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!

We’re just back from an excellent SVPCA on the Isle of Wight. We’ll write more about it, but this time I just want to draw attention to a neat find. During a bit of down time, Matt and Vicki were wandering around West Cowes (the town where the scientific sessions were held), when they stumbled across a place called That Shop. Intrigued by all the Lego figures in the window, they went in, and Matt found a small section of fossils. Including … an Iguanodon pelvis, supposedly certified as such by the Dinosaur Isle museum.


Here it is: I imagine that whoever classified it read this elongate concave surface as part of the acetabulum. Matt’s hypothesis is that they mistook it for a sacral vertebra and that became “pelvis” via over-simplification.

It’s about 18 cm in a straight line across the widest part, or 20 cm around the curve.

Here is an actual documentary record of Matt’s moment of discovery:

Yep, you got it! It’s a sauropod vertebra! (Matt would never have spent good money on a stinkin’ appendicular element of a stinkin’ ornithopod.)

Specifically, it’s the bottom half of the front part of the centrum of a dorsal vertebra:

Eucamerotus” dorsal vertebra NHMUK PV R88 in right lateral and anterior views. Non-faded portions show the location of the Wedel Specimen. Modified from Hulke (1880: plate IV).

In these photos, we’re looking down into it more or less directly dorsal view, with anterior to the left. Click through the photos, and — once you know what you’re looking at — you can clearly see the pneumatic spaces: nice patches of finished bone lining the camellae, with trabecular bone in between.

Clearly there’s nowhere near enough of this to say what it is with any certainty. But our best guess is that it seems compatible with a titanosauriform identity, quite possibly in same space as the various Wealden sauropod dorsals that have been assigned to Ornithopsis or Eucamerotus.


  • Hulke, J. W.  1880.  Supplementary Note on the Vertebræ of Ornithopsis, Seeley, = Eucamerotous, Hulke. Quarterly Journal of the Geological Society 36:31–35.  doi:10.1144/GSL.JGS.1880.036.01-04.06

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

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.

In short, no. I discussed this a bit in the first post of the Clash of the Dinosaurs saga, but it deserves a more thorough unpacking, so we can put this dumb idea to bed once and for all.

As Marco brought up in the comments on the previous post, glycogen bodies are probably to blame for the idea that some dinosaurs had a second brain to run their back ends. The glycogen body is broadly speaking an expansion of the spinal cord, even though it is made up of glial cells rather than neurons — simply put, help-and-support cells, not sensory, motor, or integration cells. When the spinal cord is expanded, the neural canal is expanded to accommodate it; as usual, the nervous system comes first and the skeleton forms around it. This creates a cavity in the sacrum that is detectable in fossils.

avian lumbosacral specializations - glycogen body

Giffin (1991) reviewed all of the evidence surrounding endosacral enlargements in dinosaurs (primarily sauropods and stegosaurs) and concluded that the explanation that best fit the observations was a glycogen body like that of birds. I agree 100%. The endosacral cavities of sauropods and stegosaurs (1) expand dorsally, instead of in some other direction, and (2) expand and contract over just a handful of vertebrae, instead of being more spread out. Of the many weird specializations of the spinal cord in birds, the glycogen body is the only one that produces that specific signal.

If any part of the nervous system of birds and other dinosaurs might be described as a ‘second brain’, it wouldn’t be the glycogen body, it would be the lumbosacral expansion of the spinal cord, which really is made up of neurons that help run the hindlimbs and tail (more on that in this previous post). But there’s nothing special about that, it’s present in all four-limbed vertebrates, including ourselves. Interestingly, that bulk of extra neural tissue in the sacral region of birds was referred to as a sort of ‘second brain’ by Streeter way back in 1904, in reference to the ostrich, but it’s clear that he meant that as an analogy, not that’s it’s literally a second brain.

So to sum up, a gradual expansion of the spinal cord to help run the hindlimbs and tail IS present in dinosaurs — and birds, and cows, and frogs, and us. But if that qualifies as a ‘second brain’, then we also have a ‘third brain’ farther up the spinal cord to run our forelimbs: the cervical enlargement, as shown in the above figure. These spinal expansions aren’t actual brains by any stretch and referring to them as such is confusing and counterproductive.

The sharp expansion of the neural canal over just a few vertebrae in birds does not house a ‘second brain’ or even an expansion of the neural tissue of the spinal cord. It contains the glycogen body, which is not made of neurons and has no brain-like activity. The sacral cavities of non-avian dinosaurs replicate precisely the qualities associated with the glycogen bodies of birds, and there’s no reason to expect that they contained anything else. That we don’t know yet what glycogen bodies do, even in commercially important species like chickens, may make that an unsatisfying answer, but it’s what we have for now.

The next installment will be way weirder. Stay tuned!


  • Giffin, E.B.,1991. Endosacral enlargements in dinosaurs. Modern Geology 16: 101-112.
  • Streeter, G.L. 1904. The structure of the spinal cord of the ostrich. American J. Anatomy 3(1): 1-27.

Aquilops skull, take 3

December 12, 2018

Nothing really new here, not like a new skull recon or anything. The original version I did for Farke et al. (2014) had the jaw articulated and closed. Then in 2017 I posted a version with the lower jaw disarticulated. Obviously what was needed was one with the lower jaw articulated and open. Now it exists, here. I mean, since I posted the separate parts last year people have had everything they needed to make their own, but it’s nice to have one already built, so here you go.

My good friend, frequent collaborator, and fellow adventurer Brian Engh has won the John J. Lanzendorf Paleoart Prize for 2D paleoart (there are also categories for 3D paleoart and scientific illustration). He’s in august company; previous Lanzendorf winners include luminaries like John Gurche, Michael Skrepnick, Mark Hallett, Todd Marshall, and Julius Csotonyi (among many others–see the complete list of previous winners here). Naturally I’m happy as heck for Brian, and immensely proud of him, not only for the award, but also for what he’s doing now. Usually when we say “pay it forward” we mean metaphorically, but Brian is literally going to pay it forward. He’s created his own paleoart contest, the SummonENGH 2018, and he will award half of his October Patreon take to the winner.

He lays out the rules on his blog and in this video:

There’s a Facebook group, here, and a hashtag: #TheSummonEngh2018 (Facebook, Twitter).

Why do I think this is cool? It’s no exaggeration to say that I am a paleontologist today because I was exposed to mind-bending paleoart from a young age. Brian cares about paleoart–he cares about making better paleoart, himself, and he cares about making paleoart better, for everyone. And now he’s putting his money where his mouth his and doing something to hopefully bring more visibility to the paleoart community, and help move the field forward. That’s admirable, and I’m happy to support the cause.

Also, when we visited the Aquilops display at Dinosaur Journey this summer, we were lucky enough to capture this single frame showing a 100% real paleo-energy discharge. I definitely felt something at the time, but I didn’t know the full extent of what had happened until Brian sorted through our photos after the trip. Apparently this was all fated to happen–some kind of transdimensional chronoparticle emission linking past and future–and who am I to argue with fate?

Now, go summon monsters!

I was back in Utah the week before last, looking for monsters with Brian Engh and Jessie Atterholt. It was a successful hunt – more about that another time.

We made a run to Fruita, Colorado, to visit Dinosaur Journey. I was just there in May, picking up Haplocanthosaurus caudals for CT scanning (and other fun things). We picked up another specimen this time, for a different project – more on that in another post, too.

Not this one, but like this one. An apatosaurine middle caudal vertebra, MWC 5742, in left lateral view.

There’s a nice ceratopsian exhibit up at Dinosaur Journey right now, with cast skulls from many of the new ceratopsians that have been described in the past couple of decades. My near-favorites were Zuniceratops and Diabloceratops, both of which are small enough that they must have been adorable in life (think pony-sized and big-horse-sized, respectively).

My absolute favorite, of course, was this little thing:

I can tell you exactly how Aquilops came to be on display there. Julia McHugh printed a copy of the holotype, because it’s freely available to the world. And she used Brian’s Aquilops head recon in the signage (correctly, with attribution), because it’s also freely available to the world. In fact, I’ve seen Aquilops on display at several museums now for just those reasons. So, folks, if you want your critters to be seen, make them open. Hiring a paleoartist to do some awesome artwork that can be released under a CC-BY license (because you paid them, not because you asked them to give their art away for “exposure”) is a huge help.

We had to geek out a little about unexpectedly finding ‘our’ dinosaur on display:

But of course it is not our dinosaur anymore – that’s the whole point. Aquilops belongs to the world.

For more on our trip, see Jessie’s posts herehere, and here.

I’ve known who Peter Doson was since I was nine years old. A copy of The Dinosaurs by William Stout and William Service, with scientific content by Peter, showed up at my local Waldenbooks around the same time as the New Dinosaur Dictionary – much more on The Dinosaurs another time. Then when I started doing research as an undergrad at the University of Oklahoma, Peter’s chapter on sauropod paleobiology in The Dinosauria (Dodson 1990) was one of the first things I read. At the SVP banquet in 2000, I ran into Peter and he shook my hand and said, “Sauroposeidon rocks!” I managed not to swoon – barely.

When I was in Philadelphia this March, Peter invited me to the UPenn vet school for an afternoon. He gave me a tour of the building with its beautiful lecture halls and veterinary dissection lab, and then we spent a couple of hours rummaging around in his office. That was one of the highlights of the trip, because it turns out that Peter and I are both comparative anatomy junkies. He’s been at it for longer, and he has more regular access to dead critters and more space to display them, so his collection puts mine to shame. But he kindly let me play with study whatever I wanted.


In fact, he went farther than that: he quizzed me. A lot. I take it that it’s a right of passage for people coming through Peter’s office. It was an enjoyable challenge, and I got photos of a few quiz items so you can play, too. This transversely-sectioned skull was one of the first mystery specimens. I figured it out pretty quickly, for reasons I’ll reveal in a future post. Can you? Post your IDs in the comments.

I don’t remember all of the quiz items. One of them was the dark skull lying upside down behind the ratite skeleton in the photo up top. I had to figure that one out without picking it up, so you have about as much information as I did. We’ll call that one quiz item #2. Embiggenate for all the clues you’ll need.

This wasn’t a quiz item, just something cool: the skull of a large dog with the top of the cranium removed. In the paired cavities at the top, we’re looking down through the frontal sinuses to see the respiratory turbinates in the nasal cavities. The single large space behind is the braincase. At the very front, in the shadowed recess, you can see the cribriform plate of the ethmoid bone, perforated with dozens of holes to let the olfactory nerve endings through from the back of the nasal cavities. We have the same thing on a smaller scale a centimeter or two behind our brows, and oriented horizontally. But what really drew my attention were the linear arrays of paired foramina arcing across the floor of the braincase – holes to let cranial nerves and the internal jugular veins out of the skull, and the internal carotid arteries in. We have the same structures in our heads, of course, but the layout isn’t as neat – our big brains, bent forward at such a sharp angle from the spinal cord, have squished things around a bit.

Here are more skulls, garnished with a human femur and a ratite pelvis and synsacrum. Peter quizzed me on the Archaeoceratops (front) and Auroraceratops (back) skulls on the far right. I IDed them correctly, but only because I spent some quality time with the Alf Museum’s casts when I was reconstructing the skull of Aquilops. On the far left is an alligator skull with injected arteries, which is definitely worth a closer look.

Here’s a dorsal view of the injected alligator skull. The arteries have been injected with red resin, and then all of the soft tissue has been macerated away, leaving just the bone and the internal cast of the arterial tree. Some of the midline bone has been removed here to reveal the courses of the cerebral, ethmoid, and nasal arteries. Also note the artery looping around in the left supratemporal fenestra.

Here’s a look into the right side of the back of the skull, where the lateral wall of the braincase has been Dremeled away to show the course of the internal carotid artery. It’s a very cool demonstration of a bit of anatomy that I had never seen before. For more on cranial blood vessels in crocs, check out the obscenely well-illustrated recent paper by Porter et al. (2016).

To my chagrin, that’s all the good photos I got from Peter’s office – we were too busy passing specimens back and forth and frankly geeking out like a couple of kids. One of my favorite specimens from his office was the mounted foot skeleton of a horse, which Jessie Atterholt had prepared for him when she was his student at UPenn. It’s such a cool preparation that it captured my imagination, and when I got back I warned Jessie that if she didn’t get her own articulated horse foot posted soon, I was going to make something similar for myself and steal her thunder. A couple of months later, her horse foot is up on Instagram – I featured it in this post – and my cow foot is still sitting in pieces, waiting for me to put it together. Here’s a shot of Jessie’s, to hopefully prod me into action:

I didn’t get all of Peter’s quiz questions correct. I knew that the endocast of the pharyngeal pouch in a horse was an endocast, but of what I didn’t know, although I did correctly identify the hyoid apparatus of a horse, mounted separately. And there was a partial cetacean jaw that I misidentified as a shark (in my defense, it was from one of the small, short-faced weirdos). Still, Peter said that I’d done as well as anyone else ever had. That was nice to hear, but I was already happy to have gotten to see and talk about so many cool things with a fellow connoisseur. Thanks, Peter, for a wonderful afternoon, and for permission to post these pictures. I am looking forward to a rematch!


  • Dodson, P. 1990. Sauropod paleoecology. In: D.B. Weishampel, P. Dodson, P., & H. Osmolska, (eds), The Dinosauria, 402-407. University of California Press, Berkeley.
  • Porter, W.R., Sedlmayr, J.C. and Witmer, L.M., 2016. Vascular patterns in the heads of crocodilians: blood vessels and sites of thermal exchange. Journal of Anatomy 229(6): 800-824.
  • Stout, W., Service, W., and Preiss, B. 1984. The Dinosaurs: A Fantastic View of a Lost Era. Bantam Dell Publishing Group, 160pp.

So, here’s a cool thing that happened at Norwescon. On Saturday afternoon, there was an autograph signing session. Probably to the surprise of no-one, a lot more people were interested in having things signed by the other two guests of honor, Galen Dara and Ken Liu, than by me. But happily I was situated between them so I coasted a bit on the interest they drew. There was quite a bit of downtime in the two-hour session, so I had the chance to chat with both Galen and Ken. That was actually a highlight of the con for me – I was hoping for a chance to get to know my fellow guests of honor a bit, instead of just passing them in the hallways as we all went off to our separate scheduled activities.

Whenever Galen Dara wasn’t signing autographs, she was drawing. Makes sense, right? You probably don’t get to be as professionally successful as she is if making art isn’t compulsive. And it was just my luck that the proximate cool thing around to draw was the skull of Aquilops – I was signing prints of my skull recon, and I had along the reconstructed cast skull that I use for education and outreach. So I had the fairly trippy experience of watching an award-winning artist at the top of her game draw ‘my’ critter.

As you can see from Galen’s Instagram, she draws and paints a lot of skulls, and she spends a lot of time exploring the geometric underpinnings of skulls. She warned me at the outset that her Aquilops skull would be more impressionistic than photo-realistic – her interpretation of Aquilops as organic art. I think it looks pretty great; I have to trace stuff to get the proportions that close on the first go. And as I recently mentioned in another post, it’s always mesmerizing for me to see how a visual artist can conjure form, weight, and texture one pencil-stroke at a time.

Many thanks to Galen for permission to post these pics, and for her interest in my favorite non-sauropod.