Colorado
is what you can consider a rich state for fossils. Marine reptiles, prehistoric mammals, ice age
megafauna, Jurassic dinosaurs and Cretaceous dinosaurs can all be found on both
sides of the Rockies. On the west side are the Museum of Western Colorado
in Grand Junction and the Royal Gorge Regional
Museum and History
Center in Canyon City. On the other are the Rocky
Mountain Dinosaur
Resource Center
in Woodland Park and the subject of today’s article,
the Denver Museum of Nature and Science.
The museum was founded by Edwin Carter for his collection of
Colorado Wildlife in the year 1900. Soon, wildlife specimens from all over the
world, minerals, fossils, and Egyptian and American artifacts flowed in and the
museum grew. I know nothing about the previous fossil exhibits, so I will just
review the current exhibit, Prehistoric Journey.
Prehistoric Journey was the brainchild of the
paleontologists Kirk Johnson and Ken Carpenter, hired in 1990. Their team created a comprehensive, very visual exhibit
showing the prehistory of the Earth, using Colorado as the focus. The exhibit opened in
1995, and I was fortunate enough to see it the following year.
Prehistoric Journey starts with a theater, showing a video
presentation of the early history of the earth. The exhibit begins in the
Hadean Eon, as demonstrated by a dramatic watercolor painting by Greg Michaels.
Michaels’ paintings will continue through the exhibit, giving drama and breadth
to the specimens. The origin of life is
covered by pieces of ancient stone, a panaroma showing the sequence of organic
molecules to proteins to microorganisms, and a piece of equipment used for the
Miler-Urey experiment. Said experiment synthesized amino acids by exposing
chemicals to conditions simulating early Earth.
The museum shows different animal fauna over time in a
series of dioramas. The first is the Edicara fauna, from 600 million years and
made of some of the earliest multicellular animals on the planet. The Cambrian lacks a diorama but is
represented by abundant trilobite and brachiopod fossils and a dramatic
Michaels painting. A colorful diorama
displays a reef fauna found in Racine,
Wisconsin dating to the
Ordovician. Following it are fossils of the coral, cephalopods, crinoids, and
eurypterids, followed by early fish. A Michaels painting shows the evolution of
fish displaying various fossil fish. The centerpiece of any fish exhibit is the
skull of Dunkleosteus, and the Denver
Museum’s skull is
supported by a mural of one chasing the traditional prey of Cladoselache. It’s
as if it was the only prey animal for Dunkleosteus, but since it’s a
recognizable shark, and originally featured in Charles Knight and Zdenek
Burian, the Dunkelosteus-Cladoselache chase will remain a paleoart motif.
A trip upstairs continues the exhibit as the Devonian goes
on. Land animals are represented by more murals of the Devonian shallows and
proto-forests, including a Michaels painting and a small diorama of the first
amphibians. The iconic Carboniferous forest makes its appearance as a diorama,
along with life-sized trees and Meganeura backed by a atmospheric mural. It’s
dark, but periodically a light will go on to illuminate the scene. The
centerpiece of this Palaeozoic series of
rooms is a dynamic pair of mounts depicting a Dimetrodon attacking an Eryops
from Permian Texas. The dynamic, red skeletons overshadow the other Permian and
Carboniferous displays. Even the bizarre amphibian Diplocaulus and sea scorpion
Megarachne just aren’t as dramatic or visually interesting as this Permian
battle. On the far side of this elevated
hall, you can see the Mesozoic hall with its gigantic Diplodocus, and the
mounted Pteranodon and Protostega flying towards you.
Going back downstairs will take you to the Mesozoic. The
exhibit skips forward to the end of the Cretaceous with a diorama. The diorama
is set in North Dakota
at the end of the Cretaceous, where two Stygimoloch males duel by a forest
river. By the river (where the visitors
walk), a Triceratops skull lies in half-decomposition while a disturbed
marsupial, Didelphodon hisses at them. In the background through the leaves, a
Tyrannosaurus stalks Edmontosaurs.
The Triassic is represented from a combination mural and
skeletal mounts of the Chinle fauna. In the mural, the phytosaur Redondasaurus
bursts from the water to scatter a pack of Coelophysis dinosaurs. The dispute
is over a nearly-skeletal corpse of the aetosaur Desmatosuchus. The skeletons
show one Coelophysis running off with a pierce of Desmatosuchus tail while a
juvenile follows trying to grab the morsel.
The Jurassic takes up most of the room in a tableau of
mounts seemingly in interaction with each other. On one side, an Allosaurus
attacks a Stegosaur. On the other side of the stegosaur is the probable
target-a pair of Stegosaur infants. A herd of Othnielosaurus next to them flee
the battle. On the other side of the room, a Diplodocus looks on in alarm,
taking up most of the room, and a Gargoyelosaurus lurks at its feet.
The corner shows a display invoking a time-travelling big
game hunter: On one wall are hadrosaur, allosaur, and ceratopsian forelimbs. In
the center are the skulls of Tyrannosaurus, Edmontosaurus, Pachycelphalosaurus
and Giraffititan. On the other wall are
the tail weapons of Ankylosaurus and Stegosaurus.
The Cretaceous is represented by Triceratops skull and
full-sized Edmontosaur mount. Said mount has crushed vertebrae at the base of
the tail that may be from a Tyrannosaur attack. All the mounts are
comprehensive-the Stegosaur has its neck armor, the Edmontosaurus its
tail-stiffening bony rods, and both herbivores come complete with sclerotic
rings (eye bones found in birds, fish and lizards in order to strengthen large,
non-spherical eyeballs). The late
Cretaceous Niobrara sea makes up the tail end of the Mesozoic hall-Protostega
and Pteranodon fly overhead, and Xiphactinus and Platecarpus (both iconic and ubiquitous Niobrara
species) lie on the wall, and ammonites, baculites, crabs and crinoids lie
below. The Xiphactinus skeleton is
preserved with its last fish meal still inside.
Cenozoic halls begin with a small diorama depicting a family
of the lemurlike adapid primate Notharctus leaping through the Palaeogene
jungle. This is the fauna of the Lost Cabin site from Wyoming, about 50 million years ago. The
painting behind the diorama depicts crocodiles and the big hippolike herbivore
Coryphodon on a river, A Protorohippus approaches the river, with the creodont
predator Prototomus stalking it. A Notharctus skeleton is mounted nearby, next
to the skulls of the other animals shown in the
diorama. Fish, frogs, and other
well-preserved freshwater species from Wyoming’s
Fossil Lake
(I’ve talked about that site with the Field
Museum review) lead to a
sequence of mounts and skulls of early Eocene American fauna: Gastornis, Eobasileus, Dinictis,
Sphenocoeulus ,and Stylemys.
The late Eocene is better-represented by its skeletal mounts
of the White Deer River
fauna. The rhino Trigonias, the entelodont Archaeotherium, the horse
Mesohippus, the camel Poebrotherium, and a family of giant brontotheres
Megacerops watch as a pair of Hyaenodon
creodonts take down and kill the oreodont Merycoidodon. The spectacle keeps coming with another walkthrough
diorama depicting the Agate Springs fauna-the giant entelodont Daeodon charges
a group of Stenomylus, antelope-like camels. In the distance, the rhinoceros
Menoceras, the horse Parahippus, and the oreodont Merycochoerus roam the
plains. The strange herbivores slingshot-horned Synthetoceras and claw-footed
Moropus watch the scene from the brush.
Skeletons of the aforementioned animals (skulls in the case
of the Synthetoceras and Daeodon) follow up the diorama. Mammal evolution is dramatized on the
following wall-skulls and mounts show the horse family tree, while a Michaels
painting depicts whale evolution from early mammalian predators to modern
dolphins. The late Miocene is
represented by a full mount of a Gomphotherium, distantly related to mastodons,
mammoths, and elephants, a skull of the aforementioned Synthetoceras, and the
dachshund-hippo rhino Teleoceras. So, human evolution is placed in the context
of mammal evolution in general. A niche leads to one last diorama showing
Australopithecus afarensis in the Pliocene night. Next to her is the skull
display on hominidae and a cast skeleton of Lucy, paralleling the horse
display.
Apparently, before the 1995 restoration, the museum had a
diorama of a Smilodon attacking a Glossotherium and a mount and mural showing
the aforementioned sloth confronting both the sabertooth cat and dire wolves.
Unfortunately, the museum has seemed to have run out of space for the
Pleistocene. The exhibit ends with a Colombian mammoth skull and windows to the
fossil preparation lab. The lab itself is fascinating. On the wall is a nearly
complete Stegosaurus and the reconstruction of Cope’s lost fossil, the
man-sized vertebra Amphicoelias .
These aren’t the only fossil mounts in the museum, however.
Ken Carpenter’s specialties, other than armored dinosaurs, are Tyrannosaurus
and Plesiosaurs. So, they take up the hall with mounts of each. Confronting the
visitors as they enter the lobby is a cast skeleton of Tyrannosaurus. Instead
of a static pose favored by most museums, the Tyrannosaurus is shown in an
action pose. It kicks upwards as it rears to its full height, turning its
roaring head down to look at the visitors.
Until recently it was accompanied by a John Gurchemural of a
Daspletosaurus in a similar pose locked in combat with a Styracosaurus.
Above the gift store and leading towards the main exhibit on
the second floor are two elasmosaurs, Thalassomedon. They are mounted in an
underwater hunt, swimming upwards and snapping their jaws to catch a fish high
in the air. These three mounts make for
great introductions in the main hall, huge and dynamic. Sadly, the main exhibit
doesn’t try to integrate them into the narrative, even as the Elamosaurs would
have swam alongside Xiphactinus and Tyrannosaurus hunted Edmontosaurus.
A coda: recently, two sculptures have been placed outside in
the parking lot. The sculptures can be viewed from above on the main lot or
from the side from the underground lot. These were made by Gary Staab,
depicting two Jurassic dinosaurs from Colorado. The giant sauropod Camarosaurus
rears up to ward off a prowling Ceratosaurus, another action-packed scene that
tempts the visitors (especially the dinophiles) with what to expect.
All in all, the Denver museum is an experience. While not
quite as big as the Field Museum’s halls, let alone the American Museum, they
are presented the best. Sculptures and lifelike mounts and murals make the
fossil animals fit in with all the other taxidermy and sculpture, and make the
animals seem less like static aliens and more like real animals. While there
are plenty of exceptions, the presentation, especially the use of grouping
contemporary species and depicting their interactions (a Michaels painting
shows Moropus fighting Daeodon, perhaps a rejected concept for a fossil mount
or diorama) makes Prehistoric Journey something really special. In a way, I think it’s better than the
American Museum-instead of quantity of specimens, the Denver museum uses this
lifelike approach to more vividly portray prehistoric life and uses the more
straightforward chronological approach to teach the evolution of life rather
than taxonomy. It’s definitely to be
recommended. If you live between Chicago Austin and Utah, the Denver Museum is
really the best dinosaur museum near you.
Here’s the Museum’s website on the exhibit! http://www.dmns.org/exhibitions/current-exhibitions/prehistoric-journey/
Cool blog. Yes, any museum without a Dunk is lacking something.
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