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GLOBSTERS ABOUNDING! - PART 1: BLOBS, TRUNKO, LUSCA, AND MORE...

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Me with giant octopus model (© Dr Karl Shuker)

Mystery beasts come in all sizes and shapes, but in the case of globsters they are most famous not just for their great size but also for their conspicuous lack of any well-defined shape. Aptly named by American cryptozoologist Ivan T. Sanderson in the early 1960s, globsters (also dubbed blobsters or blobs) are generally huge, amorphous masses of decomposing tissue, usually rubbery and covered in fibrous ‘hair’, lacking any recognisable body parts or skeleton, which are regularly washed ashore on beaches around the world.

GLOBSTERS IN THE NEWS
The first globster to attract international attention, and for which Sanderson coined the term ‘globster’, was discovered on the beach north of Tasmania’s Interview River by three eyewitnesses in August 1960. Measuring about 6 m long, 5.5 m wide, and 1.2 m thick, with an estimated weight of 5-10 tonnes, it was composed of tendon-like threads attached to a fatty substance that did not readily compose. Despite its unusual appearance, it was left uninspected on the beach for over 18 months until some on-site tests were finally conducted on 7 March 1962 by Australia’s CSIRO (Commonwealth Scientific and Industrial Research Organisation), which proved inconclusive. A second CSIRO analysis 10 days later revealed protein and in particular the connective tissue protein collagen to be primary constituents.

Newspaper cutting re the Tasmanian globster of 1960 (© Hobart Mercury)

In 1965, another hairy globster, 9 m long, was found on a New Zealand beach, and a smaller one, only 2.5 m long, turned up in November 1970 on a Tasmanian beach. More recently, Tasmania hosted yet another globster stranding when in January 1998 a 6-m, 4-ton specimen drifted ashore on FourMileBeach. What made this example particularly interesting was that it sported several sturdy, elongate projections resembling tentacles.

Four MileBeach globster as documented in the globster coverage from my book Mysteries of Planet Earth (© Dr Karl Shuker/Carlton Books/globster photo's copyright owner unknown to me – please post details if known)

Another tentacled enigma was the stranded globster spied by tourist Louise Whipps (not Whitts, as frequently but incorrectly given in media reports) on Benbecula, a small remote Scottish island in the Outer Hebrides. Until now, Benbecula’s claim to cryptozoological fame had been the burying here more than 170 years earlier of a supposed mermaid, but whatever the putrefying entity encountered by Whipps had once been, it had definitely never been a mermaid. A photo of her sitting beside the globster provided a useful scale that confirmed her estimation of its length - a relatively modest 3.5 m.

Louise Whipps with the Benbecula globster (© Louise Whipps – Fair Use/Educational Purposes Only)

What made the Benbecula specimen unexpectedly eyecatching (for a globster!), however, was the series of tentacular flaps that fringed its otherwise flat, elongate form. Staff at Newcastle’s Hancock Museum, shown Whipps’s photo, were unable to offer any positive identification of this globster, and despite the photo later appearing in countless media reports worldwide, it remained unidentified.

Equally well-publicised was the so-called Bermuda blob - a grey 2.5-m rubbery specimen discovered washed up on a beach in Mangrove Bay, Bermuda, by Teddy Tucker during May 1988. Waves subsequently washed it back out to sea, but not before Tucker had removed a chunk of its flesh and preserved it in formalin.

Teddy Tucker with the 1988 Bermuda blob (© Teddy Tucker – Fair Use/Educational Purposes Only)

Tissues samples were also obtained from the globster cast up from the depths in August 2001 at St Bernard’s, Fortune Bay, in Newfoundland, as well as from the most famous globster of modern times – the enormous gelatinous specimen discovered washed ashore on 23 June 2003 by a crowd of perplexed coastal villagers from Los Muermos, southern Chile. Measuring a stupendous 12.5 m long, 5.6 m wide, 1 m high at its tallest point, and estimated to weigh over a tonne, like most globsters it was wholly shapeless in form, leathery in texture, and grey and pink in colour, inspiring some news reports to liken it to a squashed elephant! With such a vast quantity of tissue available, it is heartening to learn that samples were indeed taken for scientific testing.

GLOBSTERISING TRUNKO
Perhaps the most sensational globster revelation of modern times, however, came in 2010, when, following our joint discovery of some remarkable photographs published more than 80 years earlier but which had hitherto remained entirely unknown to the cryptozoological world, I and German cryptozoologist Markus Hemmler exclusively revealed that one of the world's most anomalous and contentious mystery beasts had in fact been a globster. The cryptid in question was none other than Trunko – the huge sea monster sporting a long proboscis-like structure and covered in what eyewitnesses described as snow-white fur that was washed ashore on a South African beach during the early 1920s, remaining there for several days before the tide carried it back out to sea, never to be seen again, or identified – until 2010, that is.

Trunko (© A.C. Jones)

Following a close examination of the excellent, newly-unearthed close-up photos, however, which had been snapped by one of Trunko's eyewitnesses and published shortly afterwards in a magazine article that had, astonishingly, been overlooked completely by cryptozoologists for more than eight decades afterwards, I could see beyond any shadow of doubt that what they depicted was an absolutely typical (indeed, classic) globster. In other words, the Trunko carcase was not that of some extraordinary maritime elephant whose species still eluded science, as had been seriously speculated in the past, but was actually something much more prosaic, the same as all other globsters – whose precise nature will be revealed a little later in this present ShukerNature blog article.

For full details of Trunko's long-awaited identification and resolution, click here, here, and here, and also see my definitive chapter-length account in my book Mirabilis (2013).

Clearly, there is no shortage of globsters on record – but what exactly are they? Resembling no known species, they have been the subject of heated zoological and cryptozoological debate for decades – with identities ranging from some wholly unknown marine species or decomposed whales to rotting shark carcases and, most intriguing of all, the putrefied remains of gargantuan octopuses, far bigger than any currently recognised by science.

TENTACLES OF TERROR
The world’s largest known species of octopus is Enteroctopus dofleini, with a maximum recorded tentacle (or, technically, arm) span of 7.1 m. Having said that, a freakishly large specimen of Haliphron atlanticus was dredged up by a fishing trawler off New Zealand’s Chatham Islands in March 2002 that sported an estimated tentacle span of 10 m (it was an incomplete, badly-damaged individual). However, some truly gigantic octopuses that would put even the latter to shame have been reported from a number of disparate locations over the years, suggesting that science has far from confirmed the upper size limit of these mighty eight-limbed monsters of the deep.

Do giant mystery octopuses exist? (© William Rebsamen)

Hawaii has a longstanding history of giant octopuses. In 1928, for instance, no less than six colossal specimens, each with an estimated tentacle span approaching 12.5 m, were allegedly sighted together off Oahu’s coast by Robert Todd Aiken, who was stationed at Pearl Harbor with the US Navy at that time. A comparable giant, greyish-brown and said to be the size of a car, with suckers as big as dinner plates along each of its 9.3-m tentacles, was seen by diver Madison Rigdon about 200 m off Oahu’s Lahilahi Peninsula one Sunday morning in 1950. The octopus was being attacked by several sharks, but succeeded in warding them off, after which it released a huge quantity of black ink and swiftly sank out of sight.

Amazingly, an even bigger octopus was reported that very same year, this time spotted by fisherman Val Ako as it rested 10 m or so underwater on a reef off Hawaii’s Kona Coast. Ako claimed that its tentacles were around 25 m long, armed with suckers as big as car tyres, and stated that it was still there half an hour after he had first sighted it.

My giant octopus trinket box, inlaid with mother-of-pearl; interestingly, whether by chance or design, some of the octopus's tentacles are bifurcate (© Dr Karl Shuker)

Gargantuan octopuses have sometimes been blamed for disturbing or raiding shellfish traps placed on the seabed. One such case featured Bermudan fisherman Sean Ingham, who lost two very sizeable prawn traps to an elusive underwater plunderer between 29 August and 3 September 1984, the second of which had been snapped from its cable at a depth of 560 m. When laying some more traps 16 days later, however, he had a terrifyingly close encounter with his foe, when without warning something grabbed hold of his boat from below, and effortlessly dragged it along for more than half a kilometre before finally releasing it again. Moreover, the vessel’s sonar equipment revealed that the mysterious underwater boatnapper had been 15.5 m high and pyramidal in shape, i.e. the typical shape of an octopus, but one of gigantic proportions.

On Christmas Eve 1989, a massive octopus - “as huge as an imported cow”, according to one eyewitness, Agapito Caballero - allegedly rose to the surface and attacked a motorised canoe transporting a number of people in waters off the southern Philippines. Twelve survivors were rescued, clinging onto their overturned canoe, by some fishermen on Christmas Day. The survivors claimed that once the octopus had capsized the canoe by grabbing its outriggers, it had simply sunk back beneath the waters, without attempting to harm any of their company.

19th-Century engraving of a giant octopus attacking a ship (public domain)

Famous Roman naturalist Pliny the Elder (23-79 AD) claimed that a monstrous octopus with a barrel-sized head and tentacles 9 m long would come ashore and raid fish ponds in Rocadillo, Spain (octopuses are indeed known to leave water and cross land if necessary to capture prey). And as far back as classical times, giant octopuses have been reported from the Mediterranean. Indeed, the mythical many-armed, hole-dwelling sea monster Scylla has been claimed by some researchers to have been inspired by sightings of huge octopuses in Italian waters.

During his own investigations of reputed giant octopuses, veteran American marine biologist and amateur cryptozoologist Dr Forrest Wood collected several reports from the Bahamian island of Andros, whose blue holes (vertical underwater caves) are claimed by locals to be frequented by a monster known as the lusca, equipped with “hairy hands” that drag down any unwary human divers or bathers. Certain octopuses, known as cirrate octopuses, are characterised by tentacles bearing hair-like projections (cirri). Consequently, some cryptozoologists have suggested that the lusca may be an unknown species of giant cirrate octopus.

Supporting a link between lusca and giant octopus is a report given to Wood on Andros by an island inspector, who claimed that during a fishing trip off the island with his father, in waters approximately 180 m deep, their line seemed to snag on the sea bottom. When they looked down through the transparent water, however, they were aghast to see that in reality, the line had hooked an enormous octopus, which abruptly released the line and gripped the bottom of their boat instead! Fortunately, however, it soon let go, and sank down far below until it vanished from view.

Giant octopus as conceived by Swedish crypto-artist Richard Svensson (© Richard Svensson)

Clearly, then, there is ample circumstantial evidence on file to suggest the existence of mega-octopuses in various expanses of water around the world – but what about globsters? Do they genuinely constitute physical evidence for these creatures’ existence?

For this and other startling globster revelations, click here to check out Part 2 of this ShukerNature blog article.

Captain Nemo viewing a giant octopus – an illustration from the classic Jules Verne novel Twenty Thousand Leagues Under the Sea (public domain)







GLOBSTERS ABOUNDING! - PART 2: SEEKING GIANT OCTOPUSES… BUT FINDING ROTTING SPERM WHALES

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Vintage illustration of a deepsea octopus, by Ernst Haeckel (public domain)

In Part 1 of this ShukerNature blog article (click here), I surveyed a wide range of globsters, including the celebrated Trunko, and I also chronicled a selection of reports featuring alleged giant octopuses – traditionally, the most popular identity for globsters. As now revealed, however, modern-day studies of these latter anomalous entities have unveiled a very different explanation for them.

UNMASKING THE GLOBSTERS, AND UNVEILING THE QUASI-OCTOPUS
Thanks to the advances in DNA technology during the past two decades, science now has a reliable tool with which to investigate and expose the hitherto-cryptic identity of globsters, and in the past few years this is precisely what has happened, with eye-opening results.

The first notable globster to be unmasked by DNA analyses was the Fortune Bay specimen from Newfoundland. In February 2002, a team of researchers led by Newfoundland molecular systematics expert Dr Steven M. Carr published their findings in the Biological Bulletin scientific journal, summarising them as follows:

"DNA was extracted from thecarcass and enzymatically amplified by the polymerase chainreaction (PCR): the mitochondrial NADH2 DNA sequence was identifiedas that of a sperm whale (Physeter catodon). Amplification andsequencing of cryptozoological DNA with "universal" PCR primerswith broad specificity to vertebrate taxa and comparison withspecies in the GenBank taxonomic database is an effective meansof discriminating otherwise unidentifiable large marine creatures."

Effective it has certainly been. One South Florida scientist with a longstanding interest in globsters is Dr Sidney K. Pierce, and in recent years he has led several studies of preserved globster remains, culminating in a detailed Biological Bulletin paper of June 2004 co-authored by Carr and several other researchers, which concentrated upon the Chilean globster but also examined samples from various additional specimens.

Chilean globster (© Dr Elsa Cabrera – Fair Use/Educational Purposes Only)

The team announced:

"Electron microscopy revealed that the remains [of the Chilean globster] are largely composed of an acellular, fibrous network reminiscent of the collagen fiber network in whale blubber. Amino acid analyses of an acid hydrolysate indicated that the fibers are composed of 31% glycine residues and also contain hydroxyproline and hydroxylysine, all diagnostic of collagen. Using primers designed to the mitochondrial gene nad2, an 800-bp product of the polymerase chain reaction (PCR) was amplified from DNA that had been purified from the carcass. The DNA sequence of the PCR product was 100% identical to nad2 of sperm whale (Physeter catodon). These results unequivocally demonstrate that the Chilean Blob is the almost completely decomposed remains of the blubber layer of a sperm whale. This identification is the same as those we have obtained before from other relics such as the so-called giant octopus of St. Augustine (Florida), the Tasmanian West Coast Monster, two Bermuda Blobs, and the Nantucket Blob. It is clear now that all of these blobs of popular and cryptozoological interest are, in fact, the decomposed remains of large cetaceans."

Yet how can a decomposed sperm whale transform in shape and texture so dramatically that it becomes a globster, sometimes even equipped with apparent tentacles? As I revealed in my book, Extraordinary Animals Revisited (2007), the answer is fascinating, and also has a notable precedent:

"There is a notable precedent for such dramatic misidentification when dealing with beached remains, which is known as the pseudo-plesiosaur effect. When a basking shark Cetorhinus maximus dies and its body decomposes, it undergoes a remarkable transformation. The gill apparatus falls away, taking with it the shark's jaws, leaving only its small cranium and exposed backbone, thus resembling a small head and long neck. The end of the shark's backbone only runs into the upper fluke of its tail, so during decomposition the lower fluke falls off, leaving what looks like a long slender tail. And to complete the plesiosaur deception, the shark's pectoral fins, and sometimes its pelvic fins too, remain attached, resembling two pairs of flippers. Little wonder, therefore, why a number of amazingly plesiosaurian carcases have been reported over the years, only for anatomical and biochemical analyses to expose them as sharks.

"Now, moreover,we have confirmation that an analogous transformation is responsible for at least some of the hitherto perplexing globsters that have come to light - a transformation that I propose should hereafter be referred to as the quasi-octopus effect. As detailed by Drs Pierce, Carr, and Letelier, after a whale dies its body can float for months, decomposing, until eventually its heavy backbone and skull dissociate from their encompassing skin-sac of rotting blubber, and sink to the sea bottom, leaving behind a thick gelatinous matrix of collagen - the tough protein found in skin and connective tissue. It is this mass of collagen, still encased in its skin-sac, that washes ashore, as a globster. Furthermore, if a few of the whale's ribs remain within the collagen matrix, and any 'fingers' of fibrous flesh are attached to them, these resemble tentacles [or even a trunk, in the case of Trunko]. And if the whale is a sperm whale, the spermaceti organ gives the resulting globster a bulky shape reminiscent of an octopus."

So does that mean that globsters are a dead-end as far as providing evidence for the reality of giant octopuses is concerned? Not quite, perhaps...

VERRILLY A GIANT OCTOPUS?
The grand-daddy of all globsters was washed ashore near St Augustine, Florida, on 30 November 1896. Its prodigious remains, pinkish-grey and pear-shaped, were over 6 m long, 1.6 m wide, and 1.3 m high, and were estimated to weigh 5 tons. What appeared to be the stumps of five massive tentacles were clearly visible in photographs taken of this monstrous carcase by local physician DeWitt Webb, as was what seemed to be a severed tentacle, measuring 8.7 m long and 20 cm thick. Webb sent a sample of its tough flesh to Yale University cephalopod (squid and octopus) expert Prof. Addison E. Verrill, who announced that the carcase had been a giant octopus, which he formally christened Octopus giganteus. Later, however, Verrill recanted, claiming that it was merely the spermaceti organ of a sperm whale.

St Augustine globster (public domain)

A second sample, sent to the Smithsonian Institution, has been tested on numerous occasions via several different techniques, and has yielded differing results. Whereas Pierce’s studies indicated that it was indeed of sperm whale origin, analyses by eminent Chicago University biochemist and longstanding cryptozoological investigator Prof. Roy P. Mackal strongly supported an octopus identity. However, the sample has been preserved for so long that it has probably been contaminated and rendered useless for detailed study - which would explain the greatly diverging results - unless future advances in technology can overcome this obstacle. If they can, then interested researchers should apply to the Institute of Creation Research (ICR) in El Cajon, California, for it is here that the only surviving sample of tissue from the St Augustine globster can be found, donated by Prof. Mackal in 2003 to the ICR’s Professor of Biology, Dr Kenneth Cummings.

Drawing of St Augustine globster by Prof. Addison E. Verrill (public domain)

How ironic it would be if the existence or otherwise of what would be (if real) one of the largest marine creatures alive today – the elusive giant octopus – is ultimately determined by this tiniest sliver of substance, the last remnant from one of cryptozoology’s most enduring enigmas. For a further picture and details concerning this globster, click here to access my ShukerNature-reprinted interview conducted back in the 1990s with Prof. Mackal.

THE MULTI-LIMBED MONSTER OF ANTIBES
In addition: A truly bizarre sea monster was allegedly sighted between Antibes and Nice in 1562. Oval in shape, with a pig’s head at one end and a trunked elephant-like head at the other, it boasted no less than eleven claw-bearing limbs.

Antibes multi-limbed sea monster (public domain)

Is it possible that this weird entity, depicted in the Paralipomena (supplement) to the second edition of Conrad Gesner’s Historiae Animalium Liber IV: Piscium et Aquatilium Animantium Natura (1604), was a distorted description of a giant octopus?

GIANT OCTOPUS, OR MYSTERYJELLYFISH?
Finally: In 1953, while testing a new type of deep-sea diving suit in the South Pacific, an Australian diver encountered a Lovecraftian horror from the ocean’s unpenetrated depths, which I documented as follows within my book From Flying Toads To Snakes With Wings (1997):

"The diver had been following a shark, and was resting on the edge of a chasm leading down to much deeper depths, still watching the shark, when an immense, dull-brown, shapeless mass rose up out of the chasm, pulsating sluggishly, and flat in general outline with ragged edges.

"Despite appearing devoid of eyes or other instantly-recognizable sensory organs, this malign presence evidently discerned the shark's presence somehow, because it floated upwards until its upper surface made direct contact. The shark instantly gave a convulsive shudder, and was then drawn without resistance into the hideous monster's body. After that, the creature sank back down into the chasm, leaving behind a very frightened diver to ponder what might have happened if that nightmarish, nameless entity had not been attracted towards the shark!"

Cirrothauma murrayi, a species of deepsea cirrate octopus (public domain)

In the past, a deepsea octopus has been offered as a possible identity for this disturbing creature, but as I discussed in detail within my book, a far more satisfactory candidate is a deepsea jellyfish.

Whereas all octopuses have tentacles, some deepsea jellyfishes do not. What they do have, however, are potent stinging cells called nematocysts on their bodies (and tentacles if they possess any), armed with venom that swiftly paralyses their prey. This would readily explain the immediate paralysis of the shark. Moreover, jellyfishes do not possess true eyes but they are equipped with sensory structures responsive to water movements. Consequently, the creature would have learnt of the shark’s presence by detecting its movements in the water. How lucky, then, that the diver had remained stationary!

Artistic representation of the deadly Chilean hide (© Icarito)

Interestingly, Chilean legends tell of a very similar beast called el cuero or the hide, as it is likened in shape and size to a cowhide stretched out flat, with countless eyes around its perimeter, and four larger ones in the centre. As it happens, jellyfishes possess peripheral sensory organs called rhopalia that incorporate simple light-sensitive eyespots or ocelli.

Moreover, some jellyfishes also have four larger, deceptively eye-like organs visible at the centre of their bell, though in reality these organs are not eyes at all. Instead, they are actually portions of the jellyfishes' gut, known as gastric pouches, with the jellyfishes' horseshoe-shaped gonads sited directly underneath these pouches and also very visible (as in the familiar moon jellyfish Aurelia aurita).

Exquisite illustration of various jellyfish species revealing their four centrally-sited gastric pouches, depicted by Ernst Haeckel (public domain)

So perhaps the deadly hide is more than a myth after all, lurking like so many other maritime horrors reported down through the ages in the deep oceans' impenetrable black abyss, but only very rarely encountered by humankind – which in view of the dreadful fate that befell the hapless South Pacific shark in 1953 may be just as well!

A sinister-looking deepsea octopus in a 19th-Century illustration (public domain)

For further details concerning globsters and Trunko, check out my books Extraordinary Animals Revisited and Mirabilis.






THE LAST OF THE IRISH ELKS? - INVESTIGATING SOME MEGALOCEROS MYSTERIES

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Spectacular Megaloceros painting (© Zdenek Burian)

One of the most spectacular members of the Eurasian Pleistocene megafauna was the Irish elk Megaloceros giganteus. Formally described in 1799, it is also aptly known as the giant deer, as its largest known representatives were only marginally under 7 ft tall at the shoulder and bore massive antlers spanning up to 12 ft, but did this magnificent species linger on into historic times?

Below is an account of mine devoted to this tantalising subject and dating back to 1995, when it appeared in my book In Search of Prehistoric Survivors. It is followed by various fascinating updates, including some significant palaeontological discoveries made since my book's publication but of great pertinence to the question of post-Pleistocene survival for this species.

But first – here is the relevant excerpt from my book:


The Irish elk Megaloceros giganteus was one of the largest species of deer that ever lived. It was also one of the most famous - on account of the male's enormous antlers, attaining a stupendous span of 12 ft and a weight of over 100 lb in some specimens. Sadly, its common name is misleading, as this impressive species is only very distantly related to the true elk (moose), and, far from being an Irish speciality, was prevalent throughout the Palaearctic Region, from Great Britain to Siberia and China.

Nonetheless, it is to Ireland that we must turn for the majority of clues regarding Megaloceros- because in contradiction to the accepted view that it died out here 10,600-11,000 years ago (just prior to the Holocene's commencement), certain accounts and discoveries from the Emerald Isle have tempted researchers to speculate that this giant deer may still have been alive here a mere millennium ago.

Restoration of the Irish elk, prepared in 1906 by Charles R. Knight (public domain)

According to accounts documented by H.D. Richardson in 1846, and reiterated by Edward Newman in the pages of The Zoologist, the ancient Irish used to hunt an extremely large form of black deer, utilising its skin for clothing, its flesh for food, and its milk for the same purposes that cow milk is used today. Supporting that remarkable claim is a series of bronze tablets discovered by Sir William Betham; inscribed upon them are details of how the ancient Irish fed upon the flesh and drank the milk of a great black deer.

These accounts resurfaced two decades later within an examination of the Irish elk's possible survival here into historic times by naturalist Philip Henry Gosse, in which he also documented an intriguing letter written by the Countess of Moira. Published in the Archaeologia Britannica, this letter recorded the finding of a centuries-old human body in a peat bog; the well-preserved body was completely clothed in garments composed of deer hair, which was conjectured to be that of the Irish elk.

Most interesting of all, however, was the discovery in 1846 by Dublinresearchers Glennon and Nolan of a huge collection of animal bones surrounding an island in the middle of Lough Gûr - a small lake near Limerick. Among the species represented in it was the Irish elk, but of particular note was the condition of this species' skulls. Those lacking antlers each bore a gaping hole in the forehead, which seemed to have been made by some heavy, blunt instrument - recalling the manner of slaughtering cattle and other meat-yielding domestic animals with pole-axes, still practised by butchers in the mid-to-late 1800s. Conversely, this species' antlered skulls (one equipped with immensely large antlers) were undamaged.

Irish elk skeleton (Wikipedia/GNU General Public License)

Did this mean that the antler-less (i.e. female) Irish elks had actually been maintained in a domestic state by man in Ireland, as an important addition to his retinue of meat-producing species? Prof. Richard Owen sought to discount such speculation by stating that the mutilated skulls were in reality those of males, not females, and that the holes had resulted from their human killers wrenching the antlers from the skulls.

However, this was swiftly refuted by Richardson, whose experiments with fully-intact skulls of male Irish elks showed that when the antlers were wrenched off they either snapped at their bases, thereby leaving the skulls undamaged, or (if gripped at their bases when wrenched) ripped the skulls in half. On no occasion could he obtain the curious medially-sited holes exhibited by the Lough Gûr specimens. Clearly, therefore, these latter skulls were from female deer after all, explaining their lack of antlers - but what of the holes?

Irish elk depicted on a postage stamp issued by Francein 2008 (© French Philatelic Bureau)

As Gosse noted in his coverage of Richardson's researches, it is significant that the skulls of certain known meat-yielding mammals present alongside the Megalocerosskulls at Lough Gûr had corresponding holes - and as Gosse very reasonably argued: "As it is evident that their demolition was produced by the butcher's pole-ax, why not that of the elk skulls?".

After presenting these and other accounts, Gosse offered the following conclusion:

"From all these testimonies combined, can we hesitate a moment in believing that the Giant Deer was an inhabitant of Ireland since its colonisation by man? It seems to me that its extinction cannot have taken place more than a thousand years ago. Perhaps at the very time that Caesar invaded Britain, the Celts in the sister isle were milking and slaughtering their female elks, domesticated in their cattle-pens of granite, and hunting the proud-antlered male with their flint arrows and lances. It would appear that the mode of hunting him was to chase and terrify him into pools and swamps, such as the marl-pits then were; that, having thus disabled him in the yielding bogs, and slain him, the head was cut off, as of too little value to be worth the trouble of dragging home...and that frequently the entire carcase was disjointed on the spot, the best parts only being removed. This would account for the so frequent occurrence of separate portions of the skeleton, and especially of skulls, in the bog-earth."

19th-Century engraving of an Irish elk (public domain)

Although undeniably thought-provoking, the case of Megaloceros's persistence into historic times in Ireland as presented by the above-noted 19th Century writers has never succeeded in convincing me - for a variety of different reasons.

For instance, there is no conclusive proof that the large black deer allegedly hunted by the ancient Irish people really were surviving Megaloceros. Coat colour in the red deerCervus elaphus is far more variable than its common name suggests; and, as is true with many other present-day species of sizeable European mammal, specimens of red deer dating from a few centuries ago or earlier tend to be noticeably larger than their 20th Century counterparts.

Similarly, the Lough Gûr skulls' ostensibly significant contribution to this case rests upon one major, fundamental assumption - that they are truly the skulls of Megalocerosspecimens. But are they? Precise identification of fossil remains is by no means the straightforward task that many people commonly believe it to be.

Reconstruction of an Irish elk at UlsterMuseum(© Bazonka/Wikipedia)

Perhaps the greatest of all mysteries associated with this case, however, is that subsequent investigations of Megaloceros survival in Holocene Ireland as specifically inspired by the researches of Gosse and company, and formally documented in the scientific literature, are conspicuous only by their absence. (In September 1938, A.W. Stelfox of Ireland's National Museum, in Dublin, did consider this subject, but without reference to any of the above accounts.) Yet if the case for such survival is really so compelling and conclusive, how can this investigative hiatus be accounted for?

Seeking an explanation for these assorted anomalies, I consulted mammalian palaeontologist Dr Adrian Lister [then at Cambridge University, England, now at London's Natural History Museum] - who has a particular interest in Megaloceros. Confirming my own suspicions, Dr Lister informed me that it is not unequivocally established that the female Lough Gûr skulls were from Megaloceros specimens, and he suggested that they might be those of female Alces alces, the true elk or moose, which did exist in Ireland for a time during the Holocene (though it is now extinct there). Certainly in general form and size, female Alces skulls seem similar to the Lough Gûr versions.

In contrast, Lister agreed that the enormous size of the antlers borne by the male Lough Gûr skulls indicated that these were bona fide Megaloceros skulls; but as he also pointed out, although their presence in the same deposits as the remains of known domesticated species is interesting, without careful stratigraphical evidence this presence cannot be accepted as conclusive proof of association between Megaloceros and man.

Irish elk depicted on a postage stamp issued by the Republic of Ireland (Eire) in 1999 (© An Post)

During his Megaloceros account, Gosse included some reports describing discoveries in Ireland of huge limb bones assumed to be from Megaloceros, which were so well-preserved (and hence recent?) that the marrow within them could be set alight, and thereby utilised as fuel by the peasantry, or even boiled to yield soup!

Yet once again, as I learnt from Dr Lister, these were not necessarily Megalocerosbones - especially as the limb bones of red deer, moose, and even cattle are all of comparable shape and form, and can only be readily distinguished from one another by osteological specialists (who do not appear to have been granted the opportunity to examine the bones in those particular 19th Century instances, and the bones were not preserved afterwards). Furthermore, on those occasions when exhumed bones used for fuel purposes have been professionally examined, none has been found to be from Megaloceros.

In conclusion: far from being proven, the case for post-Pleistocene survival of Megalocerosin Ireland is doubtful to say the least. Nevertheless, this is not quite the end of the trail. As noted by zoologist Dr Richard Lydekker, and more recently by palaeontologist Prof. Bjorn Kurten, the word 'Schelk', which occurred in the famous Nibelungenlied (Ring of the Nibelungs) of the 13th Century, has been considered by some authorities to refer to specimens of Megalocerosalive in Austria during historic times; other authorities, conversely, have suggested that a moose or wild stallion is a more plausible candidate.

Irish elk statue at CrystalPalace, London, originally created by Benjamin Waterhouse Hawkins during the 1850s (© Dr Karl Shuker)

Whatever the answer to the above proves to be, far more compelling evidence for such survival was presented in 1937 by A. Bachofen-Echt of Vienna. He described a series of gold and bronze engravings on plates from Scythian burial sites on the northern coast of the Black Sea. Dating from 600-500 BC and now housed at the BerlinMuseum, the engravings are representations of giant deer-like creatures, whose antlers are accurate depictions of Megaloceros antlers! Undeniable evidence at last for Holocene survival?

The enigma of these engravings has perplexed palaeontologists for decades, but now a notable challenge to their potential significance has been put forward by Dr Lister, who has provided a convincing alternative explanation - postulating that the engravings were not based upon living Megaloceros specimens, but rather upon fossil Megaloceros antlers, exhumed by the Bronze Age people. This interpretation is substantiated by the stark reality that out of the hundreds of Holocene sites across Europe from which fossil remains have been disinterred, not a single one has yielded any evidence of Megaloceros.

True, absence of uncovered Holocene remains of Megaloceros does not deny absolutely the possibility of Holocene persistence (after all, there are undoubtedly many European fossil sites of the appropriate period still awaiting detection and study). Yet unless some such finds are excavated, it now seems much more likely that, despite the optimism of Gosse and other Victorian writers, this magnificent member of the Pleistocene megafauna failed to survive that epoch's close after all, like many of its extra-large mammalian contemporaries elsewhere.

That was where the matter stood back in 1995 – but not any longer!

Irish elk lithograph from 1895 (public domain)

On 15 June 2000, a paper published in the scientific journal Natureand co-authored by Dr Lister revealed that a near-complete Megaloceros skeleton uncovered in the Isle of Man (IOM) and a fragmentary antler from southwest Scotland had recently been shown via radiocarbon dating to be only a little over 9000 years old, i.e. dating from just inside the Holocene epoch – the first unequivocal proof that this mighty deer did indeed survive beyond the Pleistocene.

Intriguingly, however, as also disclosed in this paper, the Isle of Man's Holocene specimen's skeleton was statistically smaller (by over two standard deviations from its mean) than all Irish Pleistocene counterparts also measured in this study, indicating a diminution in body size for Megaloceros as it entered the Holocene, at least on the Isle of Man. Conversely, the antlers for this specimen and also the Scottish antler were well within the Irish size range for adult males.

The Isle of Manseparated from the British mainland around 10,000 years ago. Consequently, it may be that the decrease in body size recorded for the IOM specimen measured in this study (if typical and not merely a freak specimen) is a result of this island's relatively small size rather than a strictly chronological effect.

Irish elk statue at Berlin's Tierpark (© Markus Bühler)

But that is not all. On 7 October 2004, once again via a Nature paper, a team of researchers that included Dr Lister revealed via radiocarbon dating of uncovered skeletons that Megaloceros survived in western Siberia until at least circa 5000 BC, i.e. some 3000 years after the ice-sheets receded. Age-wise, these are currently the most recent Megalocerosspecimens on record, and demonstrate that the Irish elk existed during the Holocene in two widely separate localities.

So who knows? Following these exciting finds, perhaps other Holocene specimens, and possibly some of even younger dates than those presently documented, are still awaiting scientific unfurling?

Also of note is that on 8 June 2015, the journal Science Reports published a paper from a research team co-headed by Dr Johannes Krause revealing that Megalocerosremains recovered from cave sites in the Swabian Jura (Baden-Württemberg, southern Germany) dated to 12,000 years ago. Until now, it had been believed that this giant deer species had become extinct in Central Europe prior to, rather than after, the Ice Age. Moreover, the DNA techniques used in identifying the remains as Megaloceros showed that this species is actually more closely related to the fallow deer Dama dama (as long believed in the past) than the red deer(as more recently assumed).

Early photograph of an Irish elk skeleton (public domain)

One final Megaloceros mystery: On 4 July of this year (2015), Hungarian cryptozoological blogger Orosz István posted a short but very interesting item about a supposed mythological beast that I had never heard of before – the hippocerf (a name combining the Greek for 'horse' with a derivation from the Latin for 'deer'). He stated that it was said to be half horse, half deer (hence its name) and, of particular interest, that some (unnamed) researchers believed that it was based upon a Megalocerospopulation surviving into historic times. Orosz had obtained his information from a brief entry on this creature that appears on the Cryptidz.Wikia.Com website.

Needless to say, I soon conducted some online research myself concerning this intriguing creature, but I was not exactly cheered by my findings. With the exception of the above-noted Cryptidz Wikia site and a few others giving only the barest information repeated one to another ad nauseam, plus some imaginative illustrations of it created by various artists on the deviantart.com site, the hippocerf seemed to be endemic to fantasy fighting and other fantasy-style game sites. On these sites, some of the fabulous creatures featured are bona fide mythological beasts but others are complete inventions, dreamed up exclusively for the games, with no basis whatsoever in world mythology. Hence I began to suspect that the hippocerf might be in the latter category, i.e. conceived entirely for fantasy fighting games.

Irish elk skeleton at the Carnegie Museum of Natural History (© Jay BizarreZoo Cooney)

Indeed, apart from its very frequent appearances in Final Fantasy and other fantasy game sites and its popularity as a subject for drawing/painting on deviantart, all that I have been able to trace about the hippocerf online is that it supposedly has the hindquarters of a horse and the forequarters, neck, and antlered head of a deer, and that because of its dual nature, in heraldry it represents indecision or confusion. However, I have yet to find any confirmation of this claim from standard sources on heraldry online or elsewhere (I own several major works on this subject, and none contains any mention of the hippocerf). Nor have I uncovered the names of any of the researchers who have purportedly suggested that this distinctive creature may have derived from Megaloceros sightings in historic times.

As for a claim repeated on several websites that the last known hippocerf sighting was in around 600 AD by an early archaeologist called Gregor Ishlecoff, I traced this to a book entitled The Destineers' Journal of Fantasy Nations, authored by N.A. Sharpe and Bobby Sharpe, and self-published in 2009, which proved to be a fantasy novel aimed at teenagers! I also own a considerable number of bestiary-type books on mythological beasts, and again not one of them contains any information regarding the hippocerf.

A pair of moose, depicted in an illustration from 1900 (public domain)

In short, not very promising at all for the supposed reality of the hippocerf as a genuine (rather than a made-up) mythological beast. The only hope for its credibility is if a mention can be traced in an authentic bestiary pre-dating the coming of the internet and fantasy gaming (preferably one of the classic works from medieval or Renaissance times), or in some authoritative work on heraldry. If either or both of these possibilities result in positive info emerging, then it may be that the hippocerf was inspired by the imposing and somewhat equine form of the moose (which inhabited much of Central Europe until hunted into extinction in many parts there by the onset of the Middle Ages). To my mind, this seems like a more plausible option than the survival of Megaloceros into historic times in Europe (i.e. into much more recent times than even the circa 7000 BC date currently known for it there).

Having said that: I can't help but recall a certain noteworthy line from the Krause et al. paper of 8 June 2015 regarding the finding of post-Ice Age Megalocerosremains in Germany: "The unexpected presence of Megaloceros giganteus in Southern Germany after the Ice Age suggests a later survival in Central Europe than previously proposed". Interesting…

If anyone reading this present ShukerNature blog article has information on the hippocerf derived directly from heraldic or bestiary-type sources pre-dating the internet and fantasy-type gaming, I'd greatly welcome details.

Male nilghai depicted on a postage stamp issued in 2001 by Moldova(public domain)

Incidentally, the hippocerf should not be confused (but sometimes is - see below) with the hippelaphos (whose name also translates as 'horse-deer', but from the Greek for 'horse' and the Greek for 'deer'), which is a genuine creature of classical mythology.

Attempts to identify it with known animal species have been made down through the ages by many authorities, including Aristotle (whose account of it recalls a gnu), Cuvier (the Asian sambar deer Rusa unicolor), and 19th-Century German zoologist Prof. Arend F.A. Wiegmann (the Indian nilghai Boselaphus tragocamelus).

Another possibility is Africa's roan antelope Hippotragus equinus, a decidedly horse-like species, as emphasised by its taxonomic binomial, as well as by its French name, antilope chevaline ('horse-like antelope').

A very horse-like specimen of the roan antelope (© Dr Karl Shuker)

In the original Latin version of Aristotle's work, the hippelaphos is termed the hippocervus (being renamed the hippelaphos in the English translation version), a name that is sometimes applied to the hippocerf on various internet sites. Indeed, I wonder if the hippocerf may be nothing more than the hippelaphos (aka hippocervus) distorted and exaggerated by online invention, such as the unsourced claim that some researchers believe it may be based upon a Megaloceros population surviving into historic times. Ah well, you know what they say - I read it on the internet, so it must be true!

This ShukerNature blog article is an updated excerpt from my book In Search of Prehistoric Survivors.

'In the Meadows – Pleistocene Age'– an adult male Irish elk taking centre-stage in this stunning painting from 1904 by John Guille Millais (public domain)






COURTING THE COBRA KING - DANCING WITH DEATH, AND SPITTING IN THE FACE OF DANGER!

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Burmese snake charmer Saya Hnin-Mahla kissing one of her king cobra co-performers (public domain)

Since time immemorial, humans have been irresistibly fascinated by snakes - but most especially by cobras, nurturing an innate, inexplicable desire for close interaction, and even intimacy, with these large, highly venomous, and ostensibly imperious entities. This arcane aspiration has attained expression by all manner of different means - including fear-infiltrated veneration and handling by acolytes of Indian snake cults that perceived cobras as reincarnations of bygone leaders and referred to them as nagas; the fragile balance of respect and control achieved in authentic cobra charming; and even highly-emotive displays of devoted, unreserved love for the regal reptiles that are fervently believed by many to bestow blessings upon their homes and lives.

Yet for many Westerners, cobra cults and other manifestations of humankind's mystical inter-relationship with these serpents are totally alien concepts - exhibiting facets of human and reptilian behaviour that seemingly transcend traditional explanation or rationalisation. And none is more dramatic, or potentially deadly, than the cult of the king cobra Ophiophagus hannah, a truly spectacular species native to forests in the Indian Subcontinent, Southeast Asia, and southern East Asia.

Colour engraving of king cobra from 1874 (public domain)

As thick as a man's arm and sheathed in olive-green scales imparting a deep, velvet-like sheen, coupled with a superimposed series of pale-yellow cross-bands down its body's length and more distinct ones upon its neck, the king cobra is the world's longest species of venomous snake, boasting a very impressive total length of up to 18.5 ft, and with a head that can be the size of a small dog's. It is also one of the most deadly, and most aggressive, snakes – so much so, in fact, that the preferred diet of this most macho of mega-serpents is other snakes (its generic name, Ophiophagus, translates as 'snake-eater').

The head of an adult king cobra can be the size of a small dog's (public domain)

So the even merest thought of physical contact with so daunting a creature, let alone intimate veneration of it as a reptilian deity, is not for the faint-hearted. And yet, as now revealed in this ShukerNature blog article, examples of such intimacy are indeed documented – whether or not they are explicable, however, is another matter entirely!

THE SERPENT-GOD AND THE SNAKE-PRIESTESS
One particularly dramatic case, recorded in his book On Safari (1963), was witnessed by no less an authority than Armand Denis, the pioneering wildlife film-maker and author. In 1939, during a filming expedition to the Far East, Denis was in northern Burma (now Myanmar), investigating whether ophiolatreia (snake-worship) was still practised there, when he met an old Buddhist priest who told him to travel to a remote mountainous village, where he would be shown all that he hoped to see - and more! Two days later, Denis had arrived, and the next morning he found himself sitting in a flower-decorated oxcart alongside the village's snake-priestess, a beautiful young woman in her early 30s, at the head of a procession containing most of the other villagers, who were bearing gifts for the serpent-god and providing enthusiastic musical accompaniment with an ample supply of bells and gongs.

On Safari (© Armand Denis/Fontana Books)

After a sedate journey along a winding mountain path, Denis and company finally neared a small cave, the journey's destination. Quite a while later, during which time the villagers had busied themselves strewing assorted offerings to the serpent-god on either side of the path leading to the cave, the snake-priestess walked steadily towards the cave's opening, accompanied for part of the way by Denis. At the opening the priestess paused, and called into it. A few minutes later an enormous snake emerged, and coiled itself at her feet. It was a cobra - but no ordinary one, for this was nothing less than an adult king cobra.

Even as the priestess stood there, absolutely motionless, the huge snake rose up with hood outstretched, standing erect and poised to strike. Able to hold itself 3 ft or more above the ground, and positioned less than 4 ft away from her, it was well within range. Yet in answer to the cobra's challenge, the priestess merely bowed her head towards it, slowly, deferentially, and seemingly without fear. Responding immediately, the snake lunged forward, striking at the level of her knees, but in the same instant the woman had moved slightly to one side, so that the cobra's deadly fangs made harmless contact with the fabric of her pure-white skirt. This macabre dance of would-be death between snake and woman, or deity and priestess, was repeated many times, and on each occasion the woman succeeded in avoiding the powerful reptile's fatal fangs - recalling a skilful matador deflecting the terrible horns of a charging bull, but equipped with a skirt of snow rather than a cloak of crimson.

Mounted specimen of king cobra at the RoyalOntarioMuseum (© Hectonichus/Wikipedia)

Suddenly, however, the snake-priestess's performance reached its particular climax in a manner never mirrored by that of any matador. With her hands placed behind her back, she moved a little closer to her lethal god, and during a moment when it remained erect but immobile she leaned forward and lightly kissed the king cobra on top of its head! Drawing back instantaneously, she countered the inevitable strike that ensued, after which she promptly kissed the cobra again, and, after deflecting its consequent lunge, kissed it a third time too. The ceremony thus concluded, she simply turned her back on the cobra, and walked away, slowly but apparently untroubled, towards Denis and the waiting villagers. Nor was her confidence betrayed by the cobra - instead of striking her from behind, it merely turned aside and slid swiftly from sight into its cave.

If, during the journey back to the village, Denis had suspected that he had been hallucinating, and that this astonishing ritual had never happened, one could surely have forgiven him, for it certainly seems almost beyond belief that such a performance could ever take place. However, he had conclusive evidence for its reality right before his eyes. Clearly visible on the woman's white skirt were many damp, amber-hued stains - the potent venom of a king cobra, the legacy of her audience with her ophidian deity.

A Burmese snake-priestess kissing a king cobra on its mouth! (public domain)

This astonishing performance has been witnessed over the years by other Western observers too. Moreover, Dr Desmond Morris’s book Men and Snakes (1965) reports an even more incredible variation on its macabre theme – in which the snake-goddess kisses the king cobra not on top of its head but directly on its mouth! This terrifying deed was also regularly performed by top Burmese snake charmer Saya Hnin-Mahla as the climax of her act with her co-performer, an adult king cobra (see photograph opening this present ShukerNature blog article).

SPITTING IN THE FACE OF DANGER – LITERALLY!
Narrating a selection of his varied wildlife experiences on an LP record (again entitled On Safari), Armand Denis recalled a second, no less extraordinary encounter that he had witnessed between king cobra and human. Just before World War II, Denis was in Singapore on a filming assignment, and in order to complete the wildlife film that he had been working upon he advertised locally for a number of king cobras, a common species in that area. Eventually, he received about a dozen, all adult and extremely belligerent, which he maintained in a securely-fastened crate with a fine wire-netting top, whose mesh they profusely drenched with their potent venom as they struck at it repeatedly in their fury at finding themselves held captive in this manner.

On Safari LP (© Armand and Michaela Denis/Pye Records)

One day, a young Chinese boy, dressed in a strange white garb with deep sleeves, arrived at Denis's hotel, and gravely volunteered his services to Denis as a snake-handler, provided that Denis would give him one of the king cobras at the end of the filming sessions. Although he naturally doubted the boy's capability to handle such dangerous snakes as these in safety, Denis was sufficiently intrigued by his serious demeanour and outlandish offer to allow him to take a look at the cobras, while they writhed irritably but impotently within the confines of their locked crate. The boy soon focused his attention upon one especially large and aggressive specimen, which he considered to be very beautiful, and which, he assured Denis, he would have no problem in handling. Needless to say, Denis swiftly reminded him that this was a lethal creature that no-one would dare to handle in its current, highly emotional state; not until it had quietened down during several days of captivity could it be considered in any way safe to deal with, and only then for filming purposes.

A captive adult king cobra (© Enygmatic-Halcyon/Wikipedia)

The boy merely smiled, however, and asserted confidently that it would be very easy for him to handle it now - straight away - and in complete safety. He then began to prise up one corner of the crate, and Denis, very much alarmed, implored him to leave the snake alone. In response, the boy paused, and withdrew from the folds of one of his long sleeves a small vial of strange green liquid, which, when uncorked, released a fragrance vaguely reminiscent of freshly-cut grass. He poured some of this into his mouth, and then leaned down to the crate, until his face was well within the cobra's striking range. Hardly daring to look, Denis could only stand and await the inevitable, instantaneous strike that would swiftly bring death to this foolish child. Instead, it was the boy who acted first, and in a very unexpected manner.

Leaning even closer to the crate, he suddenly spat the liquid out of his mouth, spraying it liberally all over the face, head, and body of his chosen cobra! The boy waited for about a minute, and then - to Denis's even greater surprise, and absolute horror! - he casually reached into the crate and lifted the cobra out, his hands around the middle of its body's great length, holding this huge deadly serpent with no more concern than any other child might display when holding a length of cord or a skipping rope. By some uncanny means, the green liquid appeared to have rendered the cobra almost totally passive; true, it reared its ebony-scaled, fist-sized head upwards to gaze evenly at its young captor, but it made no attempt to strike at him.

After a time, the boy placed the cobra back into the crate, bowed solemnly to a still-stupefied Denis, and walked out of his room, promising to come back the following morning, and handle all of the cobras in the crate - but he did not return, and Denis never saw his mysterious visitor again.

Vintage photograph of snake charmers with adult king cobras (public domain)

When asked during an interview with a British newspaper some years ago to disclose the secret of successful snake training, Yogi Raj Bengali, one of the world's most celebrated snake-charmers, merely smiled, and stated that although some do become accustomed to a certain touch and are quite placid, for the most part snakes cannot be trained; they simply do whatever they want to do.

Bearing in mind that these are the words of an expert in the handling of potentially lethal snakes, it seems safe to assume that the mystical links between king cobras and their contemporary human courtiers have far from vanished, and that there is much still to be comprehended in this most perilous but potent of partnerships.


This ShukerNature blog article is excerpted and expanded from my book Extraordinary Animals Revisited: From Singing Dogs to Serpent Kings.





LESSER NESSIES - SURVEYING THE 'OTHER' MONSTERS OF MAINLAND SCOTLAND'S FRESHWATER LOCHS

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Sketch of Morag, the monster of Loch Morar, based upon eyewitness accounts (© Michael Playfair)

Everyone has heard of Nessie, the reputed monster of Loch Ness, but fewer people realise that mystery beasts of various forms have also been reported from a sizeable number of other mainland Scottish freshwater lochs. Many of these reports were first compiled in Peter Costello's standard work In Search of Lake Monsters (1974) and later summarised in Michael Newton's very comprehensive Encyclopedia of Cryptozoology (2005), but here is a representative selection.


LOCHS ARKAIG, ASSYNT, AND FEITH AN LEÒTHAID

With a maximum depth of 359 ft and measuring 12 miles long, Loch Arkaig is situated in the Lochaber area of the Highlands. In a diary entry for 3 October 1857, English politician Lord Malmesbury recorded that his game stalker, John Stuart, had twice seen at Achnaharry the horse-like head and hindquarters of a 'lake-horse' basking at the loch's surface at sunrise when there were no ripples on the water. This loch monster has since been dubbed Archie.

Loch Arkaig (© Angela Mudge/Creative Commons Licence)

In an article on Scottish loch monsters published during the early 1850s, Malmesbury included a claimed monster sighting from 1837 on Loch Assynt in Sutherland by two fishermen, who also saw it a second time shortly afterwards on a small island in this 6.3-mile-long loch. Very hairy, and grey in colour, the creature was compared by them to a young bull in size but with a broader back. It was about 3 ft tall, quadrupedal, with a bulldog-like head and large eyes.

Loch Feith an Leòthaid is connected to Loch Assynt, and during the 1930s an unidentified creature with a long neck and a deer-like head apparently surfaced close to the boat of Kenneth MacKenzie from Steen, gazing across this vessel's stern before disappearing again.


LOCH AWE

The third largest freshwater loch in Scotland by surface area (which is approximately 15 square miles), Loch Awe in Argyll and Bute is also this country's longest at 25 miles in total, and is reputedly home to a mysterious serpentiform monster known as the beathach mór. As far back as the 16thCentury, fishermen were claiming that this loch's waters harboured gigantic eels "as big as a horse with an incredible length" - a belief that remains prevalent here today, though no eel of such inordinate dimensions has ever been drawn forth and made available for scientific scrutiny.

Do enormous eels inhabit the vast waters of Loch Awe? (public domain)


LOCHS EIL AND LINHE

One of the most unusual water monsters reported from a Scottish freshwater loch is the faceless, vermiform horror encountered at Loch Eil in the western Highlands by author Denys-James Watkins-Pitchford and documented by him in 1962. Here, quoted directly from his book September Road to Caithness and the Western Sea, is his first-hand description of what he saw:

I was watching some mallard paddling about among some weedy rocks at the end of a little promontory when there appeared out of the calm water exactly opposite me a large black shiny object which I can only compare with the blunt, blind head of an enormous worm.

It was, I suppose, some 50 yards from where I was standing, and it kept appearing and disappearing, not moving along, but rolling on the surface. The water was greatly disturbed all round the object. It had a shiny wet-looking skin, but the head (if head it was) was quite unlike a seal's and had no face, or nose, no eyes. It rose quite a long way out of the water, some three feet or more, before sinking back.

The most obvious explanation for a large elongate creature in a Scottish freshwater loch is an eel; but unless the creature was inaccurately recorded by its eyewitness, an eel with no face, not even any eyes, would be a very unusual one indeed - and one that could rise 3 ft or more out of the water would be even more so (as would a worm for that matter!).

Loch Eil is linked to Loch Linhe, a sea loch on Scotland's west coast and where, during the 1890s, a still-unidentified eel-like animal of sizeable length but bearing a mane was found dead at Corpach Lock, close to FortWilliam at Linhe's north end. Might this have been a vagrant giant oarfish Regalecus glesne that had made its way, or (perhaps dying) had been carried by water currents, into this coastal loch from the open sea? Long-necked Nessie-type monsters have also been sighted here, during the 1940s and again during the 1960s.

Was a giant oarfish found dead in Loch Linhe? (public domain)


LOCH GARTEN

Situated in the Strathspey area of Scotland's CairngormsNational Park, Loch Garten is most famous nowadays for the RSPB-coordinated success story in the breeding of wild ospreys here, but in bygone times it was famed for reputedly being home to a fearsome lake monster known as a water-bull or tarbh uisge. Resembling a hybrid of horse and bull, it sported a huge horned head, a jet-black mane, and would give vent to an extremely loud, hideous, roaring bellow.

According to local lore, a bold crofter once sought to trap this formidable creature, using as bait a young lamb attached to a very large hook, which in turn was tethered by a long sturdy rope to a huge lochside boulder weighing many tons. After rowing out to the centre of the loch and dropping the hooked lamb there, the crofter returned to shore in the hope that the water-bull would swallow the bait during the night, and thus be snared internally by the engulfed hook, after which he would haul the beast ashore. But when he checked the following morning, both the lamb and the boulder were gone. All that could be seen was a deep rut in the ground, where something with immense strength had dragged the massively heavy boulder into the loch.

Was a water-bull lured to its death in the dark waters of Loch Garten one night by a canny crofter? (© Steve Garvie/Wikipedia – photo-manipulated by Dr Karl Shuker)

As the water-bull was never seen or heard again, the inference in this tale is that once in the water, the huge boulder's weight had dragged the water-bull down to the loch bottom - where, unable to free itself from the hook that had snared it internally when it swallowed the lamb, the monster had drowned.


LOCH LOCHY

The lesser Nessie that has attracted most media attention in fairly recent times is Lizzie, the monster of 10-mile-long Loch Lochy - Scotland's third deepest loch (531 ft at its maximum depth), sited immediately below Loch Oich. With no publicised sightings for 36 years, Lizzie reclaimed the headlines in September 1996, when a 12-ft-long, dark-coloured mystery beast with a curved head and three humps reared up out of the water and began moving round in circles in full view of several staff and guests at the Corriegour Lodge Hotel, overlooking the loch. According to AberdeenUniversity psychology student Catriona Allen, who studied this amazing sight through binoculars: "It certainly wasn't a seal, otter, porpoise or dolphin".

In late July 1997, a six-man expedition featuring previous Loch Morar diver Cameron Turner and led by Gary Campbell, president of the Official Loch Ness Monster Fan Club, arrived to conduct a sonar sweep of the loch. Encouragingly, they achieved success on their very first day, when their equipment detected a large unidentified object swimming in the middle of the loch and estimated at 15-20 ft long - far bigger than anything known to be there. Turner came back to Lochy in September 1997, but no new evidence was obtained.

Maps pin-pointing some of mainland Scotland's 'monster' lochs – click to enlarge (© Ordnance Survey (left); © Jarrold & Sons Ltd (right))


LOCH LOMOND

By surface area, totalling 27 square miles, Loch Lomond in Scotland's West Dunbartonshire/Argyll and Bute/Stirling region, and marking the boundary between central Scotland's highlands and lowlands, is the largest stretch of inland water in the whole of the island of Great Britain. In terms of anomalous aquatic animals and other esoterica, moreover, it is also famous as the locality claimed in an atlas published in 1659 to harbour "fish without fins" and a mysterious "floating island". And in 1724, Alexander Graham of Duchray claimed that locals living nearby sometimes see the water-horse reputedly inhabiting its waters.

More recently, at Easter 1980, a Mr and Mrs Maltman and their daughter were camping near the edge of Loch Lomond at Luss when a head and slender neck rose up to a height of about 5 ft above the water surface, no more than 200 yards away, with a long curved back visible behind. This amazing spectacle lasted for 30 seconds or so, then the head and neck swiftly submerged and were not seen again. The Maltmans were so frightened that they fled, later returning only to pack their belongings before journeying back home. And in 1997, a somewhat indistinct, unidentifiable moving object was filmed in the loch by investigator Nick Taylor.

Equally unexpected but totally verified, incidentally, is the presence on Inchconnachan, one of this loch's islands, of a naturalised, thriving population of Australian red-necked wallabies Macropus rufogriseus(also known as Bennett's wallabies). They are descended from some that were introduced there during the 1940s by Lady Arran Colquhoun, and Inchconnachan is nowadays referred to colloquially as WallabyIsland.

A rare albino Bennett's wallaby (© Dr Karl Shuker)


LOCH MAREE

The fourth largest of Scotland's freshwater lochs by surface area, and situated in Wester Ross in the Western Highlands, Loch Maree is also referred to as Loch na Bèiste ('Loch of the Beast' in Scottish Gaelic), due to the muc-sheilch. This is a local name popularly applied to its own particular water monster and loosely translates as 'turtle-pig'. Yet despite its descriptive name, and the fact that sightings of this monster are reminiscent of Nessie reports, featuring humped backs rising above the surface and resembling capsized boats, zoologists have sought to identify it as merely a large eel.


LOCH MORAR

The most famous lesser Nessie is Morag, the monster of Loch Morar, whose history, like Nessie's, dates back many centuries, as testified by a very old Scottish song:

Morag, Harbinger of Death,
Giant swimmer in deep-green Morar,
The loch that has no bottom...
There it is that Morag the monster lives.

Loch Morar is 11 miles long, approximately 1.5 miles wide, and with a maximum depth exceeding 1000 ft it is Britain's deepest freshwater lake. Unlike the waters of Loch Ness, however, which are extremely peaty, Morar's are very clear, enabling objects situated at quite a distance beneath the surface to be perceived with remarkable clarity - as exemplified by visitor Robert Duff's extraordinary sighting on 8 July 1969.

A joiner from Edinburgh, Duff was fishing from a boat in MeobleBay on the loch's southern shore, where the water is no more than 16 ftdeep and very lucid, when he spotted what he described as a "monster lizard", lying motionless on the loch's white, leaf-strewn bottom, looking up at him. Duff estimated the creature to be 20 ft long, with a snake-like earless head, slit eyes, and a wide mouth. Its body was grey-brown with rough skin, and it had four limbs, with three toes visible on each front foot, plus a tail. He was so startled that he revved the boat up and made off at once. Later, however, he returned to the same spot, but the animal had gone.

Loch Morar (© Lynne Kirton/Geograph Project/Wikipedia Creative Commons Licence)

Even more dramatic was the 5-minute confrontation experienced on 16 August 1969 by Duncan McDonell and William Simpson. At about 9.00-9.30 pm, but while still daylight, their motor boat was travelling along the loch at a speed of 6-7 knots when McDonell, at the wheel, saw a creature in the water about 20 yards behind but moving directly towards them. A few seconds later it caught up, and collided with the side of their boat, seemingly unintentionally but nonetheless with sufficient force to hurl a kettle of water off the boat's gas stove and onto the floor. McDonell attempted to fend the beast away with an oar, frightened that it may capsize the boat, but because the oar was old it snapped in half.

When Simpson saw this, he picked up his rifle, ran out of the cabin, and aimed a shot at the creature - which slowly sank away from the boat. They did not see it again, but they did not see any blood either, or any other sign to indicate that Simpson's bullet had hit it.

According to Simpson and McDonell, the portion of the creature that they had observed was 25-30 ft long, with rough, dirty-brown skin, and three humps or undulations standing about 18 in above the water surface at the highest point. The head was brown and snake-like, measuring approximately 1 ft across the top, and raised 18 in out of the water.

On 1 August 1996 came the electrifying news that Cameron Turner, a diver from Darlington, had discovered some bones from a large unidentified animal at a depth of 60 ft in Loch Morar. Could these be the mortal remains of a Morag? Sadly, no - the following day a biologist formally identified them as the bones of a deer.

Returning to the media headlines in 2013 after two decades of cryptozoological reticence, the most recent claimed encounter with Morag featured a trio of sightings in close succession. For within the space of just two days during summer 2013, holidaymakers Doug and Charlotte Christie from Brechin in Angus apparently saw the monster on three separate occasions while staying at Kisimuil bed-and-breakfast at the lochside. They saw a 20-ft-long black object in the middle of the loch, for 10 minutes on the longest occasion before it submerged again. Charlotte likened it to a whale, Doug to a submarine.


LOCH OICH

Wee Oichie or Oichy of Loch Oich, directly below Loch Ness and 4 miles long, traditionally sports a flattened head rather than the familiar equine form often noted for Nessie and various other Scottish loch monsters. Having said that, the head of the very big, black, serpentine beast that rose to the surface one summer's day in 1936 was vaguely dog-like, according to A.J. Robertson who spied it while boating at the loch's southwestern end. Certain other eyewitnesses, moreover, including a former loch keeper at Oich interviewed by investigator J.W. Herries during the 1930s, have likened Wee Oichie to a huge otter.

Swimming otters may sometimes be mistaken for monsters – and vice-versa? (© Dr Karl Shuker)

As a river connects Loch Oich to Loch Ness, some researchers have speculated that perhaps Wee Oichie and Nessie are one and the same, merely swimming back and forth from one loch to another via this interconnecting river. Indeed, during the mid-1930s, Herries interviewed three eyewitnesses who claimed to have actually observed such an animal journeying via this means from Ness to Oich.

The most recent Oichy sighting currently documented occurred on 22 August 1998, when two Lochaber locals who wish to remain anonymous saw a large dark-coloured hump, rough but symmetrical in shape, break the surface a few hundred yards east of the Well of the Heads and about 22 yards from the shore as they were driving along the road next to the loch. Interestingly, they could see underneath the hump, thereby indicating that the creature was coiled and elongate. The two eyewitnesses got out of the car and ran onto the beach, armed with cameras, but the hump had already gone back down. Readily discounting identities such as swimming sheep, a line of otters, a seal, deer, and other commonly-posited candidates, they speculated that it might have been an eel, but with what they estimated to be a diameter of 18 in, if so it would have been one of truly prodigious proportions.


LOCH QUOICH

Situated west of Garry roughly 25 miles northwest of Fort William in Lochaber, Highlands, Loch Quoich is 9 miles long, with a maximum depth of 281 ft, and is supposedly home to a horse-headed but markedly serpentiform water monster. During the early 1930s, one such creature was even allegedly witnessed on land, when an unnamed lord, fishing on the loch's shores, spied it lying on a stony beach near to the water. It was also seen by the two fishing guides accompanying him, but he swore them to secrecy, afraid that the locals would consider all three of them inebriated, so their accounts remained unreleased for many years.

A collection of monster reports from Loch Quoich and other Scottish freshwater lochs was compiled by Father Henry Cyril Dieckhoff, from the Benedictine Abbey at FortAugustus. Sadly, however, he died in 1970 before completing a book that he had been preparing, and which would have contained all of these reports.


LOCH SHIEL

Loch Morar is a famously remote lake, much of which can be reached only by boat, but this is also true of Loch Shiel - Scotland's fifth largest loch, with a length of 17 miles, a width ranging from 100 yards to a mile, and a maximum depth of 420 ft. Its own resident monster is known as Seileag.

A mesmerisingly beautiful image of Loch Shiel (© Gil Cavalcanti/Wikipedia Creative Commons Licence)

Seileag's most diligent investigator was the afore-mentioned Father Dieckhoff, who collected many reports. One of these, dating from 1905, featured Ewan MacIntosh, two young boys, and an old man called Ian Crookback, all of whom observed three humps above the water surface with the aid of a telescope while travelling across the loch opposite Gasgan aboard the little mail steamer Clan Ranald.

A massive creature with a broad head, wide mouth, long thick neck, and seven "sails" (humps) on its back was viewed through a telescope by Ronald MacLeod as it emerged from the water at SandyPoint oneafternoon in 1926. Indeed, it was claimed by MacLeod to be bigger than the Clan Ranald!


LOCHTAY

Scotland's sixth largest loch by area and over 490 ft deep at its greatest depth, Loch Tay is situated in Perthshire, is approximately 14.5 miles long and typically 1.0-1.5 miles wide. Cryptozoologically speaking, however, the most notable mystery beast from this vicinity was not reported in the loch itself but from the nearby Firth of Tay, during the late evening of 30 September 1965. Moreover, it was actually seen on land, and therefore in full – a rare event indeed.


Here is my documentation of that very remarkable incident, from my bookIn Search of Prehistoric Survivors(1995):

[It] was brought to cryptozoological attention by veteran monster hunter F.W. Holiday. It was 11.30 pm, and Maureen Ford (wife of amateur flyweight boxer David Ford) was driving with some friends along the A85 by car towards Perth, in northeastern Scotland. Close to Perth, Ford suddenly spied an extraordinary creature by the roadside, only a few yards from the banks of the River Tay, which enters nearby into the Firth of Tay - an inlet of the North Sea. She described it as: "...a long grey shape. It had no legs but I'm sure I saw long pointed ears."

Less than 2 hours later, it was seen again - but this time on the opposite side of the road, to where it had evidently crossed during the intervening period. At 1 am, Robert Swankie was driving along the A85 away from Perthtowards Dundee, when his headlights revealed an amazing sight. As he later revealed in a Scottish Daily Express report (5 October 1965):

"The head was more than two feet long. It seemed to have pointed ears. The body, which was about 20 feet long, was humped like a giant caterpillar. It was moving very slowly and made a noise like someone dragging a heavy weight through the grass."

Swankie slowed down, and opened his window, but he could see another car not far behind, so he decided not to stop, and continued his journey. His testimony, and also that of Ford, were taped by an enthusiastic investigator, Miss Russell-Fergusson of Clarach Recordings, Oban, and the police were also informed. In the Express report, one of their spokesmen commented that in the dark the headlights of a car could play tricks when they strike walls and trees - but as Holidaysensibly pointed out, if Swankie's sighting had merely been an optical illusion, why didn't he see monsters throughout his road journey?  And how can an exclusively visual deception create a dragging sound?

Far more reasonable, surely, is the scenario of a reclusive sea creature emerging under the cover of darkness from the Firth of Tay, possibly via the River Tay itself, and, by sheer chance, being seen by two night-travelling eyewitnesses during its brief overland foray.

A popular cryptozoological identity for highly elongate water monsters is an evolved, modern-day species of zeuglodont whale, possessing a more flexible vertebral column than that of fossil forms and therefore capable of performing the vertical undulations often reported for serpentiform aquatic cryptids. Mightthis be what emerged from the Firth of Tay 50 years ago?

Restoration of a zeuglodont, revealing its elongate body shape (© Tim Morris)


LOCH TREIG

A reservoir since 1929, the ominously-named Loch Treig (Scottish Gaelic for 'Lake of Death') is 5.6 miles long, and is located in a steep-sided glen just over 12 miles east of Fort William in Lochaber, Highlands. According to local medieval folklore, it was home to ferocious water-horses, but mystery beasts have also been reported here in modern times. Indeed, in 1933, during the creation of the extensive hydroelectric scheme now present in this area encompassing Treig, B.N. Peach, an engineer in charge of that scheme, stated that some of the divers working on the project had quit the job or had asked to be moved to other jobs because they claimed that there were monsters in this loch's depths.


LOCH WATTEN

Last – and definitely least – is Wattie, the infamous monster of Loch Watten, infamous inasmuch as its history owes precious little to cryptozoology, and even less to reality, as I discovered when conducting the only detailed investigation ever undertaken into this extraordinary case. All is revealed elsewhere on ShukerNature – click hereto read my full exposée.

Holding my copy of The Monster Trap– Peter Haining's collection of supposedly true mysteries containing his account of the Loch Watten monster that inspired my extensive investigation of this exceedingly dubious cryptid (© Dr Karl Shuker)

As with the Nessie saga, many sober sightings have been reported at these Scottish lochs that do appear to feature something more than misidentified otters, seals, sturgeons, birds, boats, algal mats, and suchlike - but what? All of the familiar cryptozoological Nessie contenders have been offered - a surviving plesiosaur, an undescribed species of long-necked seal, an elusive modern-day version of the officially long-extinct elongate zeuglodont whales, a giant form of eel - but with no physical evidence to examine, no firm taxonomic identification can be offered.

If such reports as those documented here are indeed genuine, however, it seems likely that the species responsible can actively migrate overland, or via connecting rivers, from one loch to another (eels readily come to mind here) - thus explaining sightings in bodies of water that are too small or insufficiently stocked with fish and other potential prey to sustain a permanent, viable population.

Reconstruction of the possible morphology of the long-necked (aka longneck) category of water monster, represented by both marine and freshwater versions (© Tim Morris)

They do say that it takes all sorts to make a world, and certainly, from traditional water-horses, water-bulls, and turtle-pigs to modern-day long-necked, serpentiform, and even vermiform aquatic cryptids, this maxim is also clearly applicable to the cryptozoological world, at least as far as the multifarious monsters reported from mainland Scotland's freshwater lochs are concerned.

Beautiful vintage picture postcard depicting Loch Awe (public domain)

This ShukerNature blog article is excerpted from my forthcoming book Here's Nessie! - A Monstrous Compendium From Loch Ness, and was inspired by a much shorter account that originally appeared in my book Mysteries of Planet Earth.





FAN-TAILED MERMEN AND SCALY SEA BISHOPS

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The version of the Russian merman-depicting lubok that was sent to me by Robert Schneck (public domain)

On 18 August 2015, Facebook friend Robert Schneck kindly brought to my attention on my FB timeline a fascinating illustration that I had never seen before, and which opens this current ShukerNature blog article. As far as I am aware, it has not previously attracted any notable cryptozoological attention, so I've been conducting some investigations into it, whose findings I am now presenting here as follows.

The illustration is a Russian lubok, which, to quote from the Wikipedia entry for such images, is:

"…a Russian popular print, characterized by simple graphics and narratives derived from literature, religious stories and popular tales. Lubki prints were used as decoration in houses and inns. Early examples from the late 17th and early 18th centuries were woodcuts, then engravings or etchings were typical, and from the mid-19th century lithography…Folklorist Dmitri Rovinsky is known for his work with categorizing lubok. His system is very detailed and extensive, and his main categories are as follows: "icons and Gospel illustrations; the virtues and evils of women; teaching, alphabets, and numbers; calendars and almanacs; light reading; novels, folktales, and hero legends; stories of the Passion of Christ, the Last Judgement, and sufferings of the martyrs; popular recreation including Maslenitsa festivities, puppet comedies, drunkenness, music, dancing, and theatricals; jokes and satires related to Ivan the Terrible and Peter I; satires adopted from foreign sources; folk prayers; and government sponsored pictorial information sheets, including proclamations and news items". Jewish examples exist as well, mostly from Ukraine. Many luboks can be classified into multiple categories."

The lubok under discussion here shows what appears to be some form of merman-like entity (though with hind limbs instead of a single fish-tail) that had been netted at sea, but no doubt some details concerning this case were contained in the Cyrillic-script text included above the lubok's image. Seeking a translation of this text online, I came upon one on the Monster Brains website (click here).

It stated that the merman lubok's text did indeed describe a strange aquatic humanoid, one which had been caught in Spain, and that the image had been created by an anonymous folk artist in 1739. What was particularly interesting, however, was that this site then provided not just a translation of the text, but also a version of the merman lubok that contained additional Cyrillic text underneath the image – text that was not present in the version that Robert had found and sent to me – thus explaining why the translation was so lengthy. So here is this more detailed version of the merman lubok:

The version of the merman lubok containing additional text (public domain)

Incidentally, the source of both the lubok with additional text and the translation of it as presented by Monster Brains was given by this latter site as http://www.rollins.edu/Foreign_Lang/Russian/Lubok/lubnews.html– but this page can no longer be found online. Meanwhile, here is the translation of the full text as provided by the Monster Brains website

"A copy [of the news] from the Spanish town of Vigo from the 6th of April. The fishermen of the village of Fustin (Enfesta?) caught a sea monster or the so-called water man and with great difficulty dragged him by force in the net ashore. This amazing and rarely seen monstrum or sea wonder is from head to foot about 6 feet tall. Its head resembles a stake and is so smooth that it does not have even one hair on the top, only at the bottom it has a beard with long strands. The skin on its head and on the whole body is black and in some places covered with thin hair. The neck of this water old man is extremely long and the body unusually long and thick but in many respects it resembles the human body. The forearms and arms are very short, the palms are quite short, while the fingers are very long and up to the first joint, like a goose's feet, they are grown together and from there they go like human fingers. Its extraordinarily long nails resemble animals' and even though this monstrosity has low hanging breasts, it is, by all indications, of masculine gender. Its loins are short and grown together to the knees, and the shins are not very long either, but they are separated. Even though its feet are quite similar to human, the large toes hang quite close to each other like duck's feet. On its heels it has fish's scales, and on the skin of its back at the very bottom a bone has grown. A fin sticking out from it is just like a woman's fan, about 12 inches long, and when it opens it reaches even more than 12 inches. This was excerpted from the printed St. Petersburg News, received on the 20th of May of this, 1739, year, and the above news were reported in the No. 41."

I subsequently found this same translation and version of the merman lubok on another site, The Hermitage (click here), on Tumblr. It credits the translation to the same no-longer-available page source as did Monster Brains, but additionally names the translator himself as one Alexander Boguslawski, and dates his translation as being from the year 1999. (Incidentally, call me paranoid, but in view of the highly mysterious nature of the entity depicted in this particular lubok, I do wish that the translator's surname had not included 'Bogus' in it!)

As can be readily seen, both the verbal description and the visual depiction of this entity reveal an exceedingly bizarre being – one so bizarre, in fact, that it is difficult to know how to assess it. Could it be some grossly-deformed human, perhaps? Or might it be a sea creature of known species but whose form has been distorted out of all recognition by some woefully-inaccurate verbal description spawned by the Chinese whispers syndrome from source to documentation, and illustrated by someone who did not see the creature itself but was instead entirely reliant upon the mutilated verbal account resulting from the Chinese whispers syndrome? Or is it possible that it truly was some extraordinary entity of a type still unknown to science – a veritable merbeing?

Regarding the option of this alleged merman being a severely deformed human: its cone-shaped head might have been an indication of microcephaly, as exhibited by certain individuals on record who have been dubbed 'pinheads'; its scaly skin may have been a possible allusion to ichthyosis; and its conjoined loins to the knees is a trait of sirenomelia, the so-called mermaid syndrome. However, it would surely be very unlikely (as well as exceedingly unlucky and unfortunate) for any one person to exhibit all of these very different, congenitally unrelated, and morphologically extreme conditions.

In any case, the single most outstanding morphological feature described for this entity is without doubt its apparent tail fin, depicted as a very large, multi-coloured, fan-like structure and described in similar vein too. If that feature is genuine, and could indeed open and close as claimed in the description, then we can evidently eliminate a teratological human from further consideration, because I cannot envisage how any congenital condition, however extreme, could create a structure even vaguely reminiscent of this fin.

Another scaly merman-like entity with hind limbs, as documented in The Animal Book, written by famous Italian humanist and Renaissance author Pietro Candido Decembrio (1399-1477), commissioned by Ludovico Gonzaga, Marquis of Mantua, and published in 1460, with its illustrations added during the next century – click here for more anomalous entities featured in this book (public domain)

Could the lubok have resulted from a much-distorted description of some known (but possibly not overly familiar?) sea beast? There is no doubt that the medieval and Renaissance bestiaries are full of grotesque illustrations of beasts known to modern-day science but not so familiar to layman observers back then. Yet even if so, it would surely require a truly massive stretch of the imagination and all but entirely unrestrained, unlimited powers of mis-description to yield a bipedal humanoid being with a conical cranium, four limbs, and a huge caudal tail fin from anything as zoologically mundane as a pinniped, cetacean, sirenian, or shark, for instance.

As for it constituting a bona fide merman: I have documented elsewhere on ShukerNature (click here) some very intriguing cases of mysterious carcases that have been put forward at one time or another as evidence for the reality of merfolk, and which, if the descriptions of such carcases were accurate (none of them, tragically, was retained or scientifically examined), cannot be readily identified with any known marine life-forms. Consequently, although I freely admit that the reality of such entities is very remote, I am loathe to discount entirely the possible existence of some kind of specialised sea-dwelling mammal that bears a superficial resemblance to the fabled mermaids and mermen of classical legend.

Of course, there is also a fourth possible explanation, and which may well be the most plausible – namely, that the entire report was a journalistic hoax, or at the very least merely a relocated rehash of some earlier account from the annals of early natural history. In relation to this latter prospect, when he sent me the abridged version of the merman lubok Robert mentioned that the entity's pointed head reminded him of the sea bishop.

Lovers of bestiaries will be very familiar with this latter creature and its scaly-skinned image, which, in the tradition of bestiary and proto-encyclopaedia compilers for many centuries, has been reproduced with minor variations in numerous works dating from the mid-1500s onwards.

As far as I can tell, the sea bishop's earliest documentation was in French naturalist French Belon's work De Aquatilibus(1553), followed a year later by French marine biological researcher Guillaume Rondelet in his own tome Libri de Piscibus Marinis (1554), where he recorded a sighting of it from 1531 in the Baltic Sea off Poland by physician Gisbertus Germanus. Rondelet's work also contained an illustration of this sea bishop, but perhaps the most famous depiction of it appeared in 1558, as an engraving in the fourth volume of Swiss naturalist Conrad Gesner's monumental multi-volume, 4500-page Historia Animalium (1553-1558):

Engraving of the sea bishop, from Conrad Gesner's Historia Animalium (public domain)

This extraordinary sea monster was portrayed as a highly anthropomorphic humanoid-fish composite, and its sighting in 1531 was during Gesner's own lifetime (1516-1565). However, there is some confusion as to the creature's subsequent fate (not documented by Gesner).

Some sources state that it was captured alive and taken to the King of Poland, who wished to keep it, and was also shown to a group of Catholic bishops, to whom it gestured, appealing to be released, whereupon the bishops granted its wish and the creature in return made the sign of the Cross before disappearing back into the sea. (If nothing else, this is an interesting example not merely of ecclesiastical solidarity but also of the popular belief dating back as far as the time of Plato, 428/427 or 424/423 – 348/347 BC, that everything on land has a counterpart in the sea.) Other sources, conversely, document a sadder, less familiar end for the sea bishop, claiming it was actually caught off Germany, not Poland, and died in captivity three days later after refusing to eat (but I wonder if this story's differing location may originate from some confusion involving the name of its eyewitness, Gisbertus Germanus?).

Another well known version of the classic sea bishop illustration appeared in Johann Zahn's Specula Physico-Mathematico-Historica Notabilium ac Mirabilium Sciendorum (1696):

The sea bishop as depicted in Zahn's tome (public domain)

There is no doubt that the Spanish merman portrayed in the Russian lubok is reminiscent of the Baltic sea bishop, especially if the latter's billowing fin-like cloak is equated with the merman's fan-like caudal fin:

Spanish merman compared with Baltic sea bishop (public domain)

So if the sea bishop may provide a precedent of sorts, or possibly even a direct source or inspiration, for the Spanish merman, what might the sea bishop itself have been?

In his magnum opus, Gesner had also included an engraving and description of another mysterious 'human fish', the so-called sea monk. Again, this had been previously documented by Rondelet in his Libri de Piscibus Marinis, and by Belon in De Aquatilibus, but it was Gesner's coverage of it that first brought this creature to widespread attention. Here is Gesner's engraving:

Engraving of the sea monk, from Conrad Gesner's Historia Animalium (public domain)

This marine monster had allegedly been caught off Norway according to Gesner (or in the Øresund, the strait separating Sweden from the eastern coast of the large Danish island of Zealand, according to some other sources) in 1546, once again during Gesner's own lifetime, but its carcase was not retained; instead it was swiftly buried as an abomination on the orders of the Danish king, Christian IIII. In subsequent centuries, however, it has attracted (and still attracts today) considerable interest and controversy as to what it may have been.

Japetus Steenstrup's comparison of two versions of the sea monk engraving with, at centre, a giant squid (public domain)

Identities that have been proffered by various researchers include a giant squid (by 19th-Century Danish zoologist Japetus Steenstrup and more recently by giant squid chronicler Richard Ellis), an angel shark Squatina squatina (a large, dorsoventrally flattened species commonly dubbed a monkfish after its superficially monk-like form, proposed in 2005 by St Andrews University ecologist/mathematician Dr Charles Paxton and co-researcher Dr Robert Holland from the Freshwater Biological Association), a walrus (by veteran cryptozoologist Dr Bernard Heuvelmans), and various species of phocid seal.

Yet whereas I can see points in favour for each of the above creatures as identity contenders for the sea monk, I can see none for any of them as identity contenders for the sea bishop.

The angel shark or monkfish Squatina squatina, vintage illustration from 1877 (public domain)

As with the sea monk, I have encountered various attempts to reconcile the sea bishop with some form of squid. Yet even if we equate the sea bishop's markedly pointed head with the pointed rear portion of a squid's body, its two hefty-thighed legs are a poor substitute for the ten long slender arms and tentacles of a squid – unless we can envisage a squid whose eight shorter arms are united and obscured within some form of web-like interconnecting membrane, thereby explaining the bishop's cloak, with the latter's two legs being the longer prey-capturing tentacles of the squid?

Alternatively, bearing in mind that it was meant to be a sea bishop, might this creature's very pointed head have simply been an exaggerated (or even a completely fabricated) description, in order to provide it with an equivalent of sorts to a real bishop's mitre? It's all very tenuous, to say the least, and offers even less likelihood as a reasonable explanation for the Spanish merman with its caudal fanned fin.

In an interesting Folklore journal paper from 1975, W.M.S. Russell and F.S. Russell proposed that the sea bishop may actually have been a skilfully executed gaff along the lines of the Jenny Haniver. In their paper, they revealed how they had actually created a couple of Jenny Hanivers in the form of sea bishops, using two small alcohol-preserved specimens of the thornback skate Raja clavata.

A much-reproduced engraving of a Jenny Haniver, from Ulisee Aldrovandi's tome Monstrorum Historia (1642) (public domain)

For now, however, in the absence of any tangible evidence for their identities, both the sea bishop engraving and the Russian lubok's Spanish merman remain pictorial enigmas, which may bear little if any resemblance to the original creature(s) that they depict – always assuming of course that any such creature ever existed to begin with!

I plan to pursue the Spanish merman now via a different route, investigating whether other, preferably Spanish reports of its alleged capture exist – any discoveries will be included here as updates.

My sincere thanks to Robert Schneck for kindly bringing the Russsian merman lubok to my attention.

Sea monk and sea bishop sharing a page in Conrad Gesner's Historia Animalium (public domain)






THE BEAST OF GÉVAUDAN - WOLF, MAN...OR WOLF-MAN?

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One of numerous differing depictions of the infamous Beast of Gévaudan prepared in France, Germany, or elsewhere in Europe during the 1700s (public domain)

Between June 1764 and June 1767, a hideous series of killings, as grisly as they were plentiful (somewhere around 80 to 113 human victims, plus many injured survivors), occurred in a village-speckled district of Lozère, southeastern France, called Gévaudan. Their perpetrator became known as the Beast of Gévaudan, but more than two centuries of speculation have failed to stem the controversy regarding its precise identity. Just what was this Beast? An animal? A man? Or something more?

Its first recorded victim was Jeanne Boulet, a 14-year-old peasant girl from the mountain village of Saint Etienne de Lugdares, who was slaughtered on 30 June 1764 while tending a few sheep and cows on the hills of the Vivarais. Some villagers discovered her corpse - minus its heart, which had been savagely ripped out of her body. Many other victims followed, most of which were women or children, whom the Beast attacked by springing at their throat. Some were subsequently devoured, others were simply torn apart in a frenzy of insatiable blood-lust, with decapitation and dismemberment occurring on a regular basis. Those that survived often claimed that the Beast gave voice to a loud horse-like neighing or laugh-like cry, had hind legs longer than its forelegs, and a conspicuously large head.

A very atmospheric depiction of the Beast stalking poor doomed Jeanne Boulet (© William M. Rebsamen)

During its three-year reign of terror, the Beast was hunted by countless people and parties. Notable among these was Jean-Baptiste Duhamel, a dragoon captain stationed close to Gévaudan, who took charge of the hunt for the Beast in early November 1764, launching a massive search for it that featured over 20,000 participants, but all to no avail. By February 1765, the Beast had attracted such widespread attention in France that King Louis XV personally became involved in the pursuit of this rapacious phantom - sending to Gévaudan one of his country's most renowned hunters, Jean Charles Marc Antoine Vaumesie Denneval (d'Enneval), equipped with six of his most efficient bloodhounds, but like Duhamel he failed to achieve any success.

Having said that, on several occasions the Beast's pursuers had encountered a huge wolf-like beast actually in the process of attacking its victim, but even though they had shot the creature it had always managed to escape - seemingly wounded, but never fatally. This apparent invulnerability to gunfire inspired many priests and other religious men to deem it a supernatural entity, a non-corporeal embodiment of evil that could not be destroyed by conventional means. Some even claimed that it had been sent as a punishment for humanity's own evil.

Many Beast depictions were adaptations of earlier ones – this one is an adaptation of the more detailed 1765 version opening this present ShukerNature blog article, but the latter's canine snout has been replaced here by a pig-like one, making the Beast look even stranger (public domain)

Then came the shooting of 21 September 1765. The king's personal gun-carrier, François Antoine (aka Antoine de Beauterne), had been tracking the Beast throughout that day in the woods near the village of Pommier, accompanied by 40 local hunters, when without warning their quarry appeared at the bottom of the Béal Ravine. It was shot several times, finally dropping down dead as it attempted (yet again) to escape.

The shooting of the first Beast (public domain)

It appeared to be an enormous black wolf Canis lupus - measuring around 6 ft long, standing 32 in high, and weighing 143 lb, equipped with a formidable pair of 1.5-in-long fangs and 40 teeth in total. Interestingly, wolves normally possess 42 teeth, and some scholars have suggested that this Beast might have been a wolf-dog hybrid, rather than a pure-bred wolf.

German cryptozoologist Markus Bühler's restoration of the first Beast's possible appearance (© Markus Bühler)

Dubbed the Wolf of Chazes after the nearby Abbey of Chazes, its stuffed corpse was exhibited at the king's court for a time, before being transferred to Paris's Museum of Natural History, where it was retained until the early 1900s (what happened to it then is currently a mystery) - but the killings did not stop. True, there were no published reports, but this was on the express order of the king, who was anxious to contain the panic that this macabre epidemic of murders since June 1764 had generated. Eventually, however, news of the continuing series of deaths could no longer be suppressed - and the rest of France learnt to its horror that the deadly Beast of Gévaudan (or something else behaving very like it?) was still alive.

The first Beast, prepared as a stuffed taxiderm specimen for display (public doman)

Several creatures suspected of being the Beast were dispatched over the next two years (while identities suggested then and since for this terrifying creature ranged far beyond dogs and wolves, to embrace such exotic escapees as lions, tigers, black panthers, baboons, wolverines, and hyaenas). Nevertheless, it was not until 19 June 1767 that the Beast's hideous onslaughts were finally halted for good. This was when, during a hunt organised by the Marquis d'Apcher, a huge dog-like creature was shot dead at MountChauvet by local hunter Jean Chastel after it had slowly emerged from a thicket. The Beast's carcase was autopsied by the king's notary, Roch Etienne Marin, but no definite identification was reached, although the Marin did opine that this daunting creature might once again be a wolf-dog hybrid, as in his view it looked very different from ordinary wolves seen previously in this region. Interestingly, however, according to a list of dimensions and other features compiled by Marin, which was rediscovered in 1958 after having long been thought lost, the creature possessed 36 teeth (i.e. six fewer than a wolf, but only two more than a hyaena).

Afterwards, the carcase was stuffed and exhibited for a time in a number of villages before being taken to the king, but by then it had begun to decompose, so it was supposedly buried in an unmarked location somewhere within the huge garden of the king's castle. This would have been a great tragedy if true (but it wasn't – see later), because some accounts indicated that the creature's unusual appearance was by no means confined to its great size. Reported descriptions and contemporary depictions of the Beast's pelage varied greatly. According to certain ones, it was reddish, according to various others it was blackish, with (or without) a white patch on its chest (or even a long white ventral stripe), mottled or brindled elsewhere, and with a dark stripe running down its back. Moreover, its feet were said to bear very long, sturdy claws, which in some accounts were even likened to hooves.

18th-Century portrayal of the Beast as a huge, mottled, grey-furred, white-breasted, long-tailed canine creature (public domain)

An unmottled, unicoloured, shorter-tailed version of the previous Beast portrayal (public domain)

An unmottled, black-furred, white-breasted, long-tailed version of the first of these three Beast portrayals (public domain)

This latter claim concerning hooves has in turn led to a very extreme identity for the Beast having been offered by several online cryptozoological enthusiasts – namely, a surviving mesonychian, or, more specifically, a modern-day representative of Andrewsarchus mongoliensis, the largest carnivorous land mammal presently known to science. Mesonychians constituted a taxonomic order of early carnivorous ungulates that according to the current fossil record existed from the early Palaeocene to the early Oligocene (approximately 63 to 30 million years ago), although most had vanished by the end of the Eocene. They are believed to have originated in Asia, where they were very diverse, but subsequently radiated out into Europe too, as well as reaching North America - where they evolved into some huge forms. However, they were eventually out-competed by the emerging true carnivores or carnivorans, i.e. belonging to the order Carnivora (dogs, cats, bears, mustelids, hyaenas, viverrids, etc).

Yet despite being carnivorous, predatory creatures, because they were ungulates the mesonychians possessed hooves, not claws, which is what inspired the mesonychian identity for the Beast of Gévaudan. However, not only would the survival of a mesonychian lineage into the present day require them to close a very sizeable 30-million-year gap in the fossil record (thereby constituting a truly outstanding example of a Lazarus taxon), it would also mean that with the exception of the Beast's relatively brief period of depredation, such distinctive animals had somehow remained entirely unknown both to science and to local people in France throughout historical time there. Needless to say, all of this seems highly unlikely – and even more so when applied to a putative modern-day Andrewsarchus.

Possible appearance in life of Andrewsarchus mongoliensis (public domain)

Known only from a single fossil skull unearthed at a Gobi Desert site in 1923, but which measured a colossal 32.8 in long and 22 in wide, if this monstrous mammal were proportioned in the same manner as typical mesonychians, it would have attained an estimated total length of around 11 ft. However, although long deemed to have been a mesonychian, it has recently been reclassified by many palaeontologists as a carnivorous artiodactyl (even-toed ungulate) instead.

Nevertheless, it goes without saying, surely, that if an Andrewsarchus lineage, even one of smaller body stature than its original Mongolian antecedent, were surviving somewhere in the French countryside, its presence there would certainly not have gone unnoticed during all of the centuries preceding and following the Beast of Gévaudan's triennium of tyranny.

My German figurine model of Andrewsarchus

The same also applies in relation to the theory put forward by Pascal Cazottes in his book La Bête du Gévaudan: Enfin Démasquées? (2004), that the Beast was a surviving species of Hemicyon– a member of the prehistoric dog-bear or hemicyonid family of carnivorans (not to be confused with the prehistoric bear-dog or amphicyonid family of carnivorans) that flourished for between 17 to 11 million years during the Miocene epoch before dying out at its close, approximately  5.3 million years ago. Sporting tiger-like proportions and a somewhat ursine form but a dog-like dentition, it also ran in a digitigrade manner like dogs, rather than plantigrade like bears. Whether it would have resembled the Beast of Gévaudan, however, is another matter entirely.

A restoration of Hemicyon (public domain)

In any case, during summer 1997 taxidermist Franz Jullien from France's National Museum of Natural History in Paris showed that the story of the second Beast's carcase having been buried was untrue (as was the claim that it sported hooves). For that was when he publicly announced his recent discovery in the museum of an old guide which sensationally revealed that this specimen had actually been exhibited there until at least 1819 (what happened to it afterwards, however, is unknown), and that during this time it had been conclusively identified – as a striped hyaena! Interestingly, a hyaena had long been favoured in the Gévaudan area as an identity for its nightmarish Beast, and could explain anecdotal accounts of its laughing cry, its large head, and hind limbs larger than forelimbs, but until now there had been no firm evidence to support it. Jullien published details of his significant find in the August 1998 issue of the journal Annales du Muséum du Havre.

As this particular hyaena species, Hyaena hyaena, is native to Africa and Asia but not to Europe, it was evidently an escapee or deliberate release from captivity - and it is a nothing if not interesting coincidence that Antoine Chastel, one of the two sons of hunter Jean Chastel who killed this second Beast, allegedly possessed a striped hyaena in his personal menagerie. According to a variation upon this claim, Antoine worked as a caretaker in the menagerie of exotic animals owned by a local aristocrat, the Count of Morangiès. Either way, however, there would seem to be a tenable origin for a striped hyaena on the loose in this specific region of France at the time of the Beast's onslaughts.

Sketch of a striped hyaena (public domain)

The fundamental problem here is that normally the striped hyaena is a scavenger, not an active hunter, but perhaps a rogue or rabid individual might be, or one that had been deliberately trained to attack and kill people – see later here. Also worth noting is that only hyaenas have the jaw strength to bite clean through bones (their bite force even exceeds that of lions), and thereby perform the decapitations and limb shearings ascribed to the Beast; wolves cannot normally do this. Of course, hyaenas have fewer teeth (only 34) than the 40 claimed for the first shot Beast, but as this latter animal seems very likely to have been a wolf or wolf-dog hybrid (there does not appear to have been any suggestion that this too was a hyaena), that discrepancy is not a problem.

A hyaena trained to kill (by Jean Chastel, no less – see later for much more regarding this line of speculation) was the Beast identity favoured by cryptozoologist Ken Gerhard, investigating the Beast of Gévaudan saga alongside criminal profiler George Deuchar in an episode of the History Alive television documentary series entitled 'The Real Wolfman', which was screened by the History Channel in October 2009. However, the species put forward here was Africa's little-known brown hyaena H. brunnea, which seems a somewhat unlikely creature to have been held in captivity in 18th-Century rural France, and is not as potentially savage as the larger striped and (especially) spotted hyaena species anyway. So I'm unsure why the programme's 'powers-that-be' decided that this species should be the one for Ken and George's investigations to focus upon, rather than either of the other two hyaenas. Having said that, however, the programme made compelling viewing, with Ken readily demonstrating his cryptozoological acumen.

Early vintage photograph of a captive brown hyaena (public domain)

In his extensive study of this saga, Monsters of the Gévaudan: The Making of a Beast (2011), University of North Carolina historian Prof. Jay M. Smith concluded that the Beast attacks were the collective activity of several different creatures, all of which were wolves, and that much of the terror gripping this region of France at the time had resulted from the uber-hyped, tabloid-style manner in which the saga was presented in the media, so that it was as much a social, cultural phenomenon as a cryptozoological one. Yet even if the latter aspect were true, as noted above wolves alone would be unlikely to achieve the bone-shearing massacres accomplished by the Beast.

Monsters of the Gévaudan: The Making of a Beast (© Prof. Jay M. Smith/Harvard University Press)

Whatever its identity, however, the Beast of Gévaudan is by no means unique in the annals of French history, as the following selection of examples amply demonstrates, featuring some notorious episodes of lupine aggression.

Back in 1632, a bloodthirsty precursor to the Beast of Gévaudan allegedly frequented the Forest of Cinglais, from which it would periodically emerge to attack and kill people inhabiting a same-named village nearby (it was blamed for the deaths of over 30 people). The village of Cinglais was situated three miles south from the city of Caen, capital of Lower Normandy in northwestern France. During a gigantic hunt beat held in June 1633 and featuring 5000-6000 male participants, however, a large and very swift, agile animal subsequently identified as a wolf but with red fur was shot dead, after which the killings ceased.

Engraving of the Beast of Cinglais (public domain)

Reports of marauding wild animals believed but never conclusively confirmed to be wolves have also emerged from many parts of France in the centuries that followed the demise of the Gévaudan-based Beast phenomenon (even though the wolf is nowadays virtually extinct in this country). As discussed by Véronique Campion-Vincent within an article from 1992 in the journal Folklore, explanations proffered by the authorities, the general public, wildlife experts, and investigators of specific cases have varied greatly - from natural migration or covert, human-engineered introduction of wolves into France from bordering countries; and deliberate release of captive specimens purposefully to kill farm creatures, or simply because they were no longer wanted by their erstwhile owners; to the accidental escape of menagerie and circus specimens, or exotic pet wolves maintained in private homes.

Thus, when two wolves were shot in a scarcely-populated pine forest in South-West Landes during 1968, investigators speculated that they may have been deliberately (but unofficially) introduced there from outside France by person(s) unknown. Deliberate release was a popular explanation for the presence of two wolves not far from Paris during 1972 - one of these was killed following a serious spate of livestock kills in the area. Two of the most notorious 20th Century cases on record, however, are those featuring the Beast of Cezallier and the Vosges Beast.

One of the most famous 18th-Century depictions of the first Gévaudan Beast (public domain)

During the 1940s, outbreaks of sheep slaughter in the environs of Cezallier, central France, regularly hit the newspaper headlines, inciting very appreciable discussion and dispute regarding the likely perpetrator of these killings - due in no small way to the remarkable variety of descriptions recorded for the alleged creature(s) in question. According to some eyewitnesses, the infamous Beast of Cezallier was definitely some type of big cat, variously resembling a lioness or a panther; others, conversely, were adamant that it was not feline but canine in form - undoubtedly a wolf or a very large feral dog.

The controversy continued throughout the 1940s and seemed set to do the same in the 1950s - until 1951, that is, when a bona fide wolf was shot near Grandrieu in the Upper Loire region, and the killings stopped. The dead wolf was duly dubbed the Beast of Cezallier, and the mystery was deemed officially solved - but it seems rather unlikely that eyewitnesses could confuse a creature so overtly dog-like in form as a wolf with lionesses or panthers. Quite probably, the wolf was only one of several culprits collectively responsible for the heinous deeds of the Cezallier Beast.

A graphic illustration of the Gévaudan Beast's predilection for attacking children (public domain)

History repeated itself during the late 1970s, but this time in the vicinity of Vosges, which experienced a near-epidemic of livestock killings, beginning on the Lorraine plateau near Rambervilliers, but progressing with the passing months to the Bresse highlands, and involving a horrific tally of death encompassing 31 different farms and collectively featuring more than 300 slaughtered or wounded sheep, three cows, a foal, and four dogs. Numerous organised hunts and searches were instigated, but their mysterious quarry eluded all of them. Then, after months of fruitless pursuit but regular Beast-blamed deaths, the killings suddenly ceased. The Beast was gone - or at least its blood-lust had been quelled - for it was never heard of again, and sheep could graze safely once more in the farmlands of Vosges.

Yet however disturbing the mystery attackers of Vosges and Cezallier may seem, we must remember that their victims had been sheep and other animal livestock, not humans. As a consequence, some researchers feel that there was far more to the homicidal Gévaudan Beast than an assortment of ravaging (even rabid?) wolves. In Africa, gruesome murders have been committed by the infamous leopard-man cults - secret societies who perform their terrible crimes masquerading as leopards, slashing their victims after the fashion of these great feline killing machines. Might something analogous have occurred in Gévaudan?

Abel Chevalley's novel (public domain)

The plot of French fiction writer Abel Chevalley's famous novel La Bête du Gévaudan (1936), inspired by the Gévaudan saga, yielded a lurid, highly imaginative scenario in which Antoine Chastel was an embittered, castrated sadist who lived apart from everyone else in Gévaudan, breeding monstrous hybrid hounds, one of which he then trained specifically to attack people, and that this was the Beast.. Yet so seductive and compelling was this overblown storyline that speculative, wholly-sensationalised fiction subsequently translated into speculative, but ostensibly-sober non-fiction, because it went on to influence several chroniclers of the real Beast saga,

Thus it was, for instance, that in his classic study La Bête du Gévaudan (1976), Gérald Ménatory promoted the possibility that much of the Gévaudan carnage was the work of one or more human serial killers - capitalising upon genuine Beast-engendered deaths to wreak their own murderous mayhem in secure anonymity – and concentrating in particular upon the idea that Antoine Chastel utilised a pet hyaena in nefarious activity of this kind.

Gérald Ménatory's book La Bête du Gévaudan Imprimerie Chaptal et Fils)

The following year, in September 1977, a comprehensive 12-page article devoted to the 'human sadist' theory for the Gévaudan Beast appearing in monthly French magazine Historia. And during the mid-1980s, veteran French cryptozoologist Dr Bernard Heuvelmans, a disciple of Ménatory's theory, stated that he had no doubt that it was the correct explanation for the Gévaudan Beast's crimes. This disturbing notion and variations upon it have attracted considerable interest in more recent times too.

The Beast makes the cover of the September 1977 issue of HistoriaHistoria)

In 2004, the Australian-made TV documentary series Animal X (which examined a wide range of cryptozoological subjects) screened an episode devoted to the Beast entitled 'Monster or Murderer'. In it, the identity that was put forward once again echoed Chevalley's scenario, inasmuch as the Beast was perceived to have been a trained wolf-dog assailant.

A version of Ménatory's theory resurfaced in 2009, featuring the Beast as Antoine Chastel's hyaena, specifically trained by him or his father to attack people in order to cover up their family's sadistic serial killer activity. This, the theory argued, would thereby explain how Jean Chastel was able to shoot the second, hyaena-identified Beast so easily – i.e. after emerging slowly from a thicket, it neither attacked nor ran from him because it knew and trusted him.

A 18th-Century French depiction of one of the Beasts in which it resembles a wolf-dog hybrid, as indicated by its white ventral stripe and very long tail (public domain)

There is no doubt that the Chastel family had a bad reputation in the Gévaudan area at the time of the Beast killings, with Jean Chastel viewed by suspicious locals as a witchcraft-practising hermit and Antoine whispered to be a lycanthrope (see below), but was their reputation for dark deeds justified? In his several Beast publications, modern-day French author Guy Crouzet emphatically declares that wolves were solely responsible, rejecting any involvement of the Chastels. On the contrary, he claims that because of their eccentric, reclusive lifestyle, the family had been used by the authorities as convenient scapegoats for the Beast's activities, destroying their reputation in the certain knowledge that they lacked the power or political clout to retaliate.

A noteworthy variation upon this theory postulates that Jean Chastel was definitely innocent of the witchcraft/serial killing claims, but that he purposefully trained some powerful, potentially ferocious creature to be a homicidal monster in order to revenge himself upon his reputation-blackening neighbours, priests, and the world at large.

18th-Century depiction of an inordinately woolly-fleeced Beast - a veritable wolf in sheep's clothing! (public domain)

Then again, it is nothing if not intriguing to note that during the search for the Beast by François Antoine and his party back in 1765, one of his men almost met his death in some marshes due to a malign prank played upon him by none other than Jean Chastel, Antoine Chastel, and Antoine's brother. As a result, François Antoine ensured that all three Chastels were imprisoned.

So there was definitely Beast-engendered bad feeling among the Chastels, thus making it all the more ironic (or suspicious?) that of all people it should be Jean Chastel who shot the second Beast in 1767. Could it be, therefore, that the first Beast killed was the real Beast of Gévaudan, and that the second one, the hyaena, was trained and released specifically by the Chastels to rampage and cause mayhem and hysteria as their revenge for their treatment by the first Beast's hunters?

Another 18th-Century depiction of an unequivocally canine Beast being shot by François Antoine and his men (public domain)

Developing further this Chevalley-inspired theory of Chastel culpability in the Beast events, Jean Chastel is claimed by some modern-day investigators as quite possibly not only having trained but also having actually created the original Beast.

In his book La Bête du Gévaudan: L’Innocence des Loups(2000),French naturalist Michel Louis proposed that the Beast's supposed red pelage was the result of its having been sired by a red-furred mastiff (a dogue de Bordeaux?) owned at that time by Chastel, who allegedly mated the mastiff with a female wolf to create a vicious slaughtering monster. Such a hybrid would be an exceedingly formidable (and morphologically bizarre) beast, certainly – more than enough, in fact, to confuse and terrify anyone who encountered it.

An 18th-Century depiction of the Beast portraying it with reddish pelage (public domain)

A different take on the human killer theory was offered in a June 1980 Science et Viearticle by French cryptozoologist Jean-Jacques Barloy. Mindful of the intense rivalry existing between Protestants and Catholics amid the rural Gévaudan area at the time of the Beast killings, he suggested that perhaps those occurring after the first Beast was shot were caused by Protestants releasing huge dogs and/or a hyaena upon the Catholic peasantry there. 

Returning to a Beast-Chastel link: one claim that surfaced many times throughout the Beast saga was that this uncanny creature seemed immune to bullets, having been shot at directly on a number of occasions yet without appearing to suffer any injury. An ingenious explanation for this alleged impenetrability was offered by R.F. Dubois in his book Vie et Mort de la Bête du Gévaudan (1988), who proposed that the Chastels not only had trained the creature as a voracious killing machine but also, as with official war-dogs, had kitted it out in a thick leather armour-like harness that would have shielded it to a considerable extent from gunfire. Yet if this were true, survivors of its attacks as well as mere observers would surely have noticed and reported that it was wearing a harness? However, this does not appear to have been the case.

Dubois's book (© R.F. Dubois/Ogam)

Yet another variation upon the human-based theory, as espoused in Loups Garous en Gévaudan – Le Martyre des Innocents (1995) by Pierre Cubizolles, is that one or more human sadists were indeed involved, and may even have donned wolf-skin costumes during their heinous actions, but belonged to the more elevated, aristocratic strata of society, and thus received protection and immunity from the authorities.

Certain other investigators, however, favour an even more chilling explanation. They propose that the Beast of Gévaudan was not merely a man in a wolf costume, but a bona fide loup-garou - a werewolf, committing its dreadful acts as a wolf, then transforming back into a man to avoid detection, with its identity quite possibly being that of Antoine Chastel, thereby meaning that neither of the shot creatures was the true Beast.

The Beast of Gévaudan – wolf, or wolf-man? (© William M. Rebsamen)

Worthy of especial note in relation to this unsettling concept is the extraordinary encounter allegedly experienced in late August 1764, by a peasant woman from the village of Langogne in the Gévaudan district. According to her testimony as chronicled in various media reports from that time (how accurately, however, is another matter entirely!), while accompanied by her cattle and dogs she had come upon a bizarre entity as big as a donkey, clothed in short reddish hair, sporting a long tail, short ears, and pig-like snout, but which walked on its hind legs like a man! Fortunately for her, however, it had been warded off by the cattle, which confronted it with sharp horns at the ready after it had succeeded in scaring away the dogs.

It hardly needs stating that science views a wolf-man identity for the Beast of Gévaudan with great scepticism. In any case, straightforward non-transforming wolves/hyaenas or human sadists (or both) could certainly accomplish the Beast's horrific deeds, without the need for any lycanthropic intervention.

Three depictions of the Beast as a very hirsute, almost leonine creature (especially in the left-hand background representation) (public domain)

So what wasthe Beast of Gévaudan? Perhaps I should rephrase that question: what were – or even who were– the Beasts of Gévaudan? For there seems little doubt that more than one entity was involved here, and I don't just mean the two beasts shot respectively by François Antoine's party in September 1765 (either a wolf or wolf-dog hybrid) and by Jean Chastel in June 1767 (apparently a striped hyaena, judging from the museum's identification of it). To kill the numbers of people recorded during the Beast's three years of savage bloodshed would require several wolves at least, plus the hyaena, and the possibility that the Chastels were complicit in some form of murderous spree cannot be ruled out either.

Consequently, as is so often apparent in the more involved cryptozoological cases, a composite explanation seems the most (indeed, the only) plausible  one, cloaked in this instance by religious fear and ignorance, and conceivably fuelled by some degree of human evil too – not to mention a rampant, highly sensationalised media coverage, as evidenced by various of the overwrought contemporary illustrations from that coverage purposefully included in this present ShukerNature blog article, plus the bizarre media reports of the pig-snouted biped from August 1764.

18thCentury portrayal of the first Beast as a somewhat unnerving pig-snouted, tuft-tailed quadruped with white chest (public domain)

The real Beast, therefore, or at least a component of it, may indeed have been humanoid, and bipedal, but it was not a werewolf; instead, it just might have been one or more humans acting in a truly bestial manner, with beasts of the four-legged variety taking the blame for their vile, inhuman activities – although we will probably never know for certain.

A scaly, inexplicably dragon-like Gévaudan Beast! (public domain)

All that we can say for sure is that truth may indeed be stranger than fiction sometimes, but very often it can be a lot more complex too.

Dispatching the first Beast (public domain)

The Beast of Gévaudan has been the subject of over 30 French non-fiction books and numerous novels, not to mention works in other languages too – click here and here to see selections of these varied publications.

This ShukerNature post is excerpted from my book-in-progress Dogs of Magic, Mythology, and Mystery– a canine companion to my earlier book Cats of Magic, Mythology, and Mystery.

The Beast of Gévaudan, from Chastel to chocolate bar! (public domain)






MY 500TH SHUKERNATURE POST! – PRESENTING THE TOP TEN SHUKERNATURE POSTS OF ALL TIME: FROM BLACK LIONS AND MERMAIDS TO POODLE MOTHS AND PENIS SNAKES!

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Subjects documented in six of my all-time Top Ten ShukerNature blog posts (mermaid photo © Dr Karl Shuker; Venezuelan poodle moth photo © Arthur Anker; giant sea serpent gaff photo © Takeshi Yamada; © of the other photos unknown to me)

Welcome to my 500th ShukerNature blog post! To mark this momentous occasion, I have pleasure in presenting for your entertainment and interest the following equally momentous list – the Top Ten ShukerNature posts of all time, based upon hit counts. And here they are, each one with its own clickable direct link to the post itself.

Posted: 12 June 2012
Hits count: 1,155,307

Posted: 1 August 2012
Hits count: 209,972

#3: MYSTERY OF THE VENEZUELAN POODLE MOTH – HAVE YOU SEEN THIS INSECT??
Posted: 22 August 2012
Hits count: 114,688

Posted: 16 August 2012
Hits count: 92,565

Posted: 3 August 2012.
Hits count: 76,659

Posted: 1 October 2012
Hits count: 58,418

Posted: 26 January 2014.
Hits count: 44,933

#10: GIANT ANACONDAS AND OTHER SUPER-SIZED CRYPTOZOOLOGICAL SNAKES
Posted: 20 September 2013
Hits count: 42,213

Analysing this list, several intriguing if not readily explainable facts swiftly emerge.

First and foremost, melanistic cats – most especially black lions – clearly hold an abiding fascination for ShukerNature readers. The popularity of my all-time #1 blog post, exposing various online black lion photographs as photo-manipulated hoaxes, is truly, outrageously, and – above all else – inexplicably phenomenal! What on earth is it about black lions that should have generated well over 1 million hits for this particular post since I uploaded it just over 3 years ago, far more than any other ShukerNature post, and continuing to add to that count by the thousands each week?

Collectively, ShukerNature's 500 posts have garnered a total hits count of just over 5.1 million, which means that this one single post has contributed more than 20% of that total all by itself! Nor does it end there. A follow-up post of mine exposing a further black lion photo as yet another hoax also makes the all-time Top Ten ShukerNature posts list (coming in at #8), and my examination of the highly contentious issue of whether black pumas exist is at #5.

Equally perplexing is why four of the ten posts in this all-time Top Ten list originated from the very same month, August 2012, bearing in mind that I have been posting on ShukerNature from 20 January 2009 right up to the present day, and on a regular basis throughout that sizeable time span too. What was/is so special about that specific month, therefore, particularly as the four posts in question from it deal with four entirely different subjects? True, the poodle moth was attracting tremendous online interest at the time of my post, so that would definitely have helped focus attention upon it here on my blog too. And the term 'penis snake', as invented by the media for it, no doubt explains why a large but hitherto highly-obscure species of aquatic amphibian lacking limbs and lungs has received such a high hits count on here.

Certainly, there is no doubt that photos of weird animals that have gone viral online prove popular subjects for ShukerNature posts, especially those posts that investigate what the creatures portrayed in such photos are and whether such photos are genuine or fake. The success of my two black lion posts exemplify this trend, as do those dealing respectively with the poodle moth, the potoo, the alleged half-human half-rabbit hybrid, and the many bizarre beasts created by Takeshi Yamada.

As for the two remaining posts in this list, dealing with merfolk and giant snakes respectively, these are perennially popular cryptozoological subjects. Consequently, their presence should come as no surprise.

Looking back one last time at this all-time Top Ten list, there is no doubt that I could never have predicted which of my 500 ShukerNature posts would have made the cut. And when uploading the first of my black lion posts back in June 2012, a post that took no more than half an hour to prepare, I never dreamed even for an instant that it would become the runaway ShukerNature success story that it has done and still is, seemingly destined never to be overtaken by any other post on this blog of mine, regardless of its subject, and continuing to increase its count by significant amounts on a daily basis.

But what about the other nine posts in this list? Will they still be in the Top Ten when or if a 1000th ShukerNature post is uploaded one day? Who can say? If I've derived nothing else from this list, I have definitely learnt from it to expect the unexpected – which only serves to increase my passion for preparing further ShukerNature posts in the future, as well as my fervent hope that you will continue to enjoy reading and re-reading them. So here's to the next 500, and thank you all as ever for your continuing encouragement and interest in my researches and writings!

Subjects documented in the remaining four of my all-time Top Ten ShukerNature blog posts (photo-manipulated black puma photo © Dr Karl Shuker; giant python photo © Colonel Remy van Lierde; penis snake photo © Matt Roper; © of photo-manipulated black lion photo unknown to me)







INVESTIGATING THE LOCUST DRAGON OF NICOLAES DE BRUYN - AN ENTOMOLOGICAL ENIGMA FROM THE 16TH CENTURY

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Nicolaes de Bruyn's mystifying engraving from 1594, depicting a wide range of readily-identifiable insects, plus what can only be described as a truly bizarre 'locust dragon' (public domain)

As a fervent browser of bestiaries, illuminated manuscripts, and other sources of antiquarian illustrations portraying a vast diversity of grotesque, extraordinary beasts that ostensibly bear no resemblance or relation to any species known to science, I am rarely surprised nowadays by any zoological depictions that I encounter in such sources. A few days ago, however, I was not just surprised but also thoroughly bemused – bewildered, even – by a truly remarkable picture that I happened to chance upon online.

I had been idly cyber-surfing in search of interesting animal images to add to one or other of my two Pinterest albums, when I came upon the engraving to which this present ShukerNature article is devoted, and which opens it above. Yet in spite of my experience with antiquarian images, I had never before seen anything even remotely like the exceedingly bizarre creature occupying much of the left-hand side of this engraving, and its overt strangeness was such that with no further ado I immediately set forth on a quest to uncover whatever I could find out concerning it, and, in particular, to determine what on earth (or anywhere else for that matter!) it could possibly be.

Close-up of de Bruyn's 'locust dragon' (public domain)

The first pieces of information that I obtained were the identity of the person who had produced this baffling artwork, and its original source. The person was Nicolaes de Bruyn (1571-1656), a Flemish engraver, and as can be seen on this engraving, the date of its production was 1594. Although he is best known for his many biblically-themed engravings and his large engraved landscapes reproducing designs and paintings by other artists, he produced approximately 400 works in total, including a number that featured animals.

The original source of this particular engraving was a series of prints by de Bruyn that depicted various flying creatures. The series was entitled Volatilium Varii Generis Effigies ('Pictures of Flying Creatures of Varied Kinds'), was prepared by de Bruyn in Antwerp, and was first published by Ahasuerus van Londerseel (1572-1635) of Amsterdam. It was subsequently reissued (with van Londerseel's name neatly trimmed off!) by Carel Allard in 1663 (or shortly after – there are conflicting accounts concerning this detail).

The complete engraving by de Bruyn again, his fantastical locust dragon sharing it with a wide range of accurately-portrayed insects (public domain)

What I find so intriguing about de Bruyn's engraving is the juxtapositioning of a fantastical monster in every sense of the term (more like a dragon, in fact, than any real beast), with a number of different types of insect whose depictions are so accurate, so natural, that they readily compare with well-executed 21st-Century equivalents and whose types can be easily identified. Thus, they include long-horned bush crickets, dipteran flies, a ladybird, a panorpid scorpionfly, a large moth, and a narrow-waisted polistid-like wasp.

Yet what if the monster is itself an insect – or is at least intended to represent one? After all, it does possess six legs (albeit ones bearing no resemblance to those of real insects), two pairs of wings (ditto), a pair of bristly antennae, and a long curling butterfly-reminiscent proboscis. But if so, what insect could it be, especially with such a curious tufted tail or abdominal tip, and why has it been portrayed in such a nightmarish, wholly inaccurate fashion, especially when all of the others are so life-like in appearance?

Comparison of de Bruyn's unrealistically-depicted locust dragon (top) with a realistic depiction of a locust (bottom) (public domain)

A copy of this engraving is housed in the collections of Amersterdam's celebrated Rijksmuseum, and when I accessed their record for it (click here) I was nothing if not startled by the record's claim that the engraving's mystery monster is meant to represent a locust! (The locust species in question is presumably the infamously destructive Old World desert locust Schistocerca gregaria.) Needless to say, however, I've certainly never seen a locust that looks like this, and the Rijksmuseum's record for the engraving contains no clues regarding the raison d'être for its surreal portrayal here.

The only other site encountered by me that offers any thoughts on the matter is Strange Science (click hereto see its entry for this engraving). Here, its author notes that in her book Curious Beasts (2013), Alison E. Wright, a curator of prints and drawings at the British Museum, has stated that this image "offers particular insights into the hazards of copying" (an example of it is held in the museum's art collections). In other words, de Bruyn may not have based his engraving upon an actual locust specimen that he had personally seen, but had instead either relied upon a verbal description of one that he had then interpreted extremely imperfectly in visual form, or had simply copied an inaccurate earlier depiction of a locust. In my opinion, however, both of these options are untenable when applied to de Bruyn.

Chromolithograph from 1890 of a locust swarm (public domain)

This is because, as noted earlier here, quite a proportion of de Bruyn's other artworks are biblical in theme. And as plagues of locusts were certainly a biblical occurrence, and are referred to in the Bible's text, one would therefore expect de Bruyn to be familiar with the appearance of this insect. The most famous biblical locust plague was the Eighth Plague of Egypt, sent by God as a curse upon Pharaoh, and documented as follows in the Book of Exodus 10: 12-20:

 [12] And the Lord said unto Moses, Stretch out thine hand over the land of Egypt for the locusts, that they may come up upon the land of Egypt, and eat every herb of the land, even all that the hail hath left.

[13] And Moses stretched forth his rod over the land of Egypt, and the Lord brought an east wind upon the land all that day, and all that night; and when it was morning, the east wind brought the locusts.

[14] And the locusts went up over all the land of Egypt, and rested in all the coasts of Egypt: very grievous were they; before them there were no such locusts as they, neither after them shall be such.

[15] For they covered the face of the whole earth, so that the land was darkened; and they did eat every herb of the land, and all the fruit of the trees which the hail had left: and there remained not any green thing in the trees, or in the herbs of the field, through all the land of Egypt.

[16] Then Pharaoh called for Moses and Aaron in haste; and he said, I have sinned against the Lord your God, and against you.

[17] Now therefore forgive, I pray thee, my sin only this once, and intreat the Lord your God, that he may take away from me this death only.

[18] And he went out from Pharaoh, and intreated the Lord.

[19] And the Lord turned a mighty strong west wind, which took away the locusts, and cast them into the Red Sea; there remained not one locust in all the coasts of Egypt.

[20] But the Lord hardened Pharaoh’s heart, so that he would not let thechildren of Israel go.

In any case, even without the specific biblical art link, locust plagues were sufficiently well known in de Bruyn's day for there surely to be no likelihood that he would be unfamiliar with this insect's appearance. Also, readily identifiable depictions of desert locusts date back thousands of years, exemplified by various portrayals in certain ancient Egyptian sites, such as the following one:

Readily identifiable locust depiction from a hunt mural in the grave chamber of Horemhab (the last pharaoh of ancient Egypt's 18th Dynasty), dating from c.1422-1411 BC (public domain)

Moreover, as shown by his portrayals of long-horned bush crickets in the same engraving, de Bruyn was eminently capable of rendering the basic orthopteran (grasshopper/cricket) form with meticulous accuracy.

Consequently, I feel that we need to look elsewhere for a satisfactory solution to the mystery of why he should have included a veritable locust dragon amid an array of skilfully-depicted, readily-recognisable insect forms.

Close-up of a realistically-portrayed locust about to take flight, showing how very different its wings are from those of de Bruyn's locust dragon (public domain)

Of course, in more religious, less secular times, locust plagues were traditionally seen as punishments sent by God in response to humanity's misdeeds. So might it be that de Bruyn purposefully devised his locust dragon to serve as a demonic-looking personification of such divine intervention? Or, alternatively, could it be that its presence in the engraving was actually indicative of a much more light-hearted state of mind relative to its artistic creator?

Not so long ago here on ShukerNature I posted an article of mine dealing with snail-cats and other illuminated manuscript marginalia of the zoomythological variety (click here). In it, I noted that the preponderance of bizarre, comical, and sometimes thoroughly outrageous monsters and impossible hybrids portrayed in the margins of medieval tracts by monks and other illustrators often had no relevance whatsoever to the text, and seemed to have been included for no good reason at all – other than simply to relieve the tedium experienced by the illustrators during the long periods of time required to copy or create such manuscripts, and that these marginalia monsters frequently were deliberately subversive or humorous, thereby helping to lighten their creators' moods.

Might the locust dragon of de Bruyn owe its origin to a similar reason – a wry joke perpetrated amidst what was otherwise a relatively dry, technical art commission? Certainly, its weird appearance cannot be due to ignorance on the part of the medieval illustrators, because there are several notable illuminated manuscripts in existence containing accurate portrayals of locusts.

A plague of locusts depicted in a bible produced by Nuremberg-based printer/publisher Anton Koberger in 1483 (public domain)

Over 400 years has passed since de Bruyn created his anomalous locust dragon, so we may never know the answer. Yet if nothing else, this entomological enigma – one that, despite its implausible morphology, was nevertheless drawn with Bruyn's typical flair and imbued with vibrant vitality – remains a wonder, and one that I am very happy to have rescued from centuries of obscurity and introduced at last onto the global cryptozoological stage.

If anyone reading this ShukerNature blog article has any additional information concerning its subject, I'd greatly welcome any details that you'd care to post here.

Painting from 1923 depicting swarming locusts (public domain)

To discover plenty of other strange and spectacular dragon forms, be sure to check out my recent book Dragons in Zoology, Cryptozoology, and Culture.





ANTLERED ELEPHANTS - OR UNLIKELY UINTATHERES?

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'Antlered elephants' and other North American prehistoric fauna from the Eocene epoch in what is today Wyoming, USA, as depicted in William D. Gunning's book Life History of Our Planet (1881) (public domain)

Have there ever been antlered elephants? Not as far as we know – so how can the extraordinary illustration presented above be explained? The answer dates back to the intense rivalry between two eminent American fossil collectors, resulting in the so-called Bone Wars that galvanised 19th-Century palaeontology, and focuses upon the subject of one of their most fervent bouts of competitive taxonomic classification – a long-extinct but spectacularly strange-looking group of huge ungulate mammals known as uintatheres.

Uintatheres have always held a special place in my childhood memories because the very first artistic reconstruction of a fossil mammal's likely appearance in life that I ever saw was of a Uintatherium– vibrantly depicted on one of the opening pages of my How and Why Wonder Book of Wild Animals (1962) that my mother bought for me when I was about 4 years old during the early 1960s. I read that poor, long-suffering book so many times and with such youthful enthusiasm that it eventually fell apart, but a replacement copy was soon purchased, which I still own today, so here is that wonderful, fondly-remembered illustration:

Uintatherium depicted by Walter Ferguson in The How and Why Wonder Book of Wild Animals (© Walter Ferguson/Transworld Publishers)

But what are– or were– uintatheres? Named after the mountainous Uinta region of Wyoming and Utah where their first scientifically-recorded fossils were uncovered, they belonged to the taxonomic order Dinocerata ('terrible horns'). This was an early group of extremely large, superficially rhinoceros-like ungulates (but possessing claws rather than hooves), which existed from the late Palaeocene to the mid-Eocene, approximately 45 million years ago. The males of its most famous, culminating members, the uintatheres (which existed during the mid-Eocene), bore no less than three separate pairs of blunt ossicone-like horns on their heads. These consisted of a rear pair arising from the parietal bones near the back of the skull, a middle pair arising from the maxillae or upper jaw bones, and a front pair arising from the nasal bones. Their function remains uncertain, but they may have been used for defence and/or for sexual display purposes. Also, their skull was very concave and flat in shape, and with very thick walls, thus yielding so restricted a cranial cavity that the brain was surprisingly small for such sizeable animals.

Today, two major genera of uintatheres are recognised – Uintatherium and Eobasileus (plus a few less well known ones, such as Tetheopsis) – which are very similar to one another morphologically, and are distinguished predominantly by way of certain differences in skull proportions, as delineated in the following diagram and table. These originate from the definitive work on uintathere taxonomy, North CarolinaUniversity palaeontologist Dr Walter H. Wheeler's comprehensive paper 'Revision of the Uintatheres', published in 1961 as Bulletin #14 of the Peabody Museum of Natural History, YaleUniversity.

Skull proportions in uintathere genera (from Wheeler, 1961)

Also, whereas the skull of Uintatherium was relatively broad, with the parietal bones positioned some way in front of the occiput (the skull's rearmost portion), in Eobasileus the skull was long and narrow, with the parietal horns further back and therefore much closer to the occiput.

In addition to their horns, male uintatheres also possessed a very sizeable pair of downward-curving upper tusks (they were much smaller in females), protected like scimitars by bony scabbard-resembling lower jaw down-growths. Behind each of these two tusks was a noticeable gap (diastema), separating the tusk on each side of the upper jaw from that side's first premolars. In Uintatherium, the maxillary horns were positioned directly above the diastema in each side of the upper jaw, whereas in Eobasileusthey were positioned further back, above the premolars.

Comparing the structure of a Uintatherium anceps skull at the Muséum National d'Histoire Naturelle in Paris, France (above) with that of an Eobasileus cornutus skull at the Chicago Field Museum (below) (public domain / © Dallas Krentzel/Wikipedia)

Uintatherium was a massive browsing ungulate, up to around 13 ft long, 5.5 ft tall, and up to 2 tons in weight. Only two species of Uintatherium are recognised today – North America's U. anceps (the most famous dinoceratan of all, formally named and described in 1872 by American palaeontologist Prof. Joseph Leidy), and China's more recently-recognised U. insperatus (named and described in 1981).

Only one Eobasileus species is nowadays recognised – E. cornutus, named by fellow American palaeontologist Prof. Edward Drinker Cope in 1872. This was the largest uintathere of all, and in fact the largest land mammal of any kind during its time on Earth, with a total length of around 13 ft, standing 6.75 ft high at the shoulder, and weighing up to 4.5 tons.

Eobasileus as depicted masterfully and majestically by Charles Knight (public domain)

Just over a century ago, however, a bewildering plethora of uintathere genera and species had been distinguished and named, due not so much to any taxonomic merit, however, but rather to the driven desire by two implacable fossil-collecting foes during the 1870s and 1880s to outdo one another in their febrile quest for palaeontological immortality and to destroy each other's scientific reputation, until their obsession eventually ruined both of them, socially and financially.

Their names? Othniel Charles Marsh (1831-1899), and Edward Drinker Cope (1840-1897).

Othniel Charles Marsh (left) and Edward Drinker Cope (right) (public domain)

After having been professor of vertebrate palaeontology at YaleUniversity in New Haven, Connecticut, Marsh became the first curator at the Peabody Museum of Natural History at YaleUniversity (the museum having been founded by his wealthy uncle, the philanthropist George Peabody). Conversely, Cope preferred field work to academic research, as a result of which he never held a major scientific post of any lengthy tenure, though he did become professor of zoology for a time at the University of Pennsylvania in Philadelphia, his home city.

Although they are most famous for their frenzied attempts to best one another in the description of new dinosaur species, Marsh and Cope also constantly challenged each another along similar lines in relation to their descriptions of new uintatheres. The regrettable, chaotic result was the creation not only of numerous new species but also of many new genera, several of which were named within the space of a single year, and all of which were unjustified, having been founded upon the most trivial, taxonomically insignificant of differences.

This sorry, farcical state of affairs is preserved today in the startling array of junior synonyms attached to the genus Uintatherium, including the nowadays long-nullified genera Dinoceras (coined by Marsh in 1872), Ditetrodon (Cope, 1885), Elachoceras (Scott, 1886), Loxolophodon (Cope, 1872), Octotomus (Cope, 1885), Tinoceras (Marsh, 1872), and Uintamastix (Leidy, 1872). Although I normally have little interest in abandoned names, I do feel a pang of regret for the loss of one particular example here – the wonderfully-named Dinoceras mirabile (synonymised with Uintatherium anceps), which was coined in 1872 by Marsh, and translates as 'marvellous terrible-horn'– a very evocative, accurate description of how this extraordinary beast would have looked in life.

Uintatherium as portrayed upon a postage stamp issued by Afghanistan in 1988, from my personal collection (© Afghanistan postal service)

But what has all (or any) of this to do with antlered elephants? I'm glad you asked! Because uintatheres were indeed so astounding in form, when their first fossils were discovered palaeontologists were by no means certain which creatures were their closest relatives, and how, therefore, they should be classified. Cope, who was particularly enthralled by them, was convinced that such huge ungulates must surely be related to elephants, and he even opined that they probably possessed a long nasal trunk like elephants plus a pair of very large, wide, elephantine ears, and that they should be housed with them in the taxonomic order Proboscidea, thereby conflicting yet again with Marsh's view (in 1872, Marsh had placed them within their very own order, Dinocerata). But that was not all.

Cope also speculated that their rearmost, parietal pair of horns may have been much larger than the other two pairs, possibly even branched and covered in velvet, thereby resembling the antlers of deer. And so, in various early reconstructions of their putative appearance in life, this is exactly how uintatheres were portrayed – as antlered, large-eared, trunk-wielding pachyderms, resembling the highly unlikely outcome of an equally improbable liaison between an elephant and a moose!

Eobasileus cornutus with elephant ears and trunk , from an August 1873 Pennsylvania Monthly article by Edward Drinker Cope (public domain)

True, there were certain less dramatic versions – one illustration (see above) that appeared in a Pennsylvania Monthlyarticle from August 1873 by Cope concerning the uintathere species now called Eobasileus cornutus portrayed it with tall unbranched parietal horns rather than with parietal antlers (although they are still slightly palmate at their distal edges), but did gift it with an elephant's ears and trunk (as instructed by Cope). However, the two most (in)famous examples of this specific genre of reconstruction were rather more extreme, and both of them appeared in William D. Gunning's book Life History of Our Planet (1881). One of these is the following diagrammatic reconstruction:

Line diagram of a Uintatherium(spelt 'Uintahtherium' here) as an antlered elephant-like beast in Gunning's book (public domain)

Gunning's comparisons drawn between this remarkable creature and various modern-day animals were equally memorable, albeit decidedly fanciful in parts (notably its small brain allying it with the marsupials!):

"We are as astronomers taking the parallax of a distant star. The animal which roamed along the banks of that Wyoming lake is as far from us in time as the star in space. What is its parallax? what its place in the scheme of creation? The long, narrow head with skull elevated behind into a great crest, the molar teeth and arch of the cheek-bone are characters, which indicate relationship with the Rhinoceros. The absence of teeth in the premaxillaries points to the Ruminants. The vertical motion of the jaw points away from the Ruminants, towards the Carnivores. The great expansion of the pelvis, the complete radius and ulna, the shoulder-blade and the hind-foot, are characters which affiliate our animal with the Elephant. The diminutive brain would place it with the pouched Opossum.

"The horns on the maxillaries, the concavity of the crown, and the enormous side crests of the cranium are characters which remove the animal from all living types. We have found the ruins of an animal composed of Elephant, Rhinoceros, Ruminant, Marsu­pial, and a something unknown to the world of the living. Drawing an outline around the skeleton, we have a long head with little horns on the nose, conical horns over the eyes, and palmate horns over the ears, with pillar-like limbs supporting a massive body nearly eight feet high in the withers and six in the rump. Eliminating from its structure all that relates to the living, so many and such dominant structures remain that we cannot choose for it a name from existing orders. We will call itUintahtherium[sic], which means, the Beast of the UintahMountains."

A pair of antlered elephantine uintatheres appeared in this same book's frontispiece illustration, but this time fleshed out rather than in diagrammatic form, as part of an Eocene panorama of North American mammals. The illustration in question opens this present ShukerNature post, and is also reproduced below, together with its original accompanying caption:

The frontispiece illustration of Gunning's book, featuring a pair of antlered uintatheres (public domain)

By the end of the 19th Century, however, with many additional fossilised remains having been discovered in the meantime, palaeontological views regarding both the morphology and the taxonomy of the uintatheres had changed markedly. Cope's views concerniing them had been totally rejected in favour of Marsh's, thus promoting the belief still current today that these mammalian behemoths represented a lost ungulate lineage, unrepresented by (and unrelated to) any that are still alive in the modern world.

A rather more modern-looking Uintatherium as illustrated in the Reverend H.N. Hutchinson's book Extinct Monsters (1897)

So it was, for instance, that Uintatherium was illustrated in Extinct Monsters (1897) by the Reverend H.N. Hutchinson in much the same manner as it still is now, over a century later, shorn of its velvet-surfaced antlers and with only relatively short and blunt, unbranched horns in their stead, plus much smaller ears, and a conspicuous lack of any probiscidean trunk. The antlered elephant was no more – a non-existent fossil phantom blown swiftly away by a brisk, incoming breeze bearing new discoveries and new ideas borne from a new generation of researchers. 'Twas ever thus.

My How and Why Wonder Book of Wild Animals (1962), containing the first Uintatheriumillustration that I ever saw as a child (© Transworld Publishers)






MY LATEST BOOK, A MANIFESTATION OF MONSTERS, IS NOW AVAILABLE TO PRE-ORDER ON AMAZON!

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Front cover of my latest book, A Manifestation of Monsters (© Dr Karl Shuker/Michael J. Smith/Anomalist Books)

I'm delighted to announce that my latest book, A Manifestation of Monsters: Examining the (Un)Usual Subjects, published by Anomalist Books and containing a foreword by my good friend and fellow cryptozoologist Ken Gerhard, is now available to pre-order on Amazon.

Please click its title above to access its own dedicated web-page on my website, which includes direct clickable links to its ordering pages on Amazon's American and British sites.

Fellow cryptozoologist and good friend Ken Gerhard, who very kindly wrote the foreword to my new book - thanks, Ken!! (© Ken Gerhard)

And here's a summary of what inspired this 22nd book of mine and what it contains:

During the 30 years in which I have been investigating and documenting mystery creatures, my writings have been guided by countless different inspirations, but what inspired this present book was a spectacular work of art. Namely, the wonderful illustration that now graces its front cover, which was prepared by Michael J. Smith, an immensely talented artist from the USA, and which I first saw in 2012. It depicts no less than 17 cryptids and other controversial creatures, including the Loch Ness monster, bigfoot, coelacanth, mokele-mbembe, Jersey devil, chupacabra, Mongolian death worm, Tasmanian wolf, dogman, giant squid, skunk ape, and dodo.

Ever since seeing it, my notion of preparing a book inspired directly by this painting and the eclectic company of entities that it portrays has always stayed with me, but the fundamental problem that I faced if I were to do so was how to categorise them collectively.

What single term could be used that would effectively embrace, encompass, and enumerate this exceptionally diverse array of forms, as well as the range of additional creatures that would also be included in the book? 'Cryptid' was not sufficiently comprehensive, nor was 'mystery creature' or 'unknown animal', because some of the depicted beasts seem to exist far beyond the perimeters - and parameters - of what is traditionally deemed to be the confines of cryptozoology. Consequently, I eventually concluded that there was only one such term that could satisfy all of those requirements – indeed, it was tailor-made for such a purpose. The term? What else could it be? 'Monster'!

Derived from the Latin noun 'monstrum' and the Old French 'monstre', 'monster' has many different modern-day definitions - a very strange, frightening, possibly evil (and/or ugly) mythical creature; something huge and/or threatening; a malformed, mutant, or abnormal animal specimen; and even something extraordinary, astonishing, incredible, unnatural, inexplicable. These definitions collectively cover all of this book's subjects – and so too, therefore, does the single word 'monster' from which the definitions derive.

Thus it was that this became a book of monsters, but not just a book – a veritable manifestation of monsters. That is, a unique exhibition, a singular gathering, an exceptional congregation of some of the strangest, most mystifying, and sometimes truly terrifying creatures ever reported - still-unidentified, still-uncaptured, still-contentious. Even 'mainstream' species like the dodo and coelacanth, whose reality and zoological identity are fully confirmed, still succeed in eliciting controversies, and are veritable monsters - the dodo having been referred to by various researchers as a monstrous dove, and the coelacanth as a resurrected prehistoric monster.

So, if you're looking for monsters, you've certainly come to the right place, and will certainly be purchasing the right book. Just pray that once you open it and encounter the incredible creatures lurking inside, you don't live to regret your bravery – or foolishness - in having done so. In fact, just pray that you do live...

Hoping that you enjoy encountering my manifestation of monsters!!

Michael J. Smith's spectacular original artwork, 'Cryptids', which inspired my book and which now appears on its front cover – thanks, Michael!! (© Michael J. Smith)







MEDUSA'S MENAGERIE - NAME-CHECKING SOME ZOOLOGICAL GORGONS FROM THE PRESENT AND THE PAST

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Photo-bombed by a gorgonopsid – it could only happen to me! © Dr Karl Shuker)

Deriving their name from 'gorgos', an ancient Greek word translating as 'dreadful', the gorgons are undoubtedly among the most infamous, terrifying monsters in classical Greek mythology. A trio of nightmarish sisters born to the ancient sea deities Phorcys and Ceto, each of these three horrific entities was feared for the writhing, seething, sibilant mass of living venomous serpents that composed her hair, and even more so for her hideous visage's dreadful gaze, which was absolutely petrifying, literally – because anyone who looked directly into her face and eyes was instantly and irrevocably turned to stone.

The decapitated head of Medusa, slain by Perseus, as painted by Peter Paul Rubens, c.1617-1618; intriguingly, note that among the snakes breaking free from her hair following her death is an amphisbaena (head at each end of its body) directly below her head, and a very strange-looking fox-headed serpent to the left of the amphisbaena (separating the two is a scorpion) (public domain)

Ironically, the two immortal gorgons, Stheno and Euryale, scarcely feature at all in Greek mythology and are therefore all but forgotten beyond the cloistered domain of classical scholars, even though one might have expected that their invulnerable, inviolate nature coupled with their lethal power of petrification would surely have set them in good stead indeed as truly daunting opponents for any of the famous Greek heroes to vanquish. However, it is commonly believed that their existence was a later addition to an original myth of just a single, mortal gorgon, because there are so many trinities of female monsters or other entities in Greek mythology (e.g. the Graeae or Grey Sisters, the Furies or Erinyes, the Horae, the Charites or Graces), so this may well explain, their virtual absence from classical legend.

(Interestingly, the premise of a 1964 British horror movie made by Hammer Films, starring Christopher Lee and Peter Cushing, and entitled The Gorgon was the survival into modern times of one of the two immortal gorgons; but the film's researchers apparently made a major error, because they named her as Megaera, who in Greek mythology wasn't a gorgon at all, but was instead one of the three Furies, together with Tisiphone – erroneously named in this same movie as the second immortal gorgon – and Alecto.)

Poster advertising the 1964 Hammer Films horror movie The Gorgon (© Columbia Pictures/reproduced here on the basis of non-commercial fair use only)

Conversely, it is the third gorgon, that single mortal representative, who has seized virtually all of the public attention afforded to this terrifying trio. Her name? Medusa.

Medusa's horror-laden history has assumed many forms during the countless tellings and retellings by all manner of writers, chroniclers, and narrators down through the ages – even including variants in which she was originally a stunningly beautiful maiden but was transformed into a merciless, embittered monster with deadly gaze after finding disfavour with one or other of the Greek deities. Irrespective of her origin, however, Medusa was eventually slain by the demigod hero Perseus, who skilfully succeeded in slicing off her head with his sword while only looking at her indirectly, via a reflection in the highly-polished surface of his mirrored shield – a gift to him from his divine protector, the goddess Athena.

Perseus and the gorgons, with Perseus holding up the decapitated head of Medusa; illustrated by Walter Crane for Nathaniel Hawthorne's A Wonder-Book For Girls and Boys, 1893 edition (public domain)

Perseus was the very first of the classical Greek heroes, who went on to become the legendary founder of Mycenae. His father was the god Zeus, his mother Danaë, a daughter of King Acrisius of Argos and his wife Queen Eurydice, whom Zeus famously visited and impregnated in the guise of a shower of golden rain.

In later ages, carvings of Medusa's head were incorporated in a number of classical architectural features, such as columns, arches, door panels, decorative grilles, sarcophagi, fountains, statues, and mosaics, to ward off evil spirits, and the image was also a popular depiction on protective amulets. This visual device is known as a gorgoneion.

A gorgoneion entitled 'Medusa and the Seasons', in a Roman mosaic found at Palencia, Spain, and dated at 167-200 AD (© Luis Garcia/Wikipedia)

Today, Stheno and Euryale remain largely unknown; but despite having been slain, Medusa still lives on, or at least her name and that of her monstrous kind do – which is due not only to the popularity of her memorable legend but also, in turn, because both 'gorgon' and 'Medusa' have been applied to a wide range of very remarkable, entirely real creatures, some living, others once-living. So permit me now to take you all on a brief, ShukerNature-led visit to the extraordinary menagerie of Medusa.


HOW AN AQUATIC GORGON-HEAD BECAME AN INTERNET ALIEN – OR WAS IT THE OTHER WAY ROUND?!

According to a report posted online during late September 2014 by Britain's Sunday Express newspaper and written by Levi Winchester, a 54-year-old Singapore fisherman named Ong Han Boon had recently captured in waters off the southern Singaporeisland of Sentosa a creature so bizarre in appearance that he seriously wondered whether it might be an alien, an extraterrestrial! Before releasing it back into the sea, he filmed a short video of it that duly appeared in the above-noted newspaper report (click hereto view it there), and on 28 September a Singapore-based member of Facebook called Jr Saim publicly shared the video on his FB timeline (click hereto view it on Facebook). The video swiftly went viral, soon appearing – and still appearing – on numerous news and video-sharing websites.

Still from the Singapore Gorgonocephalus video (© Ong Han Boon)

But what was the creature that it showed? Those of an ophidiophobic disposition who have not already watched it might choose to avert their eyes from the video, because the entity in it looks disturbingly like a hideous matted wig composed of writhing, twisting, curling and uncurling serpentine tresses – a veritable Medusa scalp, in fact. And nomenclaturally, if not taxonomically, that is precisely what it is, because its scientific binomial name is Gorgonocephalus caputmedusae– 'gorgon-headed Medusa head'.

Happily, however, this grotesque entity lacks the petrifying power of its namesake, and it isn't of extraterrestrial origin either, because in reality it is nothing more startling than a sea-dwelling starfish, or, more specifically, a basket star. These particular invertebrates belong to a taxonomic class of echinoderms known as ophiuroids, whose most famous members are the notably long-limbed brittle stars.

Gorgonocephalus arborescens, from Alfred Edmund Brehm's famous multi-volume animal encyclopaedia Tierleben ('Animal Life'), which was originally published in 6 volumes during the 1860s and then republished as an expanded 10-volume second edition during the 1870s (public domain)

In a Gorgonocephalus basket star, however, of which there are several species, each of the five arms radiating from its central disc repeatedly divides and subdivides, yielding the somewhat disturbing, wriggling mass of miniature snake-like 'armlets' so vividly captured in the above video, and whose serpentine resemblance is heightened by their fleshy covering of pink rubbery skin. For a much more appealing, stationary representation of a Gorgonocephalus basket star, here is German biologist and artist Prof. Ernst Haeckel's exquisite rendition:

Gorgonocephalus basket star, appearing in Prof. Ernst Haeckel's gorgeously-illustrated, 2-volume tome Kunstformen der Natur ('Art Forms in Nature'), published in 1904 (public domain)

And here's an illustration of a reddish-coloured species named after the famous 19th-Century American zoologist and geologist Prof. Louis Agassiz – Gorgonocephalus agassizi:

Gorgonocephalus agassizi, 1800s rendition (public domain)

When seeking prey, Gorgoncephalus takes up a stationary position and then spreads out its innumerable tiny armlets like a basket. Each of these small but highly dexterous armlets is equipped with hooks and spines to seize and hold prey, normally krill or other planktonic forms, which they then convey to the mouth on the underside of the animal's central disc with the added assistance of a series of suctioned tube-feet.


A GORGON-GUTTED RIBBON WORM

No less grotesque and slightly stomach-churning than the Gorgonocephalus video of 2014 was a more recent one, seemingly first aired in May 2015 but again swiftly going viral and appearing on numerous websites, but featuring, as it turned out, another gorgon-dubbed creature with equally discomforting behaviour. The video (whose original ownership is presently unknown to me) can be viewed here, and shows a long blood-red worm-like creature originating in the seas off Thailand but resting on someone's hand that suddenly releases from its mouth a long thick white tube from which an intricate mass of white filaments shoot forth and which momentarily writhe about before sticking to the person's hand – almost as if this mini-monster has disgorged a gorgon's head of serpentine hair! Nor is that my own peculiar impression – the same notion clearly occurred to others too, because the generic name of the vermiform creature in question is none other than Gorgonorhynchus. This roughly translates as 'gorgon-beaked', though the beak in this instance is actually a proboscis.

Still from the video of the Thai Gorgonorhynchus nemertean everting its proboscis on a person's hand (copyright owner currently unknown to me)

As someone who studied such creatures during a university project, I was very familiar with this animal's behaviour, repulsive though it evidently seemed to many other viewers of the video, judging from various comments posted concerning it. The creature is a nemertean, or ribbon worm, Nemertea (aka Rhynchocoela) being a phylum of invertebrates whose members are characterised by their often very long slender bodies and in particular by their possession of a lengthy prey-capturing proboscis. This distinctive organ is normally held inside the worm's mouth within its own sheath (the rhynchocoel) and in an inverted, inside-out conformation, but when the worm encounters a potential prey victim, it is instantly and quite explosively shot out through the worm's mouth in everted form. The proboscis usually bears hooks at its tip that seize the prey, and sometimes inject it with venom too, after which the prey is swiftly hauled back inside the worm's body via the proboscis's immediate muscle-powered retraction through the mouth in inverted form once more.

Illustration of Gorgonorhynchus reptens everting its branched proboscis after feeling threatened from being touched (© Rachel Koning/Wikipedia)

In most nemerteans, the proboscis is a long, simple tube, but in certain species, including those of the genus Gorgonorhynchus, the tube possesses many branching sticky filaments that divide and subdivide in a manner analogous to the armlets of the basket star Gorgonocephalus, and which, again like the latter's armlets, wriggle and writhe as if they were a multitude of tiny snakes, before wrapping themselves around the prey, encapsulating it in an adhesive mass from which it cannot pull out, almost like the gossamer produced by a spider. In effect, therefore, when the nemertean everted its proboscis all over the person's hand, it was either stressed or feeling threatened from being handled or it was reacting as if the hand were prey, and hence was vainly attempting to wrap it up in its proboscis's sticky filaments.


GORGONS FROM PREHISTORY

Moving now from the present back to the (very) far-distant past: in the mid to late Permian Period (265 to 252 million years ago), when dinosaurs were still merely a future twinkle in the eye of evolution, a reptile-originating lineage existed whose members were so genuinely monstrous in form and size that in 1876 the great 19th-Century palaeontologist Prof. Sir Richard Owen fittingly named them after Greek mythology's own historical (albeit not prehistorical!) horrors, the gorgons. For he christened their type genus and species Gorgonops torvus, after which genus their entire taxonomic group (currently deemed a suborder) duly derived its name – Gorgonopsia – in 1895, as dubbed by British palaeontologist Prof. Harry G. Seeley.

Also called gorgonopsians, the gorgonopsids belong to the taxonomic order of synapsid reptiles known as Therapsida, whose members are often referred to colloquially as the mammal reptiles or mammal-like reptiles, and do indeed belong to the same taxonomic clade, Theriodontia, as do true mammals.

A life-sized animatronic gorgonopsid on exhibition at the WestMidlandsSafari Park in England, August 2015 (© Dr Karl Shuker)

Gorgonopsids were among the largest of all carnivorous vertebrates alive at that time (the biggest, Inostrancevia from northern Russia, was up to 11.5 ft long, the size of a large bear or small rhinoceros, with the aptly-named Titanogorgan maximus from Tanzania only slightly smaller), and they were certainly the dominant ones. Even so, in genera such as Gorgonops itself, native to what is now Africa, their most memorable features were their enormous sabre-like canine teeth – so large that they almost projected below their lower jaw.

Gorgonopsids also had pillar-like legs that arose from underneath their bodies like those of mammals rather than splaying from their sides like reptiles. This important anatomical feature enabled them to move more swiftly and energy-efficiently than their lumbering herbivorous prey, which included some very large, hefty plant-eating reptiles known as pareiasaurs, some of which, like Scutosaurus, were armoured for protection.

The gorgonopsid Inostrancevia alexandri attacking the pareiasaur Scutosaurus karpinski (© Dmitry Bogdanov/Wikipedia)

The gorgonopsids perished entirely during the mass extinction at the end of the Permian, the only theriodont lineage to become extinct during that catastrophic event, but they were sensationally resurrected in CGI if not in life itself during the early 2000s by Britain's highly popular ITV sci-fi television show Primeval. In the very first episode, originally screened in Britain on 10 February 2007, a marauding gorgonopsid of the genus Gorgonopsequipped with a monstrously large pair of upper canines confidently stepped forth from out of the Permian and into the present day via a temporary gateway through time known as an anomaly, wreaking havoc in Gloucestershire's Forest of Dean, tenaciously stalking the perplexed scientists sent to deal with this ferocious anachronistic therapsid, and vibrantly demonstrating to enthralled viewers everywhere that carnivorous dinosaurs were not the only prehistoric predators that oozed charisma and exuded terror in equal proportions. Moreover, another Gorgonopsfeatured in the final episode of this first series of Primeval.

A gorgonopsid on the prowl in Episode 1, Series 1 of Primeval (© ITV Studios/ProSieben/Impossible Pictures/Treasure Entertainment/M6 Films)

Nevertheless, bearing in mind that prior to Primevalcoming along, gorgonopsids were scarcely known beyond the palaeontological community, to utilise one as the star monster in the opening episode of a brand-new, potentially major new sci-fi show rather than going for the safer tried-and-trusted option of a rampaging dinosaur was not only inspired but also very brave – and yet, as it turned out, highly successful too. All of which only goes to show that, clearly, you can't keep a good gorgon, or gorgonopsid, down!

Two African therapsids - the gorgonopsid Rubidgea battling a dicynodont Oudenodon, as depicted on a postage stamp issued in 1973 by Zambia, from my personal collection (© Zambia postal service)


THE FRAGILE, STINGING SEA-FLOWERS OF MEDUSA

Needless to say, no documentation of real-life gorgon namesakes could be complete without considering the most famous example of all, named specifically after the most famous gorgon of all – Medusa herself.

In the phylum Cnidaria, there are two basic body forms, both of which are produced by many species, but only one or the other by some. The two body forms are the sessile, stalk-bodied, tentacle-headed, hydra-like polyp; and the free-swimming, umbrella-shaped, often (but not always) tentacle-fringed, jellyfish-like medusa. The principal taxonomic classes of cnidarian are Hydrozoa (the hydrozoans, including the hydras, freshwater jellyfishes, and siphonophores), Staurozoa (the stalked jellyfishes), Scyphozoa (the true jellyfishes), Cubomedusae (the box jellyfishes), and Anthozoa (the sea anemones and corals). Certain hydrozoans, scyphozoans, and cubomedusans all produce a medusa form, many of which are usually equipped with long stinging tentacles that fancifully resemble the living snakelock hair fringing the dread face of Medusa, thereby earning the cnidarian medusa form its name, as coined for it in 1752 by none other than Linnaeus himself.

And so, what better way to bring to a memorable close our visit to Medusa's menagerie than to savour some of the most extravagantly exquisite illustrations ever produced of the varied types of cnidarian medusae, often resembling bizarre, exotic sea-flowers, as contained within Hackel's artistic masterpiece Kunstformen der Natur ('Art Forms in Nature'), published in 1904. Please click the images to enlarge them.

Three species of Discomedusae, true jellyfishes belonging to the class Scythozoa (public domain)

More Discomedusae (public domain)

Various species of Narcomedusae, a hydrozoan order whose species normally lack a polyp stage (public domain)

Various species of Trachymedusae, another hydrozoan order whose species never produce a polyp stage, only reproducing sexually via medusae (public domain)

Various species of Leptomedusae or thecate hydroids, a hydrozoan order whose species produce ensheathed polyp colonies (the protective sheath is known as a theca or perisarc), as well as sexually-reproducing medusae (public domain)

Views of the siphonophore Physophora hydrostatica– like all siphonophores, what looks like a single large complex organism equipped with bell, tentacles, etc, is in reality a super-organism, consisting of an entire colony of highly-specialised individual organisms, each of which is one of the super-organism's organs, e.g. one organism is the bell, another organism is one of the tentacles, yet another is another of the tentacles, etc (public domain)

More siphonophores (public domain)

Views of the helmet jellyfish Periphylla periphylla, a deepsea species of true jellyfish or scyphozoan (public domain)

Various species of Anthomedusae, the athecate hydroids, a hydrozoan order whose species produce polyp colonies not ensheathed in a protective sheath (the theca or perisarc), as well as sexually-reproducing medusae (public domain)

Various species of Stauromedusae, the stalked jellyfishes, sole members of the taxonomic class Staurozoa, whose medusae are attached rather than free-swimming (public domain)

Various species of Cubomedusae, the box jellyfishes, which include Flecker's sea wasp Chironex fleckeri, the world's most venomous jellyfish, yet still-undiscovered by science in Haeckel's time, and remaining so until the mid-1950s (public domain)

More Discomedusae, true jellyfishes belonging to the class Scyphozoa (public domain)

Various species of rhizostome Discomedusae, true jellyfishes belonging to Scyphozoa (public domain)

More siphonophores (public domain)

More species of Discomedusae, including the medusa of the familiar moon jellyfish Aurelia aurita (top centre) (public domain)

Still more siphonophores (public domain)

Also commemorating Medusa, incidentally, are Medusaceratops lokii (also commemorating Loki, the Norse god of evil), a late Cretaceous species of ceratopsian horned dinosaur, which inhabited what is now Montana, USA, and was formally named in 2010; and Medusagyne oppositifolia, the critically-endangered Seychelles jellyfish tree, earning its genus name from the fancied resemblance of its flower's gynoecium to Medusa's head, plus its common name from the distinctive jellyfish-like shape of its dehisced fruit, and believed extinct until some individuals were discovered on the island of Mahé during the 1970s.

The front cover of Prof. Ernst Haeckel's truly beautiful book, Kunstformen der Natur (1904) (public domain)

And speaking of jellyfishes: how ironic it is that in certain instances, creatures as beautiful as cnidarian medusae are also potentially lethal, due to the potency of the venom produced by their tentacles' nematocysts or stinging cells. Then again, how can we really expect anything else from organisms that are, after all, specifically named after a legendary figure feared not only for her thanatic eyes but also for the deadly nature of her living tresses?

Me and my mate the gorgonopsid (© Dr Karl Shuker)








PRESENTING THE TSMOK STATUE AT LAKE LEPEL IN BELARUS - AN AQUATIC DRAGON, A FLIPPERED WATER-DEER, OR A LONG-NECKED SEAL?

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Lepel Tsmok, the tsmok statue, immediately after its ceremonial unveiling at LakeLepel in Belarus on 9 November 2013Alexander "Tarantino" Zhdanovich / cmok.budzma.org/node/81 on http://labadzenka.by/?p=25052)

Earlier this month, on 8 August 2015, the city of Lepel in Belarus's VitebskProvince hosted an international festival of mythology entitled 'On a Visit to Lepel Tsmok' (click here to access its full programme of events). Among the varied array of subjects featured in this festival's talks and presentations was Lepel's very own legendary monster, one that was once virtually unknown to the outside world. Thanks to a wonderful statue here, however, all that is now changing, rapidly. But, as they say, to begin at the beginning…

Publicity poster for Lepel's international festival of mythology, depicting Lepel Tsmok (© 'On a Visit to Lepel Tsmok' international festival)

On 14 September 2013, Lepel celebrated its 574thbirthday – and as part of those celebrations, a specially-commissioned statue was officially installed on the shores of Lake Lepel, a large body of freshwater that has always been a popular sight and attraction among visitors and locals alike here, and bordered today by Tract Tsmok, the city's park. Now, however, it is even more special, thanks to this remarkable, unique statue – which, following its ceremonial unveiling on 9 November 2013, swiftly become a veritable magnet for photo opportunities, its success in attracting tourists eager to see it and be photographed alongside it exceeding even the already high expectations held by the city's ruling council when originally sanctioning its creation.

For not only is the LakeLepel statue both spectacular and highly photogenic, but in addition its subject is certainly no ordinary one. What it portrays is a tsmok – a legendary medieval water dragon of a type scarcely known outside Belarus and Lithuania (until 1793, Lepel was part of Lithuania, lying directly to the west of Belarus), but a few of which are said still to inhabit this lake's mysterious depths, at least according to traditional Lepel lore.

Vladzimir Karatkievich's novel Hrystos Pryzyamlіўsya ¢ Garodnі: Evangelle Іudy Hell ('Christ Has Landed in Grodno: The Gospel of Judas'), published in 1990 (© Vladzimir Karatkevich)

The idea for the statue, which has been formally dubbed Lepel Tsmok, came from ethnographer Vladimir Shushkevich – aka 'Valatsuga' (Valadar) – whose home city is Lepel, where he has lived for many years, and who has a longstanding interest in the mythology of its fabled water beasts. Fellow Belarusian ethnographer Nikolai Nikiforovsky has also written about tsmoks, and they were mentioned by Slavic culture researcher Alexander Afanasyev too.

In particular, however, Shushkevich is well-acquainted with esteemed Belarusian author Vladzimir Karatkievich's historical novel Hrystos Pryzyamlіўsya ¢ Garodnі: Evangelle Іudy Hell ('Christ Has Landed in Grodno: The Gospel of Judas'), published in 1990, which in its first section, 'The Fall of the Fiery Serpent', draws upon Lepel folklore chronicling how 40 tsmoks were allegedly killed overnight in Lake Lepel during the Middle Ages. It also describes their morphological appearance, referring to them as behemoths with the head of a deer or snake and the body of a seal.

After Shushkevich conceived and publicised at various cultural and tourist festivals his proposed project of producing this tsmok statue, it was formally approved by an international jury from the European Union, as were nine other initiatives, all of which focused upon promoting sustainable rural tourism in Russia and Belarus. However, it was Shushkevich's statue project that received the largest EU grant – 2900 euros.

Leo Oganov and Vladimir Shushkevich, with Oganov's plasticine scale model of his tsmok statue (© Lepel.by)

The sculptor selected by the Arts Council in the Regional Executive Committee to produce Lepel Tsmok was Leo Oganov (sometimes spelt Aganov) from Minsk, Belarus's capital, who had already received plaudits for a sculpture honouring a Grand Duchy of Lithuania leader that he had presented to Lepel in 2010, and which stands in the city's main square. (There is also a mermaid statue in Lepel, produced by Igor Golubev a year earlier.) Oganov prepared plasticine scale models of several different reconstructions of the tsmok, one of which resembled a typical fire-breathing, winged, non-aquatic dragon, but after much debate the eventual choice was very different, much more interesting, and extremely eyecatching.

The material that Oganov's Lepel Tsmok would be made from also became an important subject for debate. It was felt that bronze would prove too expensive, but other, more viable options included cast iron or silumin (a silicon-aluminium alloy). Cast iron was the final choice, bestowing upon it a silvery sheen reminiscent of shining fish scales, an appropriate look for an aquatic creature. When the statue was complete, it weighed just over 1 ton, and was 5.5 ft tall.

Rear view of Lepel Tsmok, showing its dorsal ridgeAlexander "Tarantino" Zhdanovich / cmok.budzma.org/node/81 on http://labadzenka.by/?p=25052)

Oganov drew inspiration for Lepel Tsmok's morphology from traditional, folkloric descriptions of this water monster, including those contained in Karatkievich's above-cited novel, but certain potentially fragile and therefore breakable features present in his original model of it needed to be amended or omitted entirely, in order to avoid the risk of subsequent damage to the statue once installed. These included a 'moustache' of catfish-like barbels around its mouth (omitted), a crest upon its head (reduced to a bare minimum), and a mane upon its neck (omitted). It was also made more people-friendly than the original tsmok dragons of lore (as well as less expensive to produce) by excluding wings, plus any suggestion of fire-breathing, human-devouring, and general offensiveness, but adding an amiable, friendly expression to its face.

The result is one of the most distinctive cryptid/legendary monster representations that I have ever seen (albeit only online so far). Overall,  Lepel Tsmok resembles a fascinating composite of aquatic dragon, female (antler-lacking) water-deer, and long-necked seal. For whereas the long curling scaly tail is definitely dragonesque, its face and large ears are decidedly cervine (or even equine if its mane had been retained), but its overall body shape and flippers instantly recall those of a seal, particularly a long-necked one (as documented in detail by me here and hereon ShukerNature).

Two stills from the 2007 movie The Water Horse: Legend of the Deep, showing this fictional cryptid in its small, juvenile stage (© Columbia Pictures)

It also reminds me a little of the juvenile stage of the eponymous fictional cryptid in the wonderful 2007 fantasy movie The Water Horse: Legend of the Deep, which was based upon British author Dick King-Smith's children's novel The Water Horse (1990).

But just to confirm that Oganov's silvery tsmok is indeed true if not to life then at least to lore, placed alongside its statue in its installed form as an incorporated part of the complete sculpture is a representation in cast iron of an open book, upon whose pages is carved a written description of the tsmok's appearance as excerpted directly from Karatkievich's novel.

Publicity poster for the 2007 movie The Water Horse: Legend of the Deep (© Columbia Pictures)

Today, almost two years on from its ceremonial unveiling, Oganov's Lepel Tsmok is inordinately popular, a veritable Nessie of the East has been born, with souvenirs and other likenesses of it sold nearby, and photos of visitors posing alongside it contained in numerous holiday albums and shared countless times online in social networking sites.

It is especially favoured by visitors about to be wed or newly-wed, however, because according to Lepel legend yet again, if offerings of food and drink from a wedding feast are brought to a tsmok's watery abode and left there, for it to consume at its leisure, the monster will bless the marriage and bestow good fortune upon the bride and groom. Today, such tributes are not normally brought to the tsmok statue, but newly-weds nonetheless derive great joy from posing alongside it, if only on the off-chance that doing so will in itself be sufficient for the magical, elusive creature that this statue portrays to look upon their union benevolently and grant them future happiness together.

From an obscure provincial monster of (very) local fable and fame, the tsmok seems set to acquire international celebrity status before much longer. And when it does, remember that, at least in English, you read it here first!

Leo Oganov's Lepel Tsmok (© Alexander "Tarantino" Zhdanovich / cmok.budzma.org/node/81 on http://labadzenka.by/?p=25052)

Finally: Poland's traditional folklore contains a dragon-related tale that features the similar-sounding Smok. This was the dragon of Wawel Hill in Krakow, Poland, which had terrorised the city until Skuba, a canny cobbler's apprentice, stuffed a baited lamb with sulphur. After eating it, Smok was consumed with such a fiery thirst that he drank without pause from a nearby stream until finally the sulphur reacting with the vast quantity of imbibed water caused the doomed dragon to explode.

Incidentally, in 2011 a very large species of Polish carnivorous archosaurian reptile from the late Triassic Period 205-200 million years that may constitute a species of theropod dinosaur was officially christened Smok wawelski, in honour of this Polish dragon.

A souvenir ornament of Krakow's Smok, obtained from a friend several years ago (© Dr Karl Shuker)


Until my present ShukerNature blog article, virtually no information about the Belarusian tsmok existed in English, so I have relied very extensively upon translations of various Belarusian and Russian accounts as my primary sources. Of these, a detailed online news report in Cyrillic script by Tatiana Matveeva, posted on 15 June 2013, was particularly beneficial to my researches – click here to access it directly.

And to read all about plenty of other unusual and unexpected dragon varieties from around the world, be sure to check out my recent book Dragons in Zoology, Cryptozoology, and Culture.







CRYPTO-SELFIES! IN THE PICTURE WITH SOME SERIOUSLY WEIRD – BUT WONDERFUL – WILDLIFE

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With E.T. – how could I not take pity on this errant extraterrestrial and bring him back home with me? In any case, he must be happy here – he hasn't phoned home once, which is just as well, bearing in mind the cost of intergalactic telephone calls these days! (© Dr Karl Shuker)

Over the years, I've found myself sharing space in photographs – selfies, as they'd be called nowadays – with some exceedingly strange entities (and those are just my friends!). But seriously, browsing through my albums recently I came upon a considerable number featuring me alongside some truly weird – but indisputably wonderful – wildlife. So here, as one of my more light-hearted ShukerNature contributions, and the first of an occasional series, is a dozen of my most memorable crypto-selfies, annotated with a bountiful abundance of decidedly (ir)relevant information…

Alongside a black cheetah statue at Colchester Zoo, in Essex, England, which I visited in 2013; as noted in my books Mystery Cats of the World and Cats of Magic, Mythology, and Mystery, a few records of all-black (melanistic) cheetahs are indeed on file, including a specimen spied in the company of a normal cheetah by Lesley D.E.F. Vesey-Fitzgerald in Zambia during the first half of the 20thCentury, and another one sighted in Kenya's Trans-Nzoia District by H.F. Stoneham in 1925 (© Dr Karl Shuker)

With one of the famous 19th-Century dinosaur statues at Crystal Palace Park in Bromley, London, which I visited in 2009; created by famous sculptor Benjamin Waterhouse Hawkins (1807-1894) and totally outdated now, this one is meant to be a Megalosaurus, but its reconstruction was guided by the popular yet erroneous belief current at that time that dinosaurs resembled giant lizards (© Dr Karl Shuker)

Holding a Brazilian were-pig skull – hailing from Rio de Janeiro, this is the skull of a wild boar that has been intricately decorated to resemble the supposed appearance of a Brazilian were-pig's head (© Dr Karl Shuker)

At Drayton Manor Park and Zoo, in Staffordshire, England, standing somewhat warily alongside a disconcertingly life-like, life-sized replica of North America's late Pliocene/early Pleistocene terror bird Titanis walleri, which may have stood up to 8 ft tall – check out my book The Menagerie of Marvels for an extensive chapter documenting the history of these flightless but fleet-footed and sometimes truly gargantuan carnivorous birds (© Dr Karl Shuker)

With an acklay – when I purchased this model at a market a few years ago, I had no idea what the creature was that it represented, but thanks to some knowledgeable sci-fi enthusiast friends on Facebook I soon learnt that it was an acklay, a huge non-sentient carnivore up to 11.5 ft tall, hailing from the planet Vendaxa in the Star Wars canon's universe (© Dr Karl Shuker)

Alongside a life-sized animatronic model of the feathered dinosaur Citipati at Bristol Zoo, England, in 2013; an oviraptorid theropod from Mongolia's Late Cretaceous period, Citipatiwas named after a pair of murdered meditating monks from Tibetan Buddhist folklore, it possessed a large toothless beak, and it stood as large as a present-day emu; in this particular reconstruction, it looks decidedly cassowary-like (© Dr Karl Shuker)

There I was, minding my own business walking round the small West Midlands, England, town of Cradley Heath, when, happening to step inside a sci-fi/comic shop, who should I encounter there but the Predator! I can only assume that my trusty leather biker jacket helped to conceal me from its thermal imaging capability long enough for me to get this photo snapped of me alongside it; if you're wondering why the photo is a little blurry, it's because the (ex) person taking it for me suddenly realised that unlike me he wasn't wearing anything to cloak his thermal image – I won't tell you what happened to him next, as I don't want to give you nightmares – suffice it to say that at least it kept the Predator occupied long enough for me to make my excuses and exit stage right! (© Dr Karl Shuker)

Face to face with a life-sized Tyrannosaurus rex model at a dedicated T. rex exhibition held at Birmingham Museum & Art Gallery in the West Midlands, England, during 2010 – it's not often that you get the chance to stare down a T. rex, although in this particular instance the only thing that I seemed to be staring down was its nostrils; Jurassic Park claimed that as long as you stood perfectly still, a T. rexwould be unable to detect you, so what better time to put this claim to the test?? © Dr Karl Shuker)

Holding a cast of a 16-inch-long bigfoot (sasquatch) footprint discovered at Grays Harbor, in Washington State, USA, during 1982; I purchased this particular cast from veteran bigfoot researcher Prof. Grover Krantz during the early 1990s (© Dr Karl Shuker)

Sharing some quality time with a life-sized Moeritherium statue at London's Natural History Museum in 2014; this was a very early genus of proboscidean living during the Eocene epoch 37-35 million years ago in northern and western Africa, but dying out without giving rise to any modern-day elephant lineage; initially I was very puzzled that this statue's trunk seemed to have been rubbed so vigorously that much of its surface had lost its colour – why would this have happened? Then Facebook friend Adam Naworal reminded me that it was traditional to rub elephant statues for good luck, so that may well explain the otherwise anomalous case of the mutilated Moeritherium; fortunately, however, this doesn't seem to have traumatised him, as he seemed happy enough to be with me (© Dr Karl Shuker)

Alongside Singapore's iconic merlion fountain-statue in 2005; the merlion is a legendary lion-headed fish known worldwide as a symbol of Singapore, and it is epitomised by this magnificent 28-ft-tall statue created by sculptor Lim Nang Seng during 1971-1972, and relocated in 2002 to a promontory in Singapore's MerlionPark(© Dr Karl Shuker)

I hope that you've enjoyed this inaugural meander through my collection of crypto-selfies. Look out for further selections in future ShukerNature posts!





THE PELUDA – SHAGGY SURVIVOR OF NOAH'S GREAT FLOOD

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The peluda or shaggy beast (© Helena Zakrzewska-Rucinska/Dr Karl Shuker/Marshall Editions; this splendid illustration was specially commissioned for my book Dragons: A Natural History)

When I was researching the first of my two books on dragons, Dragons: A Natural History, published in 1995, a certain trio of French dragons attracted my particular interest. For each of these monsters not only featured in its own fascinating legend, but also was exceptionally unusual in morphology and behaviour. Yet, surprisingly, none of them had previously attracted much attention in dragon books. Consequently, I swiftly remedied that sad situation by devoting a detailed section to each one, in which I recounted its legend and illustrated it with reconstructions of their supposed appearance.

These three remarkable reptilians were the tarasque, the peluda, and the gargouille. I have already excerpted my above-cited book's tarasque account on ShukerNature (click here) and I will be doing the same at some stage in the future with the gargouille. Today, however, it is the turn of the peluda to take centre-stage, so here is my book's account of this very memorable monster:

There on the bank of the river Huisne, at La Fert‚-Bernard in medieval France, something was definitely moving. Suddenly, what appeared at first to be the head and sinuous body of a huge viper-like snake emerged from a spherical mass of bright green vegetation, and reared upwards above it. Moments later, however, the vegetation itself began to move, quivering as if it were a living creature - which was only to be expected, for that was precisely what it was. What had seemed to be nothing more than a cluster of riverside foliage was in reality the round body of a huge animal with shaggy green fur - and what had appeared to be a giant serpent was now exposed as this extraordinary animal's head and neck!

It was the peluda - a terrifying amphibious neo-dragon also known as the shaggy beast ('la velue'), which had been spawned in early biblical days and was refused entry onto Noah's Ark, yet had nonetheless survived the Great Flood, and was now terrorising the environs of La Fert‚-Bernard. Its dense green pelage partially hid four horny, turtle-like feet, and bristled with countless numbers of spine-like quills - which contained potent stinging venom, and could be jettisoned like poisonous javelins into anything unwary enough to approach too closely. This monstrous beast could also kill a person with a mighty thwack of its immensely powerful tail - and when it was sufficiently angered, a single blast of flame spewed forth from its coiled throat could incinerate fields for miles around.

For a time, the peluda had contented itself with raiding farms and stables each night in search of horses and other livestock as prey - robbing the farmers of their livelihood, but rarely of their lives, unless they were foolish enough to challenge its depredations.

Occasionally, massed attacks on the beast by brave companies drawn from the local populace had succeeded in driving it into the Huisne - but the peluda was of such colossal size that whenever it submerged itself underwater, the river immediately overflowed its banks, and much of the district bordering on either side was completely flooded, thereby causing as much devastation to the farmers as the monster's own onslaughts.

A second vivid artistic representation of the peluda (© Tim Morris)

More recently, however, the situation had become even worse, for the peluda had lately expanded its dietary scope - adding children and damsels to its murderous menu. Several of the village's fairest maidens had been devoured, and only this morning yet another had been ambushed and carried away - but this time she had not been alone. Her valiant fiancé had been nearby, and had witnessed the terrible deed. Now he swore vengeance against her antediluvian attacker, and he took up his trusty sword to do battle.

Protected from the peluda's deadly arsenal of self-propelling quills by his suit of mail, and additionally armed with knowledge gained from the village's wisest seer, the bold youth strode forth and aimed a terrible blow with his sword - but not at the monster's undulating neck, and not even at the heaving belly concealed beneath its shaggy fur. Instead, he hacked down at its writhing tail, and severed it in two with a single slash of his keen blade. Instantly, the mighty peluda keeled over and died - for its tail was the only portion of its body vulnerable to mortal injury.

Back in La Fert‚-Bernard there was great rejoicing, and the remains of the peluda were embalmed. As for its conqueror, he was acclaimed forever more as a hero, and rightly so - after all, he had achieved a feat that not even the Great Flood had been able to accomplish!


For plenty of other diverse dragons, be sure to check out both of my dragon books – Dragons: A Natural History, and Dragons in Zoology, Cryptozoology, and Culture.






A GIANT DOG-FANGED MYSTERY FROG FROM THE CONGO

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Alongside a statue of a hypothetical giant frog (© Dr Karl Shuker)

The 20thCentury opened with one of the most dramatic amphibian discoveries of all time – the aptly-named goliath frog Conraua goliath. Up to 14.5 in long from snout to vent, plus a pair of enormous hind legs, and weighing up to 8 lb, it is the world's biggest known species of living frog (or toad, for that matter), as large in fact as certain antelopes with which it shares its Middle African domain (for further details regarding this remarkable amphibian's scientific unveiling, see my book The Encyclopaedia of New and Rediscovered Animals). However, another very sizeable African frog remains unidentified and unexamined by science almost 70 years after it was first documented.

On 31 December 1945, an article penned by Harvard University herpetologist Arthur Loveridge was published in the zoological journal Copeia, concerning an attack some months earlier upon an askari (native policeman) at Tapili, Niangara, in what was then the Belgian Congo (later renamed Zaire, and now called the Democratic Republic of Congo). Loveridge's source of information concerning this incident was a Mr C. Caseleyr, then Administrator of the Niangara Territory. The askari had come to Caseleyr to inform him that while walking by a pool earlier that evening, he had been bitten on one of his legs by what proved to be a very large frog – he'd lunged out at his attacker with a large club that he was carrying and had killed it outright. And as conclusive proof of his statement, the askari had brought with him the frog's body to show it to Caseleyr.

A goliath frog Conraua goliath (© Dr Jordi Sabater Pi)

What was even more surprising than the fact that he'd been attacked by such a creature, however, was the wound that it had produced. For when Caseleyr examined the askari's leg, he could see two puncture marks resembling the wounds that a dog's teeth would leave – and that was not all. When he then examined the dead frog, Caseleyr was very startled to discover that its upper jaw and lower jaw each possessed a pair of sharp teeth that actually did resemble a dog's canine teeth, and its tongue was forked like a snake's. The frog was grey-green in colour dorsally, with a large orange patch on its chest and stomach, and in general shape and size was very large, broad, and fat (though no specific measurements for it were provided by Loveridge).

Loveridge referred to this animal throughout his article as a frog, but Caseleyr personally felt that it seemed more like a toad, although he freely confessed that he had no informed knowledge on such matters. However, Loveridge stated that the creature's notched tongue eliminated a toad as its identity. Yet he also recognised that its description (and most especially the presence of two teeth-like projections in its upper jaw, not just in its lower jaw) readily differentiated this sizeable mystery frog from all known species in that region. Consequently, albeit with great hesitation, Loveridge concluded his article by speculating that "it may be that some large species remains to be discovered in the Niangara region". Yet if so, it has somehow managed to elude scientific detection for several decades since then (and continues to do so today). Impossible? Perhaps not...


This ShukerNature blog article is excerpted from a comprehensive chapter devoted exclusively to cryptic frogs and toads contained in my latest, newly-published book, A Manifestation of Monsters– so be sure to check it out!







WHEN TRUNKO MET NESSIE?? - PARADOX OF THE PICTISH BEAST

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Line diagram of the Pictish beast (public domain)

Named after their very distinctive body tattoos, the Picts ('painted people') inhabited northeastern Scotlandas a separate tribe from c.300 AD to 850 AD, after which they were united with the Celtic Scots under the reign of King Kenneth I. The Picts can boast as their principal claim to archaeological fame their ornately-carved symbol stones. These are elaborately decorated with various creatures, objects, and other depictions, especially the earlier, pre-Christian stones - which are designated as Class I (dating from the 6th Century, generally unshaped, and bearing line-incised symbols on at least one flat face) or Class II (of rather later date, and bearing much more intricate, flamboyant designs). Class III stones, conversely, date from when Christianity reached the Picts, so on these stones the earlier Pictish symbols have been mostly replaced by Christian ones.

Due to their realistic designs, the many different animal types carved on Class I and II Pictish symbol stones are readily identifiable – with one notable exception, that is. Appearing on about 29 Class I stones and 22 Class II stones, this bizarre-looking exception is known as the Pictish beast.

Close-up of Pictish beast depicted on Meigle 4 Stone at MeigleSculpturesStoneMuseum (© Simon Burchill/Wikipedia)

Several very famous Pictish symbol stones bear depictions of it. These include: the Dunfallandy Stone (Class II) in Tayside; one of the Rhynie Pict stones in Aberdeenshire; and the 6-ft-tall Rodney's Stone (Class II), which is a cross-slab of grey sandstone originally present in the graveyard of the old church of Dyke and Moy but subsequently transferred to the Grampian village of Dyke to commemorate Admiral Rodney's victory and standing today on the left side of the avenue leading to Brodie Castle.

Other symbol stones depicting the Pictish Beast are a cross-slab on the Brough of Birsay at the northwestern corner of Mainland, Orkney; the 9th-Century, 10-ft-tall Maiden Stone near Pitcaple in Aberdeenshire; and a carved stone in Grampian's Port Elphinstone Henge near Inverurie (the henge itself is much older than the carvings). Perhaps the least stylised, most 'natural' portrayal of this mystifying creature can be found upon a spectacular Class II stone at Tayside's Meigle Sculptures Stone Museum, which is adorned with carvings of horse riders and a tail-biting serpent as well as the Pictish beast, plus the customary Pictish V-rod and crescent symbols.

Pictish beast depicted on Meigle 5 Stone at MeigleSculpturesStoneMuseum (© Simon Burchill/Wikipedia)

Depictions of it on such symbol stones as these portray this bizarre creature with a dolphin-like head, a long beak, four limbs that often curl backwards underneath its body (although sometimes, as on the Meigle Museum stone, only the paws curl backwards), an elongate tail with a noticeable curl at its tip, and, most distinctive of all, what may be a long slender horn or even a trunk-like projection sprouting from the top of its head and curving over its back. Indeed, this last-mentioned feature has earned the Pictish beast the alternative name of 'swimming elephant' (which all too readily conjures up some decidedly surreal images of a Celtic version of Trunko! - click here to read all about this latter onetime monster of misidentification).

Needless to say, no known species of animal resembles the Pictish beast as so portrayed, which in turn has incited appreciable speculation and controversy among historians and archaeologists as to what it may be. One popular, conservative identity for it is a dolphin (or even a beaked whale, i.e. a ziphiid), based upon its beaked, superficially dolphin-like head - as a result of which I wonder if its anomalous 'trunk' may in reality be a representation of a spout of water spurting upwards when the dolphin exhales through its blowhole (conjoined, modified nostrils), which is indeed situated on the top of this marine mammal's head. Conversely, the unequivocally leg-like limbs and non-fluked tail of the Pictish beast are radically different from the flippers and fluked tail of dolphins and other cetaceans.

Pictish beast depicted on Rodney's Stone at BrodieCastle (© Ann Harrison/Wikipedia)

Other postulated suggestions include a seahorse (especially when depicted vertically), a deer, a seal, and a dragon. A bona fide elephant or even an unknown species of secondarily aquatic elephant has also been considered (albeit not seriously, for obvious reasons!). It may simply be that the Pictish beast is an entirely fictitious, imaginary creature, possibly even a composite of several different creatures, but its numerous portrayals (accounting for approximately 40 per cent of all Pictish depictions of animals) imply that it had considerable symbolic significance for the Picts.

Indeed, it may even be the earliest known artistic representation of the legendary kelpie or Scottish water-horse (click herefor a ShukerNature article on this malevolent entity). One of the three Aberlemno symbol stones in Tayside depicts a pair of interlaced horse-headed, elongate aquatic monsters, and some scholars have suggested that these may constitute a more sophisticated version of the Pictish beast.

A rearing kelpie – is this the identity of the Pictish beast? (public domain)

Moreover, in their book Ancient Mysteries of Britain (1986), Janet and Colin Bord proposed that the Pictish beast might be a direct representation of the elusive water monsters allegedly inhabiting various of Scotland's lochs, its 'trunk' explaining the familiar 'head and neck' or 'periscope' images often reported and even photographed by Nessie eyewitnesses. Backing up their fascinating hypothesis, the Bords make the following very telling observation:

"Since a whole range of animals and birds is accurately depicted on the symbol stones - wolf, bull, cow, stag, horse, eagle, goose - perhaps these were the creatures most familiar to the Picts in their everyday world, and 'monsters' were also familiar to them, being more often seen in the lakes than they are today, and accepted as part of the natural world just like eagles and stags."

This in turn leads to the most intriguing and original (if zoologically offbeat) identity ever put forward for the Pictish beast. A familiar figure in the British Fortean community for many years, Tony 'Doc' Shiels describes himself as a monster-hunter, stage magician, surrealist artist, and shaman of the western world (among other things), and he has suggested that the Pictish beast may indeed be a depiction of the unidentified Scottish water monsters. Moreover, as he first documented in a Fortean Times article (autumn 1984) and further propounded six years later in his book Monstrum! A Wizard's Tale (1990), and as I have also referred to briefly earlier in this present book (see Chapter 7), he has speculated that these latter mystery beasts' zoological identity could in turn be a highly novel, specialised form of squid.

Front cover of Fortean Times #42 (autumn 1984), depicting 'Doc' Shiels's conjectured elephant squid at bottom-right (© Fortean Times/Tony 'Doc' Shiels)

But how could such a creature be equated with Nessie and company, and how firm are its basic anatomical and physiological foundations? Here is what I wrote about Shiels's proposed 'Pictish squid' in my book Mysteries of Planet Earth (1999):

"As conceived by Shiels, the most striking feature of his hypothetical species is a long, flexible, prey-capturing proboscis-like structure (the trunk of the Pictish beast), on account of which he has dubbed this creature the elephant squid. If held out of the water, its proboscis could resemble a long neck, which Shiels believes may explain the familiar 'long-neck' images of Nessie and her kin. He also provides his elephant squid with inflatable dorsal airsacs as part of its buoyancy mechanism (which could yield the varying shape and number of humps reported for Nessie), six short tentacles, and a pair of longer curling arms (the Pictish beast's curling front legs), as well as a muscular tail bearing two horizontal lobes.

"In his accounts, Shiels proposes that this remarkable mollusc may even be able to emerge briefly onto land, which might therefore explain why certain Nessie eyewitnesses (such as the Spicers, who claimed to have spied this mystery beast on land in 1933) have likened it to an enormous, hideous snail. Quite apart from the profound morphological modifications necessary for a beast corresponding to Shiels's elephant squid to have evolved from known cephalopod (squid and octopus) stock, however, a fundamental obstacle to this hypothetical creature's plausibility is that all known species of modern-day cephalopod are exclusively marine. There is not a single species of freshwater squid or octopus on record, and for one to evolve would require drastic tissue modifications relating to osmoregulatory ability."

Doc Shiels's sketch of his hypothetical elephant squid (© Tony 'Doc' Shiels)

Shiels's Fortean Timesaccount attracted considerable interest within and beyond the Fortean and cryptozoological fraternity, and summaries of his speculation subsequently appeared in a wide range of publications by other writers. Regrettably, however, many of these second-hand accounts mistakenly claimed that Shiels had formally dubbed his hypothetical elephant squid Dinoteuthis proboscideus (translating, incidentally, as 'trunked terrible squid'). In reality, conversely, as Shiels went on to explain in Monstrum!, Irish zoologist A.G. More had already given that particular name to a massive squid specimen beached at Dingle in County Kerry, Ireland, in October 1673 during a major storm. Instead, Shiels suggested that an apt name for his own, totally conjectural cephalopod would be Elephanteuthis nnidnidi - a name that needs no explanation for anyone knowing of Shiels's experiments with psychic automatism.

More recently, mystery beast researcher Scott Mardis from the USAhas suggested that the Pictish beast images may actually depict an evolved, surviving species of short-necked plesiosaur (and therefore quite probably a pliosaur, which also had long jaws like those of the Pictish beast). Plesiosaurs have of course been officially extinct for at least 64 million years, but an evolved, surviving representative of the long-necked, short-jawed version (elasmosaur) of these aquatic prehistoric reptiles nevertheless has long been a popular cryptozoological identity for Nessie-type water monsters.

Leptocleidus capensis, a short-necked, long-jawed plesiosaur from the early Cretaceous (© Nobu Tamura/Wikipedia)

In short, the Pictish beast remains the subject of several interesting interpretations, but no satisfactory solutions - unless of course the answer lurks not among its petroglyphic portrayals but instead within the secretive depths of the lochs forming a major, familiar part of the landscape once inhabited by the painted people of Scotland's distant past?

This ShukerNature blog article is excerpted from my forthcoming book Here's Nessie! A Monstrous Compendium From Loch Ness.

Pictish beast depicted on the east side of the Maiden Stone in a photograph (© Ronnie Leask/Wikipedia) and a line drawing (public domain)









FLUORESCENT FLORA - UNEXPLAINED REPORTS OF GLOWING, LIGHT-EMITTING FLOWERS

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What a light-emitting orange-petalled flower might look like in the dark (public domain)

A still-unexplained yet little-known wildlife-related phenomenon is the extraordinary occurrence, discussed by several naturalists during the 19th Century, of sparks and flame-like flashes of light unexpectedly emitted by certain plants. Those most commonly associated with this bizarre enigma are species such as marigolds and geraniums, which possess red, orange, or yellow flowers.

A beautiful yellow version of the common marigold Calendula officinalis (public domain)

In 1843, the following account of an observation with common marigolds, penned by Richard Dowden, appeared in Part 2 of that year's Report of the British Association:

This circumstance was noticed on the 4th of August, 1842, at eight p.m., after a week of very dry warm weather; four persons observed the phaenomenon [sic]; by shading off the declining daylight, a gold-coloured lambent light appeared to play from petal to petal of the flower, so as to make a more or less interrupted corona round its disk. It seemed as if this emanation grew less vivid as the light declined; it was not examined in darkness, which omission will be supplied on a future occasion. It may be here added, in the view to facilitate any other observer who may give attention to this phaenomenon, that the double marigold is the best flower to experiment on, as the single flower "goeth to sleep with the sun," and has not the disk exposed for investigation.

Can marigolds really emanate light? (public domain)

In 1882, Scientific Americanpublished a short note on this same subject by Louis Crie:

In living vegetables emissions of light have been observed in a dozen phaenogamous plants and in some fifteen cryptogamous ones. The phosphorescence of the flowers of Pyrethrum [Chrysanthemum] inodorum, Polyanthes [sic -Polianthes] (tuberose), and the Pandani has been known for a long time. Haggren and Crome were the first to discover such luminous emanations from the Indian cross and marigold, and a few years ago I myself was permitted to observe, during a summer storm, a phosphorescent light emitted from the flowers of a nasturtium (Tropoeolum [sic - Tropaeolum] majus) cultivated in a garden at Sarthe.

Several reports concerning light-emitting flowers appeared during the 1880s in the English periodical Knowledge. These revealed that one early eyewitness had been none other than the daughter of Carolus Linnaeus, the father of modern botanical and zoological classification, who witnessed this phenomenon while gazing at some garden flowers one summer twilight in 1762.

To misquote Gary Numan, are flowers electric?? (© Robby Ryke/Creative Commons Licence)

A later eyewitness, a Mr S. Ingham, reported his sighting in Knowledge in 1883:

A short time ago, I was picking out some annuals on a flower-bed, on which some geraniums were already planted, when I was surprised to see flashes of light coming from a truss of geranium flowers. At first I thought it was imagination, but my wife and a friend who were present also saw them. Time was about 9 p.m., and the atmosphere clear. There were other geraniums of a different colour on the same bed, but there was no effect on them. The particular geranium was a Tom Thumb.Is this at all common? I have never seen or read of it before.

A field of light-emitting sunflowers would be a spectacular if inexplicable sight, and yet such flowers have indeed been claimed to possess this incredible ability (public domain)

In fact, eleven years earlier a tome published by Simpkin, Marshall, & Co, entitled Lessons in Physical Science, had included the following comments regarding this curious matter:

To the same source - electricity - we probably owe the light which, at certain seasons, and at certain times of the day, issues from a number of yellow or orange-coloured flowers, such as the marigold, the sunflower, and the orange-lily...similar phenomena have been witnessed by several naturalists. Flashes, more or less brilliant, have been seen to dart in rapid succession from the same flower. At other times the tiny flame-jets have followed one another at intervals of several minutes.

The sunflower Helianthus annuus is so bright that it almost appears to radiate light even under normal circumstances (public domain)

Flowers releasing visible discharges of electricity is undeniably a somewhat dramatic concept. A less radical alternative, perhaps, is that this curious optical effect may be caused by the reflection of sunlight by petals of certain colours acting as miniature mirrors (thus explaining why the effect lessens as daylight declines).

Whatever the answer, however, it is certainly true today that light-emitting flowers have become one of the forgotten phenomena of botany, ignored - if indeed even known about - by contemporary researchers. Yet they were once known, and witnessed, by naturalists.

Cultivated version of the orange lily Lilium bulbiferum, another species alleged to emit flashes of light (public domain)

Surely, therefore, it is time for a new generation to rediscover these excluded enigmas, and extract their long-hidden secrets. After all, as succinctly pointed out by the late, much-missed fortean writer Mark Chorvinsky regarding this mystifying subject: "There are a lot of marigolds and geraniums out there".

So if anyone reading this ShukerNature blog article has ever witnessed light-emitting flowers, I'd be very interested to receive details if you'd like to post them here.

An eyecatching array of cultivated bright-orange marigolds (© H. Zell/Wikipedia Creative Commons Licence)


This ShukerNature blog article was excerpted from my book Mysteries of Planet Earth.





IN TUNE WITH NESSIE - A SELECTION OF LOCH NESS MONSTER-THEMED SONGS

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Sheet music for 'I'm the Monster of Loch Ness', a 1934 song made famous by British variety star Leslie Holmes (public domain/supplied by Joe Mancini)

It will probably come as no surprise to discover that such an iconic figure as Nessie the Loch Ness monster (LNM) has been celebrated and immortalised by music down through the decades since her modern-day media debut during the early 1930s, but what may be surprising is the wide range of genres that have done so - from foxtrots and folk to heavy metal, skinhead reggae, and cartoon classics. So here is an annotated listing of some famous and not-so-famous musical tributes to the world's favourite monster, whatever your tuneful tastes may be, and accompanied wherever possible with links to their performances on YouTube.

And where better to begin than with some wonderful recordings inspired by and released during that fateful 1933-1934 period of LNM-related frenzy, a period that witnessed the reporting of some classic Nessie sightings following the opening in 1933 of a new motoring road, the A82, directly overlooking the northern shoreline of this hitherto-secluded loch – a significant event that brought the alleged existence of Nessie to the attention of an entranced media, both nationally and internationally.

Leslie Holmes (1934). 'I'm the Monster of Loch Ness'.
Perhaps the most popular of these early 1930s Nessie recordings is this delightful ditty, a comedy foxtrot written and composed by Ralph Butler and Will E. Haines, and most famously sung by British variety star Leslie 'the smiling vocalist' Holmes. Recorded by him on 6 January 1934 as a 78 rpm shellac record on London's Regal Zonophone label (with sheet music published by Cameo Music), it also featured the Midnight Minstrels, plus Scott Wood and His Orchestra. Holmes was also filmed singing it, in b/w, by London's British Pathé Studio, in an amusing sketch that included an appearance by Nessie herself at its close. Recorded on 25 January 1934, this sketch can be viewed hereon YouTube.

Leslie Holmes (public domain)

In 2014, M. Ryan Taylor brought out a book of spooky songs entitled The Haunted Ukelele, which included 'I'm the Monster of Loch Ness'. Here is a recording of him singing it while playing a Koa model Godin Multiuke.

My sincere thanks to Facebook friend Joe Mancini for first alerting me to the Leslie Holmes version of this song.

Brian Lawrance (1934). 'Boo, Boo. Here Comes the Loch Ness Monster'.
This song is much more obscure than the previous one, despite featuring the well-regarded British vocalist and band leader Brian Lawrance on its best known version, which again was recorded in January 1934 as a 78 rpm record, but this time by the Eclipse label. As yet, I have been unable to trace an online version of it.

John Tilley (1933). 'The Loch Ness Monster'.
Not a song as such but what was back then a very famous comedy monologue for radio, spoken by John Tilley, a briefly popular, quintessentially English broadcaster/revue artist during the early 1930s, who recorded it as a 78 rpm record in December 1933 for the Columbia label. Tragically, Tilley was only in his late 30s when he died in 1935. You can listen to it here.

After those early recordings, a fair few years went by before Nessie received much in the way of further musical mileage, but from the 1960s (and especially the 1970s) onwards, she has been a perennially popular subject for songs and melody, as the following diverse selection demonstrates.

Robin Hall & Jimmie MacGregor (1961). 'The Monster of Loch Ness'.
This Scottish folk duo formed in 1960 and recorded over 20 albums together before their partnership ended in 1981. Their humorous Nessie song was co-written by MacGregor, was released as a 45 rpm vinyl single in 1961 on the Decca label, and can be listened to here.

King Horror (1969). 'Loch Ness Monster'.
This highly-collectible 1969 single by skinhead reggae act King Horror (originally a calypso singer, apparently) and issued on the Grape label is (in)famous for the OTT bloodcurdling screams at the onset (listen to it here). Somehow, I don't think that his Nessie is the shy, retiring, piscivorous type!

Alex Harvey (1977). 'Alex Harvey Presents: The Loch Ness Monster'.
Best known as the founder and frontman of the Sensational Alex Harvey Band (SAHB), Scottish rocker Alex Harvey also recorded this 40-minute spoken documentary solo LP album, released in 1977. Harvey had previously spent the summer at Invermoriston in the Scottish Highlands by himself while the rest of his band were doing other things, and had interviewed a range of LNM eyewitnesses and historians, recording their narratives and interspersing them with views of his own and also additional commentary by Richard O'Brien of The Rocky Horror Show and The Crystal Maze fame. Released as a limited edition album by the K-Tel label and complete with an illustrated 16-page diary-format booklet in a gatefold sleeve, allegedly only around 300 copies were actually pressed, thus making it highly sought-after. It only contains one (very short) song, right at the end of the LP, entitled 'I Like Monsters Too', which can be listened to here.

Front cover of 'Alex Harvey Presents: The Loch Ness Monster', a long-deleted LP (© K-Tel)

The Sensational Alex Harvey Band (1978). 'Water Beastie'.
The SAHB with Harvey fronting also recorded a Nessie song, 'Water Beastie', which appeared as track #8 on their 1978 album 'Road Drill', and was co-written by Harvey, Chris Glen, and Hugh McKenna, all from SAHB. Listen to it here.

The Police (1983). 'Synchronicity II'.
Appearing as track #6 on this seminal English rock band's album 'Synchronicity' and also released as a single in 1983, this song tells of two unrelated events that are happening simultaneously – a demeaned, harried husband and father's life descending into increasing depression and despair, while, far away, a monstrous entity emerges from a dark Scottish loch and moves ominously, inexorably, towards a lochside cottage. It was written by the band's lead singer/bassist, Sting, and can be viewed and listened to here.

One of the most popular animated children's TV series in Britain during the early 1980s was The Family Ness, which was created by English cartoonist Peter Maddocks of Maddocks Cartoon Productions, consisted of 25 five-minute episodes, and was originally screened on BBC 1, beginning in 1983. As its name suggests, its stars were a family of Nessies, plus two children, Elspeth and Angus MacTout, who could call the Nessies from their loch using secret thistle whistles. Each of the Nessies (of which there were many) was punningly named after their defining trait, and included among their number Clever Ness, Grumpy Ness, Lovely Ness, Hungry Ness, Silly Ness, and the daunting Ferocious Ness. The opening titles of each episode were accompanied by a catchy song, and a second equally catchy song accompanied the end credits of each one. Both were written by English songwriter Roger Greenaway and music composer Gavin Greenaway (Roger's son), and in 1985 they were released by the BBC in single format:

The Family Ness (1983). 'The Family Ness'.
This song was played over the opening titles to each episode of The Family Ness. No vocalist screen credit was aired, but it has been suggested that Gavin Greenaway himself may have been the singer, as he was aged approximately 20 at that time, and the singer sounds like someone of around that same age (ditto for the end credits song too – see next song entry).

The Family Ness (1983). 'You'll Never Find a Nessie in the Zoo'.
An extended, full-length version of this song, hitherto played only in brief, incomplete form over each episode's end credits, appeared in the very last episode of this TV series, and became the video for the song when released as a single. My dear little Mom, Mary Shuker, absolutely adored both the song and the video, and whenever I played it (having taped it on videocassette) she would always stop whatever she was doing and watch it, laughing with delight. Happy days, happy memories. Watch and listen to it here.

'You'll Never Find a Nessie in the Zoo', single (© BBC Records/Wikipedia)

Stuart Anderson (1992). 'Nessie (The Loch Ness Monster)'.
Mom was also a big fan of this act. In 1989, at the tender age of six, pint-sized Scottish singer Stuart Anderson's highly-polished performance of 'Bonnie Wee Jeannie McColl' in the annual 'Young Entertainer of the Year' competition staged on BBC1's Saturday morning teenage television show Going Live so entranced the voting public that he ultimately won it by the biggest margin of votes ever recorded in this competition. On the back of his success, Stuart went on to release several albums, one of which, 'Stuart Anderson Acts Naturally', released in 1992, contained the cheery singalong song 'Nessie (The Loch Ness Monster)'. Today, aged 32 and a well-respected guitar teacher, Stuart's very youthful showbiz days are long behind him, but he remains forever young - and forever singing about Nessie (not to mention Bonnie Wee Jeannie McColl!) – here on YouTube.

Phyllis Logan (1992). 'Shy Girl'.
This song comes from a British animated feature film entitled Freddie asF.R.O.7., which was released in 1992 (and retitled as Freddie the Frog in the USA). A James Bond parody, it tells the somewhat complicated story of Frederic, a medieval prince and heir to his country's throne, who is turned into a frog by his evil aunt Messina (who has already secretly killed his parents in her bid to become ruler), after which he travels through a time zone into the 20thCentury, becomes a member of the French Secret Service (F.R.O.7.) as Freddie the Frog, and is then sent by them to Britain in order to foil a plot by arch-villain El Supremo and Messina to enslave the world's population. Somewhere in amongst all of this mayhem, Freddie encounters Nessie (voiced by Phyllis Logan) and her many other long-neck relatives in Loch Ness, and she informs him in song (and dance) of what a shy girl she really is. An excerpt from the film that includes this song, and which in my opinion is both the most entertaining and the most beautifully animated section of the entire film, can be viewed here.

Theatrical film poster for Freddie as F.R.O.7. (© Rank Films – inclusion here via Wikipedia, on strictly Fair Use non-commercial basis only)

Pater Moeskroen (1992). 'Nessie'.
This is a Dutch folk band but their music is also infused with Celtic, klezmer, and punk elements. Their LNM song, from an early 1990s album, is apparently all about Nessie's, ahem, intimate liaisons with other loch monsters – but I don't speak Dutch, so I wouldn't know... Listen to it here.

Some Velvet Sidewalk (1992). 'Loch Ness'.
American experimental lo-fi rock band Some Velvet Sidewalk released two different versions of their Nessie-themed song 'Loch Ness' (listen to it here). One version appeared as track #2 on their own 1992 album, 'Avalanche'; the other had appeared a year earlier, again as track #2, but this time on 'Kill Rock Stars', which was a compilation album featuring a number of different acts.

Those Darn Accordions (1996). 'Deathbed Confession'.
This song from San Francisco accordion band Those Darn Accordions' 1996 album 'No Strings Attached' takes its inspiration from the 'deathbed confession' claim of Christian Spurling in 1993 regarding his supposed (but never confirmed) hoaxing of the famous Surgeon's Photograph, by having allegedly made a head-and-neck model of Nessie, attached it to a toy submarine, and set it afloat on Loch Ness one day in April 1934, where it was then deliberately photographed by gynaecologist and purported co-conspirator Robert Kenneth Wilson, yielding the iconic photo, which they then passed off to the media as a genuine Nessie image.

The Real McKenzies (2001). 'Nessie'.
This song is the opening track to Canadian Celtic punk band The Real McKenzies' 2001 album 'Loch'd and Loaded', and is basically a protest song regarding the search for and potential future capture of Nessie.

Judas Priest (2005). 'Lochness'.
This lengthy track (13.28 minutes long) is the tenth and final one on world-famous British heavy metal band Judas Priest's fifteenth studio album, 'Angel of Retribution', and was co-written by their legendary leather-clad frontman, Rob Halford, returning to the band after an absence of 15 years. Listen to it here.

Judas Priest lead singer Rob Halford – not only a fellow biker and a fellow West Midlander (we were born just a few miles from one another) but also, it would seem, a fellow Nessie enthusiast! (© Rob Halford/Kerrang!)

Honorary mentions are also due to the following three songs, which are not themselves about Nessie but feature Nessie-themed official videos in the first two instances and in the third instance is the title track of an entire Nessie-themed movie:

Reggie and the Full Effect (2005). 'Get Well Soon'.
The video to this song, track #2 from Kansas City rock band Reggie and the Full Effect's 2005 album 'Songs Not To Get Married To', features the collapse and total disintegration of a green, suspiciously arm-puppet-like Loch Ness monster's entire life, beginning with a savage divorce settlement in which he loses his loch and is forced to roam the streets homeless as his life falls apart, reduced to living in cardboard boxes. Unrelentingly dark and grim, there is no happy ending for this video's LNM. Watch it hereto see for yourself.

The Automatic (2006). 'Monster'.
In pleasant contrast, the video to this 2006 song, track #5 on Welsh rock band The Automatic's debut album 'Not Accepted Anywhere', is pure slapstick comedy, featuring a Nessie whose vertical neck rising above the loch's surface is of veritable skyscraper proportions yet somehow still manages to go unnoticed by the band, starring here as hapless monster seekers. So too does a dancing bigfoot that definitely gets down and gets with it as their song plays, before things finally hot up in every sense for our heroes when they have an exceedingly close encounter with a UFO. View it here.

Adam Faith (1961). 'What a Whopper'.
Also well worth including here is this title track to a British b/w comedy film from 1961 entitled What a Whopper, featuring an attempt by a young struggling would-be novelist to raise money by writing a book about the Loch Ness Monster and then, to generate plenty of publicity for it and thus ensure its success, staging a hoaxed Nessie sighting - only for the real Nessie herself to make a surprise, and very tongue-in-cheek, appearance in the closing scene of the film. It starred British rock 'n' roll singer and actor Adam Faith, who also sang the toe-tapping theme song (written by Johnny Worth) that opens the film. View and listen to it here.

Nessie making her long-awaited appearance in the closing scene of What a Whopper (© Viscount Films)

In addition to those songs documented above, in which Nessie features extensively in the lyrics, there are a fair few others in which she is mentioned briefly or in passing. No less than 57 of these, recorded by the likes of Eminem, Roger Taylor, Pras, De La Soul, and Crash Test Dummies among others, can be accessed here.

Finally: Although by far the most extensively represented example, Nessie is not the only water monster to have inspired various songs and other musical compositions. Here are three notable non-LNM examples:

THE LAKE OKANAGAN MONSTER: Paul Whiteman Orchestra (1924). 'The Ogo-Pogo – The Funny Fox-Trot'.
As every self-respecting cryptozoological enthusiast will readily confirm, this is the English music-hall song from 1924, composed by Mark Strong, that subsequently gave its name to the now-famous water monster of Canada's Lake Okanagan (until then, it had been known only as the naitaka - a traditional Native American name given to it by the local Okanakane nation). Despite the song featuring a banjo-playing terrestrial monster from Hindustan (additionally sporting a pair of antennae and wearing boots in the delightful illustration by Fred Low adorning its sheet music's front cover) - far removed indeed from Canada's unequivocally non-musical aquatic cryptid of serpentiform shape – the name Ogopogo stuck, and the Lake Okanagan monster has been affectionately referred to by it ever since.

Front cover of my original copy of the sheet music for the SavoyHavanaBand's version of  'The Ogo-Pogo – The Funny Fox-Trot' (© Dr Karl Shuker)

For further details concerning this song - including how I was fortunate enough to encounter and purchase a copy of the sheet music for the Savoy Havana Band's original version of it from 1924, thereby enabling me to include its front cover illustration for the very first time in a cryptozoological publication (my book In Search of Prehistoric Survivors, 1995) - please click here. Several different acts released this song in 78 rpm record format during the 1920s, including the Paul Whiteman Orchestra in 1925 that featured Billy Murray as vocalist singing reworded American lyrics (which can be listened to here) rather than the original English ones written by Cumberland Clark, the Savoy Havana Band singing the original English lyrics (see illustration above), Meyer Davis' Swanee Syncopaters, and George Berry (aka Harry Fay).

THE PATAGONIAN PLESIOSAUR: Arturo Terri (1922). 'El Plesiosaurio Tango'.
Seemingly as elusive as the lake-dwelling Patagonian long-neck that it celebrates, this exotic-sounding crypto-composition has evaded every attempt not only by me but also by several friends and correspondents on Facebook to track down an online recording of it – but this is only fitting, I suppose, bearing in mind that its subject also succeeded in remaining concealed from those searching for it.

Dr Clemente Onelli - seeker of the Patagonian plesiosaur (public domain)

With lyrics by Amilcar Morbidelli), it was composed in 1922 by Rafael D'Agostino to commemorate Argentinian biologist Dr Clemente Onelli's expedition during April of that same year to a mountain lake near Esquel in Argentina, seeking the so-called Patagonian plesiosaur that had allegedly been sighted there by an itinerant Texan adventurer called Martin Sheffield who had lived off the land in Patagonia for many years. Sponsored by Buenos Aires Zoo, of which Onelli was the director, the expedition did reach this lake, but no sightings of cryptids were made (further details can be found in my book In Search of Prehistoric Survivors). D'Agostino dedicated his plesiosaur tango to Onelli (who died in 1924), a caricature of whom is humorously portrayed riding the plesiosaur on the front cover of the Arturo Terri version of this composition's sheet music.

Front cover of the sheet music for Arturo Terri's version of 'El Plesiosaurio Tango' (public domain)

If anyone reading this ShukerNature blog article knows of an online recording of 'El Plesiosaurio', I'd greatly welcome details. Meanwhile, here is a link to its Spanish lyrics.

Incidentally, this was not the only 1920s musical composition inspired by Onelli's Patagonian pursuit of plesiosaurs. Here is the delightful front cover illustration from Fernando Randle's piano sheet music for his own composition, 'El Plesiosauro Tango' (note the slight difference in its title's spelling from that of D'Agostino's tango), featuring a very dapper pipe-smoking plesiosaur with top hat, spats, and cane! Sadly, however, Randle's plesiosaur tango was not as popular as D'Agostino's. Once again, I haven't been able to locate an online recording of it, so I'd greatly appreciate any assistance in doing so.

Front cover of the piano sheet music for Fernando Randle's 'El Plesiosauro Tango' (public domain)

Julio Fava Pollero's 'Antediluvian Tango' was a third tango inspired by Onelli's plesiosaur hunt, but although he performed with his own orchestra he never released this composition in record form, only as sheet music, published in 1927. This was because by then the swell of public interest in the Patagonian plesiosaur expedition had subsided. Its sheet music's front cover depicted a humorous caricature of Onelli attempting to tie the plesiosaur down.

My sincere thanks to several Facebook friends, especially Karl J. Claridge, Claudio Diaz, Adam Naworal, Jeff Rausch, and Valerie Wyllie, for supplying me with information and images relating to this trio of Patagonian plesiosaur tangos.

THE GREAT SEA SERPENT: Maurice Strakosch (1850). 'Sea Serpent Polka'.
Inspired by a bout of sea serpent sightings off the towns of Gloucester and Nahant in Massachusetts, New England, USA, during 1817-1819, this very jaunty polka was written in 1850 by Maurice Strakosch, an American musician of Czech origin, and featured an immense snake-like sea serpent coiled upon the front cover of its sheet music. An undated recording of concertina player Michel Van Der Meiren performing this lively tune can be listened to here on YouTube.

Front cover of the sheet music for 'Sea Serpent Polka' (public domain)

Many thanks indeed to Facebook friend Jeff Meuse for bringing this charming instrumental composition to my attention.

I do hope that you've enjoyed this very special Nessie concert here on ShukerNature. If so, then that is definitely music to my ears!


This ShukerNature blog article is excerpted from my book Here's Nessie! A Monstrous Compendium From LochNess– coming soon!

Nessie - the coolest crypto-rock star of them all! (© Dr Karl Shuker)







A NEW ZEALAND MOA IN CAMBODIA?

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Bayon glyph depicting mystery long-necked bird between rhinoceros and ox at AngkorWat, Cambodia (public domain)

They say that beauty is in the eye of the beholder, and the same has certainly been true of cryptids on many occasions in the past. The following case may – or may not – constitute a further example of this cryptozoological rule of thumb.

In terms of their current native zoogeography, modern-day ratites all have very precise distributions on the continental level. The ostrich is nowadays entirely confined to Africa (its contingent in Asia Minor was hunted into extinction by the mid-20th Century), the rheas to South America, the emu to Australia, the now-extinct moas to New Zealand, the now-extinct elephant birds to Madagascar, and the cassowaries to Australia and New Guinea. However, there are no known modern-day ratites native to mainland Asia (nor are there any to Europe or North America either, for that matter), which makes a certain enigmatic carving present on a famous Indochinese temple of particular interest.

Vintage illustration of a giant moa Dinornis sp. alongside a kiwi (public domain)

Dating from the 12thCentury and richly decorated with countless numbers of bas-relief glyphs carved upon its numerous sandstone columns and walls, depicting a wide range of deities and animals, Angkor Wat is a celebrated temple complex in Cambodia and constitutes the world's largest religious monument. It also lays claim to cryptozoological fame, courtesy of a specific glyph carved on a wall at Ta Prohm, one of the temples in this complex, because the animal portrayed by this glyph bears a remarkable superficial resemblance to one of the classic plate-backed stegosaurian dinosaurs from prehistoric times. Not surprisingly, this anomalous, ostensibly anachronistic carving has attracted considerable discussion and dissension as to what creature it does truly depict, and I have documented it in a number of my own publications.

Angkor Wat's 'stegosaur' glyph (© Jon and Leslie Burke)

However, there is also a second glyph at Angkor Wat that, although far less famous than the 'stegosaur', is no less intriguing from a cryptozoological viewpoint, because one identity scientifically proposed for the notably long-necked bird that it depicts is a New Zealand moa. This glyph can be found in a temple known as the Bayon, with the mystery bird in question being sandwiched between a carving of a rhinoceros to its immediate left and one of an ox (possibly a gaur) to its immediate right.

Close-up of Bayon glyph depicting rhinoceros, mystery long-necked bird, and ox at AngkorWat, Cambodia (public domain)

As seen in the illustration reproduced here of this glyph's animal trio, the bird has stout legs, a noticeably plump winged body, and an extremely long slender neck with a small head atop. In the April 1986 issue of the German scientific periodical Natur und Museum, Drs G.H. Ralph von Koenigswald and Joachim Steinbacher correctly pointed out that the above morphology ruled out any of the local heron species (the same is true of storks, because both storks and herons possess very long, slender, bayonet-like beaks, whereas the carved bird's is shorter, stouter, and has a hooked tip). They also noted that the glyph carver's placing it between two such large mammals as a rhinoceros and an ox (and with its head almost as high as theirs despite the fact that its neck was not even upright but was being held at an angle of approximately 45°) was probably done specifically to demonstrate just how big this bird was.

April 1986 issue of Natur und Museum, featuring on its cover the avian subjects in the von Koenigswald-Steinbacher paper (© Natur und Museum)

Reflecting upon these factors, the authors suggested that perhaps the bird was a New Zealand moa, and, if so, quite probably the sturdy, relatively short-legged coastal moa Euryapteryx curtus (as opposed to the more famous and taller but much slimmer and longer-legged giant Dinornis moas). The moas were not believed to have become extinct in their native New Zealand domain until the mid-1400s (seemingly as a result of over-hunting and habitat destruction by the Maoris), i.e. around 250 years after the creation of Angkor Wat. Due to the extensive trade links and maritime travel that had been occurring in the southeast Asian-Australasian region for many centuries, the authors believed it likely that New Zealand's mighty moas would have been known about in Indochina at the time of Angkor Wat's creation, and that their spectacular appearance might well have inspired a carving of one to be produced amid the many other depictions of striking wildlife and mythological monsters present here.

Restoration of Euryapteryx(© FunkMonk/Wikipedia CC BY-SA 3.0)

Moreover, as the authors also noted, traders throughout history have transported preserved and living specimens of unusual, exotic-looking animals far from their native homelands to those of the traders as curiosities for exhibition purposes. Hence it is remotely possible that merchants travelling between Australasia and Indochina brought a preserved or perhaps even a living moa back with them to Cambodia at some point during the quarter-millennium spanning Angkor Wat's completion and the moas' extinction in New Zealand.

Alongside a life-sized statue of a sturdy moa in Auckland, New Zealand (© Dr Karl Shuker)

And indeed, there are some very pertinent precedents for transporting living ratites from Australasia to Asia, because cassowaries are known to have been transported westwards by mariners in bygone centuries from their native Australian and New Guinea homelands to Indonesia and China. Indeed, as the authors also discussed in this same paper, there is even a glyph of a cassowary-like bird at the Tjandi-Panataran, a Hindu temple not far from Wadjak in Java and dating from around the 12th-15th Century, which may offer further evidence of such transportations. Additional details regarding this subject are contained in my book The Beasts That Hide From Man (2003) and also in a ShukerNature blog article on cassowaries (click here).

Glyph of cassowary-like bird at Java's Tjandi-Panataran temple (public domain)

Having said that, there might be an altogether much more mundane, prosaic explanation for the long-necked mystery bird of Angkor Wat. Namely, that its appearance may not be due so much to any taxonomic identity as a moa but rather to the fact that there was a space needing to be filled between the rhino and the ox, and a non-specific long-necked bird simply made an ideal space-filler, with any perceived similarities to Euryapteryx or any other moa being merely coincidental. In short, the bird's morphology was moulded by the specific shape of the space needing to be filled, nothing more.

Alongside a life-sized statue of a giant moa Dinornis sp. at ChesterZoo, England (© Dr Karl Shuker)

Indeed, a telling suggestion that this may well be the case is that whereas the wings of all moas were non-existent, the Angkor Wat bird has a very large, conspicuous wing readily visible. In addition, moa beaks were not hook-tipped. Such notable discrepancies as these would not be expected if the glyph provides as accurate a representation of the bird as it does for the rhinoceros and the ox, both of which are portrayed realistically and are readily recognisable.

Life-sized restoration of Dinornis moa at TringNaturalHistoryMuseum (© Dr Karl Shuker)

This ShukerNature blog article is excerpted from my latest book, A Manifestation of Monsters.







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