A life-size silhouette of the Snowmass Haplocanthosaurus, with Thierra Nalley, me, and Jessie Atterholt for scale. Photo by Jeremiah Scott.

Tiny Titan, a temporary exhibit about the Snowmass Haplocanthosaurus project, opened at the Western Science Center in Hemet, California, last night. How? Why? Read on.

Things have been quieter this year on the Haplo front than they were in 2018, for many reasons. My attention was pulled away by a lot of teaching and other day-job work–we’re launching a new curriculum at the med school, and that’s eaten an immense amount of time–and by some very exciting news from the field that I can’t tell you about quite yet (but watch this space). Things are still moving, and there will be a paper redescribing MWC 8028 and all the weird and cool things we’ve learned about it, but there are a few more timely things ahead of it in the queue.

One of the things going on behind the scenes this year is that Jessie Atterholt, Thierra Nalley, and I have been working with Alton Dooley, the director of the Western Science Center, on this exhibit. Alton has had a gleam in his eye for a long time of using the WSC’s temporary exhibit space to promote the work of local scientists, and we had the honor of being his first example. He also was not fazed by the fact that the project isn’t done–he wants to show the public the process of science in all of its serendipitous and non-linear glory, and not just the polished results that get communicated at the end.

Everything’s better cut in half. Photo by Jessie Atterholt.

Which is not to say that the exhibit isn’t polished. On the contrary, it looks phenomenal. Thanks to a loan from Julia McHugh at Dinosaur Journey in Colorado, most of the real fossils are on display. We’re only missing the ribs and most of the sacrum, which is too fragmentary and fragile to come out of its jacket. As you can see from the photo up top, there is a life-size vinyl silhouette of the Snowmass Haplo, with 3D prints of the vertebrae in approximate life position. Other 3D prints show the vertebrae before and after the process of sculpting, rescanning, and retrodeformation, as described in our presentation for the 1st Palaeontological Virtual Congress last year (that slideshow is a PeerJ Preprint, here). The exhibit also includes panels on “What is Haplocanthosaurus” and its relationships, on pneumaticity in sauropods, on the process of CT scanning and 3D modeling, and on the unusual anatomical features of the Snowmass specimen. The awesome display shown above, with the possibly-bumpy spinal cord and giant intervertebral discs reconstructed, was all Alton–he did the modeling, printing, and assembly himself.

Haplo vs Bronto. Thierra usually works on the evolution and development of the vertebral column in primates, so I had to show her how awesome vertebrae can be when they’re done right. Photo by Brittney Stoneburg.

My favorite thing in the exhibit is this striking comparison of one the Snowmass Haplo caudals with a proximal caudal from the big Oklahoma apatosaurine. This was Alton’s idea. He asked me if I had any photos of caudal vertebrae from really big sauropods that we could print at life size to compare to MWC 8028, and my mind went immediately to OMNH 1331, which is probably the second-largest-diameter vertebra of anything from all of North America (see the list here). It was also Alton’s idea to fill in the missing bits using one of Marsh’s plates of Brontosaurus excelsus from Como Bluff in Wyoming. It’s a pretty amazing display, and it turns out to have been a vehicle for discovery, too–I didn’t realize until I saw the verts side-by-side that the neural canal of the Snowmass Haplo caudal is almost as big as the neural canal from the giant apatosaurine caudal. It’s not a perfect comparison, because the OMNH fossil doesn’t preserve the neural canal, and the Como specimen isn’t that big, but proportionally, the Snowmass Haplo seems to have big honkin’ neural canals, not just at the midpoint (which we already knew), but all the way through. Looks like I have some measuring and comparing to do.

(Oh, about the title: we don’t know if the Snowmass Haplo was fully grown or not, but not all haplocanthosaurs were small. The mounted H. delfsi in Cleveland is huge, getting into Apatosaurus and Diplodocus territory. Everything we can assess in the Snowmass Haplo is fused, for what that’s worth. We have some rib chunks and Jessie will be doing histo on them to see if we can get ontogenetic information. I’ll keep you posted.)

Brian’s new Haplocanthosaurus restoration, along with some stinkin’ mammals. Photo by Jessie Atterholt.

Brian Engh contributed a fantastic life restoration of Haplocanthosaurus pro bono, thanks to this conversation, which took place in John Foster’s and ReBecca Hunt-Foster’s dining room about a month ago:

Brian: What are you drawing?

Me: Haplocanthosaurus.

Brian: Is that for the exhibit?

Me: Yup.

Brian (intense): Dude, I will draw you a Haplocanthosaurus.

Me: I know, but you’re a pro, and pros get paid, and we didn’t include a budget for paleoart.

Brian (fired up): I’m offended that you didn’t just ask me to draw you a Haplocanthosaurus.

Then he went to the Fosters’ couch, sat down with his sketchbook, and drew a Haplocanthosaurus. Not only is it a stunning piece on display in the exhibit, there are black-and-white printouts for kids to take and color (or for adults to take to their favorite tattoo artists, just sayin’). [Obligatory: this is not how things are supposed to work. We should all support original paleoart by supporting the artists who create it. But Brian just makes so damn many monsters that occasionally he has to kick one out for the heck of it. Also, I support him on Patreon, and you can, too, so at a stretch you could consider this the mother of all backer rewards.]

One special perk from the opening last night: Jessica Bramson was able to attend. Who’s that, you ask? Jessica’s son, Mike Gordon, found the first piece of bone from the Snowmass Haplo on their property in Colorado over a decade ago. Jessica and her family spent two years uncovering the fossils and trying to get paleontologists interested. In time she got in touch with John Foster, and the rest is history. Jessica lives in California now, and thanks to John’s efforts we were able to invite her to the exhibit opening to see her dinosaur meet the world. Stupidly, I did not get any photos with her, but I did thank her profusely.

A restored, retrodeformed caudal of the Snowmass Haplocanthosaurus, 3D-printed at life size for the exhibit. Photo swiped from the WSC Facebook page.

I owe a huge thanks to Alton Dooley for taking an interest in our work, and to the whole WSC crew for their hard work creating and promoting the exhibit. You all rock.

The exhibit will run through the end of March, 2020, at least. I deliberately did not show most of it, partly because I was too busy having fun last night to be diligent about taking photos, but mostly because I want you to go see it for yourself (I will do a retrospective post with more info after the exhibit comes down, for people who weren’t able to see it in person). If you make it out to Hemet, I hope you have half as much fun going through the exhibit as we did making it.

Two professionals, hard at work.

After this year’s SVPCA, Vicki and London and I spent a few days with the Taylor family in the lovely village of Ruardean. It wasn’t all faffing about with the Iguanodon pelvis, the above photo notwithstanding. Mike and I had much to discuss after the conference, in particular what the next steps might be for the Supersaurus project. Mike has been tracking down early mentions of Supersaurus, and in particular trying to determine the point at which Jensen decided that it might be a diplodocid rather than a brachiosaurid. I recalled that Gerald Wood discussed Supersaurus in his wonderful 1982 book, The Guinness Book of Animal Facts and Feats. While on the track of Supersaurus, I stumbled across this amazing claim in the section on Diplodocus (Wood 1982: p. 209):

According to De Camp and De Camp (1968) these giant sauropods may have been able to regenerate lost parts, and they mention another skeleton collected in Wyoming which appeared to have lost about 25 per cent of its tail to a carnosaur and then regrown it — along with 21 new vertebrae!

De Camp and De Camp (1968) is a popular or non-technical book, The Day of the Dinosaur. Used copies can be had for a song, so I ordered one online and it was waiting for me when I got back to California.

The Day of the Dinosaur is an interesting book. L. Sprague De Camp and Catherine Crook De Camp embodied the concept of the “life-long learner” before there was a buzzword to go with it. He had been an aerospace engineer in World War II, and she had been an honors graduate and teacher, before they turned to writing full time. Individually and together, they produced a wide range of science fiction, fantasy, and nonfiction books over careers that spanned almost six decades. The De Camps’ writing in The Day of the Dinosaur is erudite in range but conversational in style, and they clearly kept up with current discoveries. They also recognized that science is a human enterprise and that, like any exploratory process, it is marked by wildly successful leaps, frustrating wheel-spinning, and complete dead ends. I was pleasantly surprised to find that the authors were completely up to speed on plate tectonics, an essentially brand-new science in 1968, and they explain it as an alternative to older theories about immensely long land bridges or sunken continents.

At the same time, the book arrived just before the end-of-the-1960s publications of John Ostrom and Bob Bakker that kicked off the Dinosaur Renaissance, so there’s no mention of warm-blooded dinosaurs. The De Camps’ sauropods and duckbills are still swamp-bound morons, “endlessly dredging up mouthfuls of soft plant food and living out their long, slow, placid, brainless lives” (p. 142), stalked by ‘carnosaurs’ that were nothing more than collections of teeth relentlessly driven by blind instinct and hunger. The book is therefore an artifact of a precise time; there was perhaps a year at most in the late 1960s when authors as technically savvy as the De Camps would have felt obliged to explain plate tectonics and its nearly-complete takeover of structural geology (which had just happened), but not to comment on the new and outrageous hypothesis of warm-blooded, active, terrestrial dinosaurs (which hadn’t happened yet).

The book may also appeal to folks with an interest in mid-century paleo-art, as the illustrations are a glorious hodge-podge of Charles R. Knight, Neave Parker, photos of models and mounted skeletons from museums, life restorations reproduced from the technical literature, and original art produced for the book, including quite a few line drawings by one L. Sprague De Camp. Roy Krenkel even contributed an original piece, shown above (if you don’t know Krenkel, he was a contemporary and sometime collaborator of Al Williamson and Frank Frazetta, and his art collection Swordsmen and Saurians is stunning and still gettable at not-completely-ruinous prices; I’ve had mine since about 1997).

ANYWAY, as entertaining as The Day of the Dinosaur is, it doesn’t do much to help us regenerate the tale of the regenerated tail. Here’s the entire story, from page 114:

Sauropods, some students think, had great powers of regenerating lost parts. One specimen from Wyoming is thought to have lost the last quarter of its tail and regrown it, along with twenty-one new tail vertebrae. That is better than a modern lizard can do; for the lizard, in regenerating its tail, grows only a stumpy approximation of the original, without new vertebrae.

That’s it. No sources mentioned or cited, so no advance over Wood in terms of tracking down the origin of the story.

Massospondylus tail with traumatic amputation at caudal 25 (Butler et al. 2013: fig. 1A).

To be clear, I don’t really think there is a sauropod that regrew its tail, especially since we have evidence for traumatic tail amputation without regeneration in the basal sauropodomorph Massospondylus (Butler et al. 2013), in the theropod Majungasaurus (Farke and O’Connor 2007), and in a hadrosaur (Tanke and Rothschild 2002). But I would love to learn how such a story got started, what the evidence was, how it was communicated, and most importantly, how it took on a life of its own.

If anyone knows any more about this, I’d be very grateful for any pointers. The comment thread is open.


  • Butler, R. J., Yates, A. M., Rauhut, O. W., & Foth, C. 2013. A pathological tail in a basal sauropodomorph dinosaur from South Africa: evidence of traumatic amputation? Journal of Vertebrate Paleontology 33(1): 224-228.
  • De Camp, L. S., and De Camp, C. C. 1968. The Day of the Dinosaur. Bonanza Books, New York, 319 pp.
  • Farke, A. A., & O’Connor, P. M. 2007. Pathology in Majungasaurus crenatissimus (Theropoda: Abelisauridae) from the Late Cretaceous of Madagascar. Journal of Vertebrate Paleontology, 27(S2): 180-184.
  • Krenkel, R. G. 1989. Swordsmen and Saurians: From the Mesozoic to Barsoom. Eclipse Books, 152 pp.
  • Tanke, D. H., & Rothschild, B. M. 2002. DINOSORES: An annotated bibliography of dinosaur paleopathology and related topics—1838-2001. Bulletin of the New Mexico Museum of Natural History and Science, vol. 20.
  • Wood, G. L. 1982. The Guinness Book of Animals Facts & Feats (3rd edition). Guinness Superlatives Ltd., Enfield, Middlesex, 252 pp.

This past summer I did a post on my birthday card from Brian Engh, but I haven’t posted about my birthday present from him: this handmade fired-clay sculpture of Parasaurolophus.

I don’t have a ton to say about it, other than that — as you can tell from the photos — it looks pretty darned convincing. I adore the fern leaf impressions in the base.

This sits on the mantle in our living room. My eye wanders to it in stray moments. I’ve often run down ornithopods as boring, but they’re all right. They’re the clade of dinosaurs most remote from my research, so they’re about the only ones left that just signify “dinosaur” to me, without any research-related intellectual baggage. So when I’m woolgathering and my eyes land on this sculpture, it doesn’t make me think about me or now. It makes me think about them, and then. It’s a talismanic time machine. And a pretty darned great birthday present. Thanks, Brian!

Darren Naish, the silent third partner in SV-POW!, alerted me to this piece by palaeoartist Steve White:

In his own words, this piece is “Not what I set to do but was an interesting excercise”.

I for one am glad it came out the way it did!

I’m loving the gnarliness of the necks. Yes, it’s overdone — but it’s a much-needed corrective to the long-established habit of artists depicting sauropod necks as tubes.

(For more on the palaeobiological hypothesis that Steve’s artwork is illustrating, see the BRONTOSMASH! index.)

This is a Galeamopus, roughly two feet long, sculpted by James Herrmann (who also made the life-size Aquilops sculpture and bust) for the Cincinnati Museum Center.

Here’s what it looks like on the other side.

From behind.

And from the front.

I dig this. I’m sure someone else must have done this half-skeletal reconstruction, half-fleshed life restoration style of sculpture before, but I can’t think of any museum-quality examples. The bronze is a nice touch.

Here’s a convincingly chunky Allosaurus.

About the sculpting process, James wrote (in an email with permission to cite):

I worked on all of the museum pieces with Glenn Storrs, Ph.D., vertebrate paleontologist with the Cincinnati Museum Center. He would tell me what he envisioned and provide me with reference material, I would sculpt it, take the clay to Glenn for his critique, take it back and make revisions. We went through several cycles of this for each piece and when I received the final approval I took each piece to the foundry.

Tyrannosaurs are to museums what roller-coasters are to amusement parks. Here’s Daspletosaurus.

My favorite thing about these sculptures is why they’re done in bronze. It’s not just for posterity. James again:

The idea was to provide a small sculpture of each skeletal reconstruction on display for people to touch and feel. It was felt that this element of touch would be particularly important to accommodate the needs of the visually impaired museum visitor. I will feel like I have achieved success when the patina is rubbed off parts of the bronze.

One more, a life-size bust of Galeamopus.

In addition to having these on display at the Cincinnati Museum Center, James will be producing these sculptures as limited editions. If you’re interested, please visit http://www.herrmannstudio.com/.

You may recall that sculptor James Herrmann did a life-size bronze of Aquilops (shown above) back in 2017. I love it, and I’d get one in a heartbeat if I had the disposable income or the space in which to display it. Since I have neither, I got in touch with James and asked if he’d be interested in doing a casting of just the bust. Happily for me, he was game, and today this sturdy wooden crate arrived in the mail:

Inside, insanely well-packed in lots of cushy foam:

That’s a t-shirt James threw in with my order. But you’re probably more interested in this, which was also in the crate:

Unpacked and plunked on the crate lid on the lawn since it was the best I could come up with on short notice:

Some nicer photos by James of the same sculpture in prettier surroundings:

The bust is mounted on a gorgeous piece of polished green marble, with thick felt on the bottom so it won’t scratch up the furniture. The max length of the base is 9.5 inches and when standing on a desk or table, the whole piece is almost exactly 12 inches tall. I haven’t weighed it but it’s heavy enough that you could knock someone out with it, no problem.

I’d say it looks nice, but that’s both redundant, in this photo-heavy post, and a gross understatement. It looks absurdly nice, like it wandered into my space from some other, classier joint. I have some serious desk-cleaning to do so it won’t look like I stole this.

Instead of doing a big run of these, James is having them cast one at a time, on demand. The cost is $500 plus shipping; mine came to $573.33 shipped. If you want one, or want to browse James’s catalogue, or commission something yourself, you can find him at http://www.herrmannstudio.com/.

Thanks, James, for your interest in ‘my’ critter, for your skill in bringing it to life, and for making this bust available. I love it.

Okay, so here on the Best Coast it’s not technically my birthday for another 3 hours, but SV-POW! runs on England time, and at the SV-POW! global headquarters bunker it’s already June 3. Oh, and tomorrow Brian and I are driving to New Mexico to look for Cretaceous monsters with Andrew McDonald and crew, and I won’t be advantageously situated for blogging. So here’s my Favorite. Card. EVAR:

Next to Charles Knight, the Czech painter Zdeněk Burian was arguably the most influential and important of the early palaeoartists. His dinosaurs tend to have a stately quality that’s very much at odds with our post-Dinosaur Renaissance sensibilities, but which has its own charm. Here’s arguably his most famous (and incorrect) piece, the snorkelling brachiosaurs:

The reason I mention him now is that I recently stumbled across the Paleo Porch site containing decent-quality images of his artworks. For some reason, Burian’s work always seems to appear in low-quality, small-size scans which do nothing to mitigate his tendency to use muted colours and low contrasts. So it’s nice to see his work looking relatively bold and clear.

Here’s his Brontosaurus, too:

There’s a ton we could criticise about both of these pieces; but we don’t have to do that. Instead, let’s just bask in the sheer dinosaurosity of these classic pieces.

Hello, ladies!

March 28, 2019

To my shock, I find that we seem never to have posted Bob Nicholls’ beautiful sketch Hello, ladies! on SV-POW!. His recent tweet reminded me about this piece, so here it is!

Like so many classic sauropod sketches, this was executed during a mammal-tooth talk at SVPCA: this one back in 2013, the year of our first Barosarus talk. (Our second was in 2016.)

Bob’s sketch shows speculative sexual display behaviour. We have no direct evidence for (or against) such behaviour; but while we don’t believe sexual selection was the main reason for sauropods evolving long necks, it seems inevitable that long necks evolved for other purposes would be exapted for sexual display.

I always love Bob’s sketches — in fact, for most palaeoartists, I tend to like their sketches more than their finished pieces. Among the many things about this one that make me jealous is all the females in the background admiring the male: the economy of line where Bob can not only summon up a perfectly cromulent diplodocid head in a few strokes, but imbue it with a sense of being inquisitive about the display. It’s magical.


Whatever happened to that 2013 Barosaurus project?, you may ask.

Well, the first thing that happened is that after we submitted the abstract, entitled Barosaurus revisited: the concept of Barosaurus (Dinosauria: Sauropoda) is based on erroneously referred specimens, we realised that there was a tiny, tiny mistake in our work. So by the time I gave the talk at the actual conference, the title slide was this:

Then you will recall we did an efficient job of converting the conference presentation into a manuscript, which we submitted as a preprint less than a month after the conference. The preprint quickly garnered amazingly helpful comments, which we used to extensively revise the manuscript.

For reasons we don’t understand, there was a three-year delay before we got it submitted for peer-review in 2016; but when we did finally submit, we did it in the confident hope that it would sail through peer-review, having already been extensively reviewed and revised.

But it was not to be. When we got the reviews back, they asked for a ton of changes, and that process was just too dispiriting to face having already made a ton of changes based on the first set of comments just prior to the submission. So the tedious process got back-burnered, and the suddenly three more years passed.

The upshot is that I still need to handle the reviews on the 2nd version of the paper, and shove the blasted thing through the peer-review process. I will, to be frank, be glad to get it out of my POOP chute, so I can think about other things — not least, the 2016 Barosaurus project.

Thanks to a comment from long-time reader Andrew Stuck, I realised he is also the tweeter @dinodadreviews, who pointed us to Xenoposeidon in a kids’ book. Now, a review on his website of Ted Rechlin‘s comic-book Jurassic has pointed me to what I think is the first depiction of the BRONTOSMASH! hypothesis in a kids’ book:

This is nice work: it captures the mass of the animals, and resists the nearly ubiquitous tendency to make their necks too slender and elegant. The necks do look rather too short here, but I think we can explain that away as perspective foreshortening.

You’d have to say, though, that it owes more than a little inspiration to the third of Brian Engh’s early sketches:

I suppose there are only a certain number of ways to draw two apatosaurs fighting.

Anyway, it’s great to see what we consider a solidly supported palaeobiological hypothesis out there influencing young hearts and minds. We should also take this as a well-deserved prod to get on with the actual paper, which after all was meant to follow hard on the heels of our 2015 SVPCA presentation.

By the way, folks: the spelling and punctuation is “BRONTOSMASH!”. Not “Brontosmash”, not “BRONTOSMASH”: all in capitals, with an exclamation mark. It’s “the BRONTOSMASH! hypothesis”.