museum 9(3):379–403.
- Gilmore, Charles W. 1936. Osteology of Apatosaurus with special reference to specimens in the Carnegie Museum. Memoirs of the Carnegie Museum 11:175–300 and plates XXI–XXXIV.
- Taylor, Michael P., and Mathew J. Wedel. 2013b. The effect of intervertebral cartilage on neutral posture and range of motion in the necks of sauropod dinosaurs. PLOS ONE 8(10): e78214. 17 pages. doi:10.1371/journal.pone.0078214
What’s wrong with this picture? No, really: what’s wrong?
November 21, 2022
Last Saturday I was at a wedding at Holy Trinity Brompton, a London church that is conveniently located a ten-minute stroll from the Natural History Museum. As I am currently working on a history paper concerning the Carnegie Diplodocus, I persuaded my wife, my eldest son and his fiancée to join me for a quick scoot around the “Dippy Returns” exhibition.
Here is a photo that I took:
Something is wrong here — and I don’t just mean the NHM exhibition’s stygian lighting.
Who can tell me what it is? $100 in SV-POW! Dollars(*) awaits the first person to get it right in the comments.
(*) Cash value: $0.00.
Who is who in this 1903 Carnegie Museum photo?
November 8, 2022
In a paper that I’m just finishing up now, we want to include this 1903 photo of Carnegie Museum personnel:
A few weeks ago I asked for help on Twitter in identifying the people shown here, and I got a lot of useful contributions.
But since then I have seen the Carnegie photo library catalogue for this image (it’s #1010), and it gives names as follows:
- Far left, mostly cropped from image: field worker William H. Utterback
- Seated, facing right: field worked Olof A. Peterson
- Standing at back: preparator Louis Coggeshall (Arthur’s brother)
- Seated, looking to camera: preparator Charles W. Gilmore
- Seated at far table: field worker Earl Douglass
- Standing behind far table: chief preparator Arthur S. Coggeshall
- Sitting at far table, facing left: preparator Asher W. VanKirk
- Seated: illustrator Sydney Prentice
- Sitting on bench: John Bell Hatcher, whose description of Diplodocus carnegii had been published two years previously
Those of you who know a bit of history, do these identifications seem good? Some of the suggestions I got align well with these, but others do not. For example, a lot of people thought that the person here identified as Louis Coggeshall was his better-known brother Arthur.
I’d appreciate any confirmation or contradiction.
Shark week 3: free stuff for the shark-obsessed
November 8, 2022
Couple of fun things here. First, if you’d like to play with — or print — 3D models of megalodon teeth, there are a bunch of them on Sketchfab, helpfully curated by Thomas Flynn, the Cultural Heritage Lead there. As of this writing there are 24 meg teeth in the collection (link), and by my count 14 of them are downloadable, 11 for free and 3 for sale. If you’re not already on the ‘fab, it takes like 2 minutes to create a free account, and then all you gotta do is click on the download icon next to each freely downloadable tooth.
Second, I obviously named this post series after Shark Week on the Discovery Channel, but the sad fact is that Discovery Channel documentaries long ago took a steep nose dive into being mostly garbage. I guess if you like seeing the same footage half a dozen times in a 40-minute documentary, being repeatedly beaten over the head with the same three very basic facts (or, too often, “facts”), and wondering which thing the creators have more contempt for, the actual science or you, the audience, then go ahead, knock yourself out.
If, on the other hand, you like non-repetitive, vibrant footage, non-repetitive, useful and informative narration, and coherent programming you can actually learn from, let me suggest the Free Documentary – Nature channel on YouTube.
“Rise of the Great White Shark – A History 11 Million Years in the Making” is excellent, with tons of great footage and some very nicely-done explanations of the sensory and thermoregulatory adaptations of great whites and other sharks — and, whaddayaknow, a fact-based, non-sensationalized, and still awesome segment on megalodon.
I also learned a lot from “Shark Business”, about the growing ecotourism business of boat- and scuba-based shark tours or shark encounters. Two things in particular stood out: first, because sharks don’t have hands, their exploratory way of interacting with objects in their environment is to give everything a test bite. The vast majority of shark “attacks” on humans consist of a single bite, with a quick disengagement and no pursuit of the human by the shark. It’s just that sharks have super-sharp teeth and incredibly powerful jaws, and even a comparative gentle (to the shark) test bite can leave a person severely injured or dead. That sharks most often don’t intend any harm is probably cold comfort to people who have been subject to test bites, but it’s a useful thing to understand if you’re genuinely interested in sharks.
The other thing that jumped out at me is the 50-second segment that starts at 7:45, in which a tour guide is shown pushing on the snouts of great white sharks with his bare fingers as they approach the boat. The sharks roll their eyes back, open their mouths, and seem to go catatonic for a bit. Although they don’t make this connection explicitly in the doc, sharks generally roll their eyes back when they go in for a bite, presumably to protect their eyes from the object they’re sampling. I wonder if the nose touch signals to the shark that it’s bite time, and it rolls its eyes back, opens its mouth, and waits for something to bite down on. It seems like a useful thing to be aware of in case a shark is ever coming at you — a gentle push on the snout might put the shark into zombie mode for long enough to get out of the way. On the flip side, if you push the shark’s snoot and don’t get out of the way, it might be super-primed to take a hunk out of you. Note: I am not a shark expert, this is not professional advice, and I assume no liability if a shark eats your arm off. I just thought it was an interesting bit of shark biology that could conceivably pay off in an emergency.
Is this really going to be a whole week of shark posts? Beats me! I’m making this up as I go. Let’s find out.