Ancient Dinosaur Depictions
To the right is a picture of a dinosaur fighting a mammoth from the book Buried Alive by Dr. Jack Cuozzo (click to enlarge). It was taken by the author in the Bernifal Cave, one of the caverns in France that is renowned for Neanderthal artifacts. The cave has been closed to the public. Science News was given the opportunity to publish the remarkable photo, but declined. It seems that evidence against the prevailing paradigm of naturalistic origin was selected against. It is buried alive by the scientific establishment. As Cuozzo says, this is natural selection in the most literal sense!
In 600 BC, under the reign of King Nebuchadnezzar, a Babylonian artist was commissioned to shape reliefs of animals on the structures associated with the Ishtar Gate. Centuries later, in 1887 AD, when German archaeologist Robert Koldeway stumbled upon the blue-glazed brick, that gate was rediscovered. The animals appear in alternating rows with lions, fierce bulls (rimi or reems in Chaldean), and curious long-necked dragons (sirrush). The lions and bulls would have been present at that time in the Middle East. But, on what creature did the ancient Babylonians model the dragon? (click the depiction to enlarge) The same word, sirrush, is mentioned in the book of Bel and the Dragon, from the Apocrypha. Both the description there and the image on these unearthed walls (see right), which are now displayed in the Berlin Vorderasiatisches Museum, appear to fit a sauropod dinosaur. (Shuker, Karl P.N., “The Sirrush of Babylon,” Dragons: A Natural History, 1995, pp. 70-73.)
The ancient Sumatrans produced multiple pieces of art depicting long-tailed, long-necked creatures with a headcrest. Some of these animals resemble hadrosaurs. This particular work (Ethnographical Museum, Budapest) depicts a creature that bears a striking resemblance to a Corythosaurus which is being hunted by these ancient Indonesian peoples. (Bodrogi, Tibor, Art of Indonesia, plate #10, 1973.)
Asian stories and stylized dragon depictions are fairly common. But an unusual beaked dragon statue came up on the antiquities market and is now in the Genesis Park collection. The bronze styling on this artifact suggests it is from the Zhou Dynasty (1122 B.C. – 220 B.C.) or possibly from the Han Dynasty (206 B. +C. – 220 A.D.). It displays numerous characteristics of the beaked dinosaurs (like the Oviraptor depicted alongside for comparison): tridactyl feet configuration, metatarsal stance, scale-like representation all over the body (except for the horn which has a striated pattern), long (albeit slender) tail, elaborate head crest and a long neck. In 2011 this piece was submitted for X-Ray authentication by Vance Nelson and the artifact was clearly shown to be genuine.
Another fascinating Chinese artifact is the Late Eastern Zhou Sauropod (Fang Jian) Ornamental box. Displaying a tridactyl foot, a long neck and a head that resembles a Brachiosaur, this depiction is compelling. (Fong, Wen ed., The Great Bronze Age of China, Metropolitan Museum of Art, 1980, p. 285.)
Next we consider a Shang dynasty (B.C. 1766-1122) dragon artifact that was advertised on the Chinese antiquities market as a dinosaur depiction. It displays relief lines in a scale-like pattern, a broad beak, a dermal frill, and a headcrest that is strikingly like the dinosaur Saurolophus (shown on the right). This jade statute, now in the Genesis Park collection, is made of white colored nephrite with differential weathering, cleaving veins and earth penetration, demonstrating authenticity. (Click to enlarge.)
About 4,000 years ago, the Hongshan culture in China produced many wonderful jade dragon carvings (especially pendants). Vance Nelson’s book Dire Dragons points out the resemblance to a small Protoceratops dinosaur. The rare bloodstone carving on left is part of the Genesis Park collection.
The February 26, 2000 issue of Science News contained an article that commenting on an artifact housed at the Boston Museum of Fine Arts that has come to be known as the Hesione vase (Hesman, 2000). Pictured on this ancient Greek vase is a series of somewhat unusual paintings, including one that portrays a monster that possesses the head of a dinosaur. This pottery was created around 550 B.C., and depicts the Greek hero Heracles rescuing Hesione from this “monster of Troy.” Forced to concede the amazingly realistic dinosaurian depiction, Science News concluded that the paintings on this unusual vase simply prove that ancient people dug fossils, too. But there is no evidence for sophisticated Ancient Paleontologists.
A 1971 landslide in the Girifalco region of southern Italy brought to light hundreds of ancient artifacts of a pre-Greek civilization. A lawyer named Mario Tolone Azzariti asserts that he found some dinosaurian representations among them.
Shown above is a terracotta statue measuring about 18 cm long, shaped remarkably like a dinosaur with plates on its back. The plates are triangular, and continue along the back until reaching the tail. In the view from above the object reveals a strange curving of the plates, as if the animal had been represented in motion on the land. The legs are large and awkward, as if carrying great weight, not at all like those of a lizard. There is also a clear representation of a Stegosaurus on a piece of broken pottery (right).
The art below is from the Mesopotamian cylinder seal of Uruk, an artifact currently housed at the Louvre. The animal on the right is an artist’s conception from a skeleton of an Apatosaurus. There are many striking similarities between these two depictions. The legs and feet on the artifact clearly fit the sauropods better than any other type of animal. The biggest difference is at the head. Cartilage forming the shape of a frill or ears may be stylized or accurate (since there is no way to know from the skeletons we have today). As for the musculature, the ancient artist draws with stunning realism. One has to ask where the artist got the model to draw so convincingly the trunk of a sauropod?
The January 2003 issue of National Geographic magazine presents an artifact described as a “cosmetic palette . . . from a cemetery of the first dynasties in Manshaat Ezzat.” These long-necked creatures displayed on page 78 fit the pattern of other ancient dinosaur-like depictions, including arching, muscular necks and stout bodies. Known as the “Two Dog Palette,” this artifact depicts many lifelike animals (including a giraffe on the reverse).
To the right are displayed slate palettes from Hierakonpolis showing the triumph of King Nar-mer with long necked dragons and an ancient palette depicting a pair of “dinosaur-like” creatures along with numerous clear representations of living animals (taken from p. 93 of Pritchard’s book The Ancient Near East in Pictures).
An Egyptian apotropaic wand (or magical “knife”) dating from about 1750 BC displays a similar long-necked creature. Made from hippo tusk ivory, this artifact is currently housed in the British Museum. The preponderance of these long-necked depictions in ancient art motivated archaeologists who do not believe men and dinosaurs coexisted to invent a name for this particular creature. It is called a “serpopard,” supposedly a mosaic of a serpent and a leopard. But for those who believe that man was created in the beginning alongside the great reptiles, these palettes seem to be an attempt to depict a sauropod dinosaur. Note the “Four Dogs Palette” with the “serpopard” cut out for clarity.
To the left is another beautiful mosaic that was one of the wonders of the second century world (click to enlarge). Called the Nile Mosaic of Palestrina, it depicts Nile scenes from Egypt all the way to Ethiopia. Scholars now believe this is the work of Demetrius the Topographer, an artist from Alexandria who came to work in Rome. The top portion of this remarkable piece of art is generally believed to depict African animals being hunted by black-skinned warriors. These Ethiopians are pursuing what appears to be some type of dinosaur. The Greek Letters above the reptilian animal in question are: KROKODILOPARDALIS which is literally translated Crocodile-Leopard. The picture shown here is only a small portion of the massive mosaic. It also contains clear depictions of known animals, including Egyptian crocodiles and hippos. (Finley, The Light of the Past, 1965, p. 93.)
The picture above right (click to enlarge) was drawn by North American Anasazi Indians that lived in the area that has now become Utah approximately 150 B.C. – 1200 A.D. Even noted anti-creationists agree that it resembles a dinosaur and that the brownish film which has hardened over the picture, along with the pitting and weathering, attests to its age. One evolutionist writes, “There is a petroglyph in Natural Bridges National Monument that bears a startling resemblance to a dinosaur, specifically a Brontosaurus, with a long tail and neck, small head and all.” (Barnes and Pendleton, Canyon Country Prehistoric Indians – Their Culture, Ruins, Artifacts and Rock Art, 1995.) Clearly a native warrior and an Apatosaur-like creature are depicted. Yet another Native American rock pictograph found in Utah (left) seems to depict a sauropod dinosaur.
Henry Rowe Schoolcraft was a geologist and Indian agent and wrote extensively about the Sioux Indians. He heard stories about a monstrous creature called Unktehi, something like an ox but much larger; with great horns. Schoolcraft reproduced drawings of several types of Unktehi monsters on birchbark around 1850. These were based upon rock art describing a war party of five canoes crossing Lake Superior that encountered animals resembling giant turtles, snakes, and moose. But some (upper right) clearly look dinosaurian. Sioux Indians further west, when interviewed by ethnologists, described Unktehi as an immense reptile or serpent with legs. He was shaped like a giant scaly snake with feet and a notched backbone or crest like a giant saw and had a heavy spiked tail. Still other Indian reports describe Unktehi as a swamp-dwelling creature. Adrienne Mayor, an evolutionist, believes that the Sioux were weaving stories about fossils they encountered (Mayor, Fossil Legends of the First Americans, 2005, pp. 235-237). But the pictures and description bring to mind the dinosaur Ankylosaurus (lower right) with a low slung body, long tail, heavy armor, and prominent multiple horns. A plated and horned creature has also been discovered in Cree Indian art (left – click to enlarge) on the Agawa Rock at Misshepezhieu, Lake Superior Provincial Park, Ontario, Canada.
On the right is shown a photo of one of the curious “dinosaur” petroglyphs near Middle Mesa at the Wupatki National Park. This particular petroglyph is called “Puff the Magic Dragon,” and appears to be a depiction of a fire-breathing dinosaur. Though there is no certain way to date such petroglyphs, this carving is believed to be at least several hundred years old.
On two occasions in the late 1800s, Samuel Hubbard, Curator of Archaeology of the Oakland Museum, visited an area of the Grand Canyon known as the Havasupai Canyon. As an evolutionist, he was amazed to find a petroglyph (carved rock drawing) of an elephant. But another depiction was “cut into the sandstone much more deeply than the elephant.” Its height was 11.2 inches, with a neck approximately 5.1 inches in length and a tail of 9.1 inches. Hubbard photographed the petroglyph and eventually placed it in his scientific monograph Discoveries Relating to Prehistoric Man (1925, p. 10). What kind of animal is it? Dr. Hubbard believed that he had found an ancient drawing of a dinosaur. (In the far left picture, Paul Taylor compares this ancient drawing to the Edmontosaurus.) Click to enlarge. Picture courtesy of Don Patton.
A similar association of an American elephant and dinosaur is presented in the Granby Idol. This queer rock relic was unearthed by W.L. Chalmers near Grand Lake, high in the Colorado Rockies. He found the 66 pound stone (along with various ancient utensils) several feet below the surface while enlarging an irrigation reservoir on his homestead. The stone was made of an exceedingly hard green material, like nothing ever known of in the neighborhood. (“Is Pre-Glacial Man Coming Back?” Hutchison News, January 5 1923.) On one side is a carved man, holding a tablet containing symbols. On the back are carved a mastodon and two dinosaurs. (Click to enlarge. Courtesy of s8int.com.) According to The Le Grand Reporter in 1923, Jean Allard Jeancon, archaeologist and Curator of the Colorado Historical and Natural History Society, stated, “If this stone can be proven genuine, it is the biggest find in all anthropological research and antedates anything on the American continent and is going to establish the remote antiquity of man. I have never seen such remarkable outlines of dinosaurs and mastodons!” Unfortunately this priceless artifact appears to have been lost somewhere in the bowels of the museum system. (Murphy, Jan, Mysteries and Legends of Colorado: True Stories of the Unsolved and Unexplained, 2007.) If a school teacher named Lela Smith had not taken three photos of the Buddha-like stone, the knowledge of this relic would have been lost.
A wonderfully-preserved fresco (click to enlarge) depicting the archangel Michael overcoming the dragon is displayed at San Zan Degolà, a beautiful little 13th century church in Venice, Italy. The dragon’s proportions and especially its diminutive front legs bring to mind the small theropod dinosaurs like Compsognathus.
Choir stall railings and misericords (shelf-like seats for reclining while standing) in medieval European churches are often adorned with ornate carvings. A common theme is the depictions of a dragon (symbolizing Satan) fighting a lion (symbolizing Christ). To the bottom-left is one such depiction, showing a dragon that looks very much like a sauropod dinosaur, taken from St. Remigius’ Church. The other three pictures below are taken from Carlisle Cathedral’s misericords, carved in the 15th century.
“A fantastic mystery has developed over a set of cave paintings found in the Gorozomzi Hills, 25 miles from Salisbury. For the paintings include a brontosaurus – the 67-foot, 30-ton-like creature scientists believed became extinct millions of years before man appeared on earth. Yet the bushmen who did the paintings ruled Rhodesia from only 1500 b.c. until a couple of hundred years ago. And the experts agree that the bushmen always painted from life. This belief is borne out by other Gorozomzi Hills cave paintings – accurate representations of the elephant, hippo, buck and giraffe. The mysterious pictures were found by Bevan Parkes, who owns the land the caves are on. Adding to the puzzle of the rock paintings found by Parkes is a drawing of a dancing bear.” (Anonymous, “Bushmen’s Paintings Baffling to Scientists,” Evening News, January 1, 1970, London Express Service printed in Los Angeles Herald-Examiner, January 7, 1970.) To the left is just such a rock painting from a cave at Nachikufu near Mpika in northern Zimbabwe (formerly Rhodesia). It shows three long-necked, long-tailed creatures sketched in white. (Clark, Desmond J., The Rock Paintings of Northern Rhodesia and Nyasaland, in Summers, Rogers, Rock Art of Central Africa, 1959, pp. 28-29, 194.)
Iron sculptures made by the Bambara peoples of Mali Africa in the 1800′s display a three-horned creature with what appears to be a neck frill. The specimens shown here, part of Genesis Park’s collection, exhibit dinosaurian characteristics. One shows top horns pointed forward and the neck frill extending halfway down the animal’s back, much like the ceratopsian dinosaur Chasmosaurus. The long tail, squat arched body, and sprawled legs also give it the appearance of a ceratopsian dinosaur. The second, entitled “dinosaurian sculpture,” by the exhibiting gallery shows a four-legged creature with a long neck and tail like a sauropod dinosaur. The neck has a slight widening and a ridged frill that makes it a fascinating depiction.
Another African tribe from the Mali region is known for producing dinosaurian objects in the mid-1800′s . This is the same timeframe when Sir Richard Owen coined the term dinosaur in England. The bronze artifact to the left shows a Dogon tribesman riding a long-necked, long-tailed reptilian creature. The oddly bird-like head with strong jawline is reminiscent of the “duck bill” on certain ornithopod dinosaurs. The diamond-shaped pattern on the skin matches fossilized skin impressions discovered on a hadrosaur in southern Utah.
In 1924 some Roman style lead artifacts were excavated near Tucson, AZ (see right). Described on p. 331 of David Hatcher’s book The Lost Cities of North & Central America is the unique carvings on these implements, particularly a clear dinosaur depiction on a sword. The Arizona Historical Society still has the sword.
To the left are pictured Ica Ceremonial Burial Stones that are likely from the Nazca culture. In 1500s the Spanish Conquistadors brought back stories that there were stones with strange creatures carved on them found in this region of Peru. Some of the stones were even brought back to Spain and the Incan Chronicles, Juan de Santa Cruz Pachucuti Lumqui, wrote in 1571 about the strange engraved stones in Ica. (See Swift, Dennis, Secrets of the Ica Stones, 2006.) Dom Geronomo Cabrera was a Spanish conquistador who settled the area of Ica in 1570.One of his descendants, Dr. Javier Cabrera, saw these stones as a child and began collecting them in the 1960s. Today, over 11,000 such stones have been found. Retired from the University of Lima, Dr. Cabrera focused upon validating these finds within the scientific community. His credibility was strengthened by long-necked creatures displayed on pottery in the museum of Lima and beautiful tapestries from the tombs in the area (dated from 200 – 700 AD) with a repeating pattern that looks like dinosaurs (pictures courtesy of Dennis Swift). Indeed, the depictions on some of the Ica Stones show the sauropod dinosaurs with a crest of spines much like that discovered by Paleontologist Stephen Czerkas.
Recent discovery of fossilized sauropod (diplodocid) skin impressions reveals a significantly different appearance for these dinosaurs. The fossilized skin demonstrates that a median row of spines was present… Some are quite narrow, and others are broader and more conical.” (Czerkas, Geology, “New Look for Sauropod Dinosaurs,” December, 1992, p. 1,068.)
Also, of interest is the fact that the skin of many of the carved dinosaurs has rounded bump-like depictions. Some scientists had pointed to this as evidence that these stones were not scientifically accurate. However, more recent discoveries of fossilized dinosaur skin and embryos have silenced these same critics. For example, Luis Chiappe and colleagues discussed certain sauropod dinosaur embryos found in South America: “The general skin pattern consists of round, non-overlapping, tubercle-like scales…A rosette pattern of scales is present in PVPH-130″ (Chiappe, et al., 1998, p. 259). Note the skin depictions above to the left. “Both taxa show a ground pattern of small polygonal scales, which in some places is interrupted by larger oval tubercles surrounded by the small scales, resulting in rosette-like structures. …which also match the most common textures known in dinosaurs.” (Christiansen, and Tschopp, “Exceptional Stegosaur Integument Impressions from the Upper Jurassic Morrison Formation of Wyoming,” Swiss Journal of Geosciences 103:2, 2010.) Other items of anatomical accuracy that attest to the authenticity of these Ica Stone depictions include the positioning of the tail and legs. Early critics said the Ica Stones were fakes, in part because their tails were sticking out while walking. Paleontologists in the 1960′s were confident that dinosaurs dragged their tails. Now we know the paleontologists were wrong and the Ica Stones were right. Scientists now believe dinosaurs held their massive tails off the ground while walking, because there are no drag marks on dinosaur trackways. Another anatomical accuracy that the Ica Stones show is that they are depicted standing upright without their legs in a splayed out position. That, according to dinosaur experts, is “dead on” accurate. The stylizing of animals depicted on the Ica Stones matches those found in the Nazcan Lines (monkey with curled tail, hummingbird, and stylized dinosaur). While some fraudulent Ica Stones have been manufactured in recent years to sell to tourists, many of the dinosaur stones were found in situ by experienced archaeologists. Moreover microscopic analysis of the patina (covering the stone surface) and oxidation in grooves unambiguously distinguishes between the authentic and the recently forged artifacts.
Not far from the South American Nazca sites are the Moche Indian archaeological locations. These Moche tribes inhabited northern Peru about 100-800AD. Among the artifacts currently in the Lima museum are the Mocha stirrup-spout pots and vases. Their main artistic medium was the red & white ceramic pots, which depict with singular realism medical acts, combative events, musical instruments, plants and animals. In the Larco Herrera Museum in Peru there are vases that clearly depict dinosaurs with three and sometimes four toes. Some of these same types of dinosaurs are shown on the Ica stones, including the dermal frills. The pictures here were taken by Dr. Dennis Swift.
There is a dictionary on the language of the Patagonian natives (the Tehuelche groups) by the late historian Rodolfo Casamiquela. This book displays a 16th century map which depicts terrain of the Terra Magellanica (what is now Argentina) and shows a hunting party shooting at a ñandú and also displays some very dinosaurian-looking animals up above. (Casamiquela, R., Diccionario Tehuelche, Va. Adelina: Patagonia Sur Libros, 2008.)
In 1945 archeologist Waldemar Julsrud discovered clay figurines buried at the foot of El Toro Mountain on the outskirts of Acambaro, Mexico. Eventually over 33,000 ceramic figurines were found in the area and identified with the Pre-classical Chupicuaro Culture (800 BC to 200 AD). The authenticity of Julsrud’s find has been challenged because the huge collection included dinosaurs. In 1954 the Mexican government sent a team of archeologists to investigate. In 1955 Charles Hapgood, Professor of Anthropology at the University of New Hampshire, conducted an elaborate investigation including extensive radiometric dating and thermo-luminescence testing by the University of Pennsylvania. Subsequent investigations were conducted by the Mexican government. Thus Julsrud’s work has survived considerable scrutiny. The Mexican government has even imprisoned two men for selling these artifacts on the black market. Moreover, the dinosaurs are modeled in very agile, active poses, fitting well with the latest scientific evidence and lending credence to the artists having actually observed these creatures. Like the Ica Stones, some sauropod’s are depicted with a distinctive spinal frill. There was extinct ice-age horse remains, the skeleton of a woolly mammoth, and a number of ancient human skulls found at the same location as the ceramic artifacts, validating the antiquity of the site (Hapgood, Charles, Mystery in Acambaro, 2000, p.82.). Dr. Ivan T. Sanderson was amazed in 1955 to find that there was an accurate representation of a Brachiosaurus, almost totally unknown to the general public at that time. Sanderson wrote, “This figurine is a very fine, jet-black, polished-looking ware. It is about a foot tall. The point is it is an absolutely perfect representation of Brachiosaurus, known only from East Africa and North America. There are a number of outlines of the skeletons in the standard literature but only one fleshed out reconstruction that I have ever seen. This is exactly like it” (Hapgood, p. 85.). Further evidence of the authenticity of Julsrud’s finds is the near-perfect Iguanodon dinosaur figurine. This was one of the first dinosaur skeletons discovered.The early concept of its appearance was almost comical in the mid 1800′s. By the turn of the century it had improved considerably but fell far short of what we now know. The Acambaro figurine exhibits knowledge we have gained only in the last few years. No hoaxer could have made this model in the 1940′s.
To the right is an artifact from Tiwanaku, an important Pre-Columbian archaeological site in Bolivia. Tiwanaku is recognized by Andean scholars as one of the most important precursors to the Inca Empire. The sculptor depicted a dinosaur-like creature at least 800 years before European scientists discovered dinosaurs. A vase depicting dueling dinosaurs (left) has also been discovered at the Tiwanaku civilization. It is believed to date from 500 – 1000 A.D. and closely resembles the Nazca dinosaurian depictions.
In May of 2012 researcher Vance Nelson brought to our attention a pictograph from the Amazon rainforest that is said by secular archaeologists to be thousands of years old. Amazingly, one of the pictographs shows nine warriors hunting what appears to be a dinosaur. In the 1940’s the American explorer Percy Fawcett brought back reports of a large dinosaur-like creature from this same region of the Amazon.
The Ashanti people of Ghana in western Africa are known for their carvings that were used over the centuries as gold weights. Many are little statues that accurately depict various African animals. The curious gold weight to the left, now part of the Penn Museum collection (Object #234234, Image #AF2478), was unidentified initially “despite diligent search in the animal kingdom.” (Plass, Margaret, African Miniatures: The Goldweights of the Ashanti, 1967, p.92.) A jeweler in Philadelphia first suggested that it resembles a juvenile dinosaur (Heuvelmans, Bernard, Les Derniers Dragons d’Afrique, 1978, pp. 336–337.). It has a fan tail and a beak-like mouth, distinctive characteristics of some of the recently-discovered oviraptorosaur fossils.
Deep in the jungles of Cambodia are ornate temples and palaces from the Khmer civilization. One such temple, Ta Prohm abounds with stone statues and reliefs. Almost every square inch of the gray sandstone is covered with ornate, detailed carvings. These depict familiar animals like monkeys, deer, water buffalo, parrots, and lizards. However, one column contains an intricate carving of a stegosaur-like creature. But how could artisans decorating an 800 year old Buddhist temple know what a dinosaur looked like? Western science only began assembling dinosaurs skeletons in the past two centuries. (Pictures are courtesy of Don Patton.)
The slaying of a ferocious dragon by St. George is an extremely common motif in medieval art. Various European artists interpreted the dragon differently, depending on local knowledge and lore. A wonderful medieval depiction is seen at the Palau de La Generalitat in Barcelona Spain. St. George’s Chapel contains an altar cloth illustrating St. George’s slaying of a dragon. The depiction bears an amazing likeness to the Nothosaurus, a semi-aquatic reptile (comparison below). Notice the correct-size, the crocodilian body style, and the fascinating long, curved teeth at the front of the jaw that gives way to shorter dentition towards the back.
Yet another interpretation of St. George slaying the dragon is found in the Latin Book of Hours c. 1450 AD which is illuminated by the Master of Jean Chevrot and currently housed at the Morgan Library & Museum (right). Notice the Master’s attention to detail (click to enlarge), as seen in George’s armor, the birds in the sky, and the dragon’s genitals. The Fitzwilliam Museum contains another portrayal (left) of St. George destroying the dragon (probably by Bruges) from a Latin Book of Hours c. 1490 AD. This colorful work from the Flemish School portrays a remarkably dinosaur-like dragon.
Some of the beautiful French chateaus built at the close of the Middle Ages and early 1500′s have dramatic dragon illustrations carved into their walls, ceilings, and furniture. These include Château de Chambord, Château de Blois, and Château Azay-le-Rideau. Note the similarities in the dinosaurian-like dragons and their resemblance to dinosaurs like Plateosaurus and Thecodontosaurus. A tapestry at Château de Blois portrays a dragon (and its baby) with gnarly horns on its head that are reminiscent of the dinosaur Dracorex hogwartsia (click to enlarge). Pictures courtesy of Don Patton and Vance Nelson.
In Rome there is similar artwork on the outside at the Church of St. Louis of the French. This served as the national church of France in Rome and was completed in the 1580’s. Notice on the dragon artwork to the right neck frill, scales, and especially the dinosaurian-looking legs.
In 1496 the Bishop of Carlisle, Richard Bell, was buried in Carlisle Cathedral in the U.K. The tomb is inlaid with brass, with various animals engraved upon it (see right). Although worn by the countless feet that walked over it since the Middle Ages, a particular depiction is unmistakable in its similarity to a dinosaur. Amongst the birds, dog, eel, etc. this clear representation of two long-necked creatures should be considered evidence that man and dinosaurs co-existed.
One would think that such hard evidence would be highly problematic for evolutionary theory. Indeed Dr. Philip Kitcher, in his anti-creationist book Abusing Science, claims that solid evidence that dinosaurs and man co-existed would “shake the foundations of evolutionary theory.” (1998, p. 121) Likewise, Strahler insists that “it is conceivable that a scientist will some day discover human bones among dinosaur bones in such a relationship that it is judged highly likely that humans and dinosaurs lived at the same time. Such a finding would deal a crushing blow to the widely favored hypothesis of a unique evolutionary sequence. In Popper language, the hypothesis of evolution would be falsified.” (Strahler, Arthur N., Science and Earth History: The Evolution /Creation Controversy, 1999, p. 17.) Unfortunately the history of Darwinian theories suggests that all such evidence would quickly be assimilated into evolution theory. But one can at least hope that as more evidence comes to light, the credibility of the evolutionary story-tellers will at last wear thin!