Last week, I spent some time in the truly amazing Vienna Natural History Museum – more about that later. Tucked away in a staircase between the second and third floors is a small exhibit about the history of the museum that devotes a lot of space to the early history of the collection (and virtually none to those seven years after 1938 the Viennese would rather forget about). In one of these cases I found the little statue you see to the right, a plaster concoction from a Dr. Friedrich König (which may have been this guy, although I rather doubt it). Continue reading The Mystery of Friedrich König’s Plaster Dinosaurs
(This is a repost of a short piece I wrote for the Shells and Pebbles blog a while ago, but I thought it would not be out of place here and have adapted the text somewhat. In addition, it gives me the opportunity to show off Heilmann’s whole Iguanodon picture, above).
The Danish artist-cum-scientist Gerhard Heilmann, who became famous for his book The Origin of Birds, published a little-known, short piece about Iguanodon a few years later, in an issue of Othenio Abel’s journal Palaeobiologica, dedicated to the Belgian paleontologist Louis Dollo. In many ways, this Iguanodon is much more ‘old-fashioned’ than his dynamic restorations in The Origin of Birds. First, it is positioned much more vertically. Although its tail doesn’t rest on the ground in the way that, for example, Charles Knight reconstructed his bipedal dinosaurs, it is still an altogether more stodgy-looking affair. This is further enhanced by the fact that the animal now looks very iguana- (and therefore reptile-) like.
Continue reading The evolution of Gerhard Heilmann’s Iguanodons (Updated)
Parisians who visited a newsstand or book store in the spring of 1886 were confronted with the frightening prospect of a dinosaurian intrusion into their sixth-floor apartments. It was introduced to them by a poster that was part of the advertising campaign for French author Camille Flammarion’s new book (and newspaper serial) Le monde avant la création de l’homme (‘The world before man’s creation’).The whole approach of the publicity campaign turned out to be a good indication of the tone of the book. Flammarion’s book was a work of popular science, and sought to awe and entertain its readers as much as inform them. Although the rather overweight dinosaur here borrows heavily from the reconstructions made about fifteen years earlier by Benjamin Waterhouse Hawkins for the Crystal Palace exhibition, the image of a dinosaur standing next a high building looking into its top floors would prove compelling enough to last.
Read more at the Shells and Pebbles blog