Which reminds me…
I meant to write about this when it was news. Now it’s olds, which suits me fine.
Copy of Pearce's restoration of Belemnotheutis, re-drawn by Colin Stuart from Donovan and Crane (1992).
I. The drawing above is of the extinct Jurassic cephalopod Belemnotheutis antiquus. In fact, it’s a fairly exact replica of a drawing made by Joseph Chaning Pearce who first named the genus in 1842 (shown at left). Pearce may have intended to name the fossil Belemnoteuthis (teuthis=Gr. squid as in teuthology study of cephalopods), or he may have intentionally used a variant spelling. Either way, Donovan and Crane 1992[pdf] argue that the original published spelling should stand according to the rules of taxonomic nomenclature. Historically, Belemnoteuthis(sic) has been widely used and Richard Cowen has described Pearce’s original spelling as “barbarism.” Nevertheless there it stands: a possible typo enshrined into taxonomic priority.
II. Engineering icon Isambard Kingdom Brunel, was the vision behind the construction of the Great Western Railway which linked London by rail to south west England (including the Jurassic Coast) and Wales during the 1830s and 40s. Around 1840, rail workers constructing a line near the village of Christian Malford stumbled across incredibly well preserved fossils some of which were collected and studied by Pearce. The site was eventually flooded and forgotten for more than a century and a half before it was rediscovered by British scientists just a few years ago.
III. Which, the focus on all those new reports about that featured this drawing wasn’t mainly on the historical quirks surrounding the image or name at all but concerned instead the historical quirks surrounding the origin of the ink which is: FREAKING BELEMNITE INK!
Ink from a well-preserved Belemnotheutis, dead for 165 million years or so, was reconstituted and used to draw a copy of one of Pearce’s original drawings.
IV. Which is really cool, but not nearly as unique as you might expect.
Joel Segal Books Blog does a nice job of putting fossil cephalopod ink into proper historical context, borrowing an image from my sidebar, a painting of Ichthyosaurus made by Henry De la Beche in 1834 using FREAKING BELEMNITE INK!
From Clary (2003)
Credit where it’s due: I nicked the picture from the doctoral dissertation of Renee M. Clary (2003) which explores the pioneering role De la Beche played in using imaginative visual aids to convey geological and paleobiological information. Mandatory reading for anyone interested in the history of geology, the use of illustration in the earth sciences or the development “paleoart.”
Preserved ink sacs of fossil cephalopods - from William Buckland's Geology and Mineralogy with respect to Natural Theology (1836).
In fact, De la Beche was just one of a number of 19th century scholars and artists that messed around with reconstituted fossil ink. In his “Bridgewater Treatise” Geology and Mineralogy with respect to Natural Theology (1836) William Buckland illustrated (so far as I know, with conventional ink), the well-preserved ink sacs from several fossil cephalopods. In that same work, Buckland gives an account of one of the earliest artistic experiments using fossil cephalopod ink:
Elizabeth Philpot, the often forgotten friend and associate of Mary Anning who is a central character in Tracy Cevalier’s recently published novel Remarkable Creatures, is also said to have painted with “fossil sepia” and sometimes credited with being the first to do so. Other enterprising residents of Lyme are said to have followed suit painting in an effort to cater to the burgeoning tourist industry fueled by Victorian fossil fever and the construction of the Great Western Railway.
I’m not sure whether any of the illustrations made by Chantrey, Philpot or their followers have survived, I haven’t been able to turn any up aside from De la Beche’s ichthyosaur. Unlike the De la Beche drawing, other vintage fossil ink works might not be clearly labeled as such and could easily be sitting in a private collection or a museum forgotten and unrecognized. Philpot’s or Chantrey’s original works, most likely long gone, would be priceless historical gems of the finest order.
V. Fossil ink makes literary cameos in the work of Jules Verne and the poet Martin Farquhar Tupper. It also turns up in one of my favorite essays of all time, Thomas Henry Huxley’s “On the Method of Zadig”:
“No amount of physiological reasoning could enable any one to say whether the animal which fabricated the Belemnite was more like Nautilus, or more like Spirula. But the accidental discovery of Belemnites in due connection with black elongated masses which were: certainly fossilised ink-bags, inasmuch as the ink could be ground up and used for painting as well as if it were recent sepia, settled the question; and it became perfectly safe to prophesy that the creature which fabricated the Belemnite was a two-gilled cephalopod with suckers on its arms, and with all the other essential features of our living squids, cuttle-fishes, and Spirulæ. The palæontologist was, by this time, able to speak as confidently about the animal of the Belemnite, as Zadig was respecting the queen’s spaniel. He could give a very fair description of its external appearance, and even enter pretty fully into the details of its internal organisation, and yet could declare that neither he, nor any one else, had ever seen one.” Thomas Henry Huxley “On the Method of Zadig” (1880)
VI. Pigments, paints, dyes and inks come either from dead organisms or minerals, and so all have some biological or geological story to tell. The case at hand straddles both categories, which seems unique until you remember the ubiquity of “synthetic” inks distilled from petroleum that is the remnants of marine organisms, dead and buried for millions of years. That might include some of the ink used to run the Belemnotheutis newspaper stories, unless British newspaper printers have all switched to soy-based inks like their U.S. counterparts. Your keyboard and mouse are probably made from sea animals. If you print this post out (which I can’t imagine why but just go with me here) the ink you use, and perhaps the energy to do it, are quite possibly the byproducts of long dead phytoplankton.
VII. And as long as we’re talking autochthonous/authigenic art, I have to mention Matt Celeskey’s work with 200+ million year old Triassic charcoal. Matt, in turn, turned me on to Alexis Rockman whose “field drawings” use site-specific pigments themed around of both living and fossil ecosystems ranging from the Burgess Shale and La Brea Tar Pits to Fresh Kills landfill.
VIII. Here then for almost no reason except that I like the picture is Brunel, posed beside the launching chains of the SS Great Eastern, whom Brunel affectionately called the “Great Babe.” The ship will experience a steam explosion, killing 5, before being repaired, sent across the Atlantic as a passenger vessel half-a-dozen times nearly sinking once before being converted to cable laying ship and laying the first Trans-Atlantic telegraph cable, later converted into a floating music hall and promotional gimmick and eventually broken up and sold for scrap. Which has nothing to do with anything. Like I said, I just like the picture.
And if you made it this far without being tempted by at least one of those hyperlinks, I can’t help you.