The Great London:
Australia

The wreck of a former slave ship lying just off the coast of Perth is being scoured by maritime archaeologists using new technology to revisit earlier excavations and help learn more about Australia's underwater past.

The site of the James Matthews is being photographed to create a detailed three-dimensional model of the shipwreck.

It is hoped the work will eventually help determine new ways of protecting it and other shipwrecks as well as ways to test new techniques and methods.

"The colours and details are really accurate," the WA Maritime Museum's Madeline McAllister said.

"Whereas in the past we would have taken some photos to create a 2D site plan and then also done the measurements ourselves with tapes, so [it was] not quite as accurate as what we're getting with these 3D models."

The James Matthews was first discovered in 1973 lying largely buried in sand in shallow waters two-to-three-metres-deep, less than 200 metres off Woodman Point, just south of Fremantle.

It had sunk there after slipping its anchor during a storm and hitting rocks in July 1841.

At the time, the snow brig was a merchant vessel, and had travelled from London laden with farm equipment and construction material for the newly established Swan River colony.

But archaeologists, who first excavated the ship in the 1970s led by former director of the WA Maritime Museum Graeme Henderson, soon discovered its link to the horrific trans-Atlantic slave trade.

It had previously been called the Don Francisco and was owned by a notorious and powerful Brazilian-born slave trader called Francisco Felix de Souza, who operated out of West Africa and was involved in power plays with leaders of the Kingdom of Dahomey, in present day Benin.

The Don Francisco was seized in 1837 off the island of Domenica as it headed towards Cuba by the British, who had passed an act abolishing the slave trade three decades earlier.

The British sailors found 433 slaves crammed inside the 24.5-metre hull.

The ship should have been destroyed under the law of the time, but was instead repaired and renamed the James Matthews, a London-registered merchant vessel — paving the way for its eventual demise.

When it was wrecked off Woodman Point, the ship fell on its side and buried much of its cargo and rigging in the sand.

That helped preserve the artefacts.

"In the case of the James Matthews, it went into sand and the sand buried it with the shifting currents and so forth, and so basically most of the ship was still there. Wonderful," Dr Henderson said.

"The sand gives them an anaerobic environment, which means no oxygen, which means not much in the way of deterioration had taken place.

A leather shoe, a parasol with much of the lace preserved, an ivory chess set, and pulleys with rope still largely intact, were some of the surprisingly well-conserved artefacts discovered.

Intriguingly, the part-owner of the ship at the time, Henry de Burgh, later wrote 200 gold sovereigns were also lost to the sea, supposedly never recovered.

Former WA Maritime Museum director Graeme Henderson, who has officially retired but still spends his days hunting shipwrecks, said the 3D modelling would help gain a better understanding of the site over time.

"The idea is we will come back very few years and take another set of photographs and be able to overlay the models," he said.

"And you'll see growth in seaweed and sponges on the site and you'll also be able to see the deterioration if that's happened."

WA Museum maritime archaeology curator Ross Anderson said a lot of underwater cultural heritage sites, including shipwrecks like the James Matthews and prehistoric sites, were "out of sight and out of mind".

"If people don't see them, they don't see the importance, so these kinds of visualisations and interpretations convey to people what's under there, what's under the water, what's under the sand, [and that it's] actually really important and worth preserving," Dr Anderson said.

Author: Nicolas Perpitch | Source: ABC News Website [December 11, 2016]

Using the oldest fossil micrometeorites -- space dust -- ever found, Monash University-led research has made a surprising discovery about the chemistry of Earth's atmosphere 2.7 billion years ago.

The findings of a new study >published in the journal Nature -- led by Dr Andrew Tomkins and a team from the School of Earth, Atmosphere and Environment at Monash, along with scientists from the Australian Synchrotron and Imperial College, London -- challenge the accepted view that Earth's ancient atmosphere was oxygen-poor. The findings indicate instead that the ancient Earth's upper atmosphere contained about the same amount of oxygen as today, and that a methane haze layer separated this oxygen-rich upper layer from the oxygen-starved lower atmosphere.

Dr Tomkins explained how the team extracted micrometeorites from samples of ancient limestone collected in the Pilbara region in Western Australia and examined them at the Monash Centre for Electron Microscopy (MCEM) and the Australian Synchrotron.

"Using cutting-edge microscopes we found that most of the micrometeorites had once been particles of metallic iron -- common in meteorites -- that had been turned into iron oxide minerals in the upper atmosphere, indicating higher concentrations of oxygen than expected," Dr Tomkins said.

"This was an exciting result because it is the first time anyone has found a way to sample the chemistry of the ancient Earth's upper atmosphere," Dr Tomkins said.

Imperial College researcher Dr Matthew Genge -- an expert in modern cosmic dust -- performed calculations that showed oxygen concentrations in the upper atmosphere would need to be close to modern day levels to explain the observations.

"This was a surprise because it has been firmly established that the Earth's lower atmosphere was very poor in oxygen 2.7 billion years ago; how the upper atmosphere could contain so much oxygen before the appearance of photosynthetic organisms was a real puzzle," Dr Genge said.

Dr Tomkins explained that the new results suggest the Earth at this time may have had a layered atmosphere with little vertical mixing, and higher levels of oxygen in the upper atmosphere produced by the breakdown of CO 2 by ultraviolet light.

"A possible explanation for this layered atmosphere might have involved a methane haze layer at middle levels of the atmosphere. The methane in such a layer would absorb UV light, releasing heat and creating a warm zone in the atmosphere that would inhibit vertical mixing," Dr Tomkins said.

"It is incredible to think that by studying fossilised particles of space dust the width of a human hair, we can gain new insights into the chemical makeup of Earth's upper atmosphere, billions of years ago." Dr Tomkins said.

Dr Tomkins outlined next steps in the research.

"The next stage of our research will be to extract micrometeorites from a series of rocks covering over a billion years of Earth's history in order to learn more about changes in atmospheric chemistry and structure across geological time. We will focus particularly on the great oxidation event, which happened 2.4 billion years ago when there was a sudden jump in oxygen concentration in the lower atmosphere."

Source: Monash University [May 12, 2016]

The Australian Age of Dinosaurs Museum today announced the naming of Savannasaurus elliottorum, a new genus and species of dinosaur from western Queensland, Australia. The bones come from the Winton Formation, a geological deposit approximately 95 million years old.

Savannasaurus was discovered by David Elliott, co-founder of the Australian Age of Dinosaurs Museum, while mustering sheep in early 2005. As Elliott recalled yesterday, "I was nearly home with the mob -- only about a kilometre from the yards -- when I spotted a small pile of fossil bone fragments on the ground. I was particularly excited at the time as there were two pieces of a relatively small limb bone and I was hoping it might be a meat-eating theropod dinosaur." Mr Elliott returned to the site later that day to collect the bone fragments with his wife Judy, who 'clicked' two pieces together to reveal a complete toe bone from a plant-eating sauropod. The Elliotts marked the site and made arrangements to hold a dig later that year.

The site was excavated in September 2005 by a joint Australian Age of Dinosaurs (AAOD) Museum and Queensland Museum team and 17 pallets of bones encased in rock were recovered. After almost ten years of painstaking work by staff and volunteers at the AAOD Museum, the hard siltstone concretion around the bones was finally removed to reveal one of the most complete sauropod dinosaur skeletons ever found in Australia. More excitingly, it belonged to a completely new type of dinosaur.

The new discovery was nicknamed Wade in honour of prominent Australian palaeontologist Dr Mary Wade. "Mary was a very close friend of ours and she passed away while we were digging at the site," said Mr Elliott. "We couldn't think of a better way to honour her than to name the new dinosaur after her."

"Before today we have only been able to refer to this dinosaur by its nickname," said Dr Stephen Poropat, Research Associate at the AAOD Museum and lead author of the study. "Now that our study is published we can refer to Wade by its formal name, Savannasaurus elliottorum," Dr Poropat said. "The name references the savannah country of western Queensland in which it was found, and honours the Elliott family for their ongoing commitment to Australian palaeontology."

In the same publication, Dr Poropat and colleagues announced the first sauropod skull ever found in Australia. This skull, and the partial skeleton with which it was associated, has been assigned to Diamantinasaurus matildae -- a sauropod dinosaur named in 2009 on the basis of its nickname Matilda. "This new Diamantinasaurus specimen has helped to fill several gaps in our knowledge of this dinosaur's skeletal anatomy," said Poropat. "The braincase in particular has allowed us to refine Diamantinasaurus' position on the sauropod family tree."

Dr Poropat collaborated with British sauropod experts Dr Philip Mannion (Imperial College, London) and Professor Paul Upchurch (University College, London), among others, to work out the position of Savannasaurus (and refine that of Diamantinasaurus) on the sauropod family tree. "Both Savannasaurus and Diamantinasaurus belong to a group of sauropods called titanosaurs. This group of sauropods includes the largest land-living animals of all time," said Dr Mannion. "Savannasaurus and the new Diamantinasaurus specimen have helped us to demonstrate that titanosaurs were living worldwide by 100 million years ago."

Poropat and his colleagues suggest that the arrangement of the continents, and the global climate during the middle part of the Cretaceous Period, enabled titanosaurs to spread worldwide.

"Australia and South America were connected to Antarctica throughout much of the Cretaceous," said Professor Upchurch. "Ninety-five million years ago, at the time that Savannasaurus was alive, global average temperatures were warmer than they are today. However, it was quite cool at the poles at certain times, which seems to have restricted the movement of sauropods at polar latitudes. We suspect that the ancestor of Savannasaurus was from South America, but that it could not and did not enter Australia until approximately 105 million years ago. At this time global average temperatures increased allowing sauropods to traverse landmasses at polar latitudes."

Savannasaurus was a medium-sized titanosaur, approximately half the length of a basketball court, with a long neck and a relatively short tail. "With hips at least one metre wide and a huge barrel-like ribcage, Savannasaurus is the most rotund sauropod we have found so far -- even more so than the somewhat hippopotamus-like Diamantinasaurus," said Dr Poropat. "It lived alongside at least two other types of sauropod (Diamantinasaurus and Wintonotitan), as well as other dinosaurs including ornithopods, armoured ankylosaurs, and the carnivorous theropod Australovenator."

Mr Elliott is relieved that Wade can now join "Matilda" and the other new dinosaur species on display in the Museum's Holotype Room. "That this dinosaur specimen can now be displayed for our visitors is a testament to the efforts of numerous volunteers who have worked at the Museum on the fossils over the past decade," he said. Mr Elliott and Dr Poropat agree that the naming of Savannasaurus, the fourth new species published by the AAOD Museum, is just the tip of the iceberg with respect to the potential for new dinosaur species in western Queensland.

"The Australian Age of Dinosaurs Museum has a massive collection of dinosaur fossils awaiting preparation and the number of specimens collected is easily outpacing the number being prepared by volunteers and staff in our Laboratory," Mr Elliott said. "The Museum already has the world's largest collection of bones from Australia's biggest dinosaurs and there is enough new material to keep us working for several decades."

The paper naming the new dinosaur was published in >Scientific Reports.

Source: Australian Age of Dinosaurs Museum of Natural History [October 20, 2016]

A long-running smuggling scandal involving temple looters in India and a high-profile New York art dealer has widened after an independent review found that the National Gallery of Australia may have been among the prestigious art galleries duped by false documentation.

The Canberra-based gallery, which is Australia's leading cultural institution, said in mid-February that it had identified 22 objects with suspect origins in its Asian art collection, including 14 works bought from former New York-based dealer Subhash Kapoor for $11 million.

Kapoor is in custody in Chennai, India, awaiting trial on art theft charges following his arrest in Germany in October 2011 and extradition to India in mid-2012.

The Canberra gallery said an independent review of its Asian art provenance project by a former High Court judge, Susan Crennan, found the 22 objects had "insufficient or questionable" documentation of their provenance.

One of the objects, a 900-year-old Chola-era bronze statue entitled "Shiva as Lord of the Dance (Nataraja)" has already been returned to India. Former Australian Prime Minister Tony Abbott handed it over to Indian Prime Minister Narendra Modi in September 2014, along with a stone statue of Ardhanariswara (Shiva in half-female form), dating from around 1100. That statue was in the collection of another leading Australian gallery, the Sydney-based Art Gallery of New South Wales.

Both of these Hindu art treasures allegedly were stolen from temples in Tamil Nadu in southern India and shipped to Kapoor.

The Canberral gallery bought the Shiva Nataraja from Kapoor's Art of the Past gallery on Madison Avenue in New York in 2008 for $5.1 million, while the New South Wales gallery paid Kapoor 300,000 Australian dollars ($220,800) in 2004 for the Ardhanariswara. The provenance documents he provided now appear to be fraudulent, according to Crennan's report. "There is evidence that the object (the Shiva Nataraja) was stolen from an identified temple in Tamil Nadu ... and that it left India in late 2006 and was given a false ownership history," she wrote. Kapoor is alleged to have masterminded the theft of 28 bronzes from two temples in Tamil Nadu in 2006 and 2008, and their illegal export to the U.S., according to the Economic Offences Wing of the Tamil Nadu police. U.S. authorities have seized $100 million worth of antiquities from Kapoor's gallery and an associated business, Nimbus Import Export, and Kapoor may face U.S. charges after his Chennai trial. Delhi-born Kapoor, 66, moved to the U.S. in 1974 and is a U.S. citizen.

The two Australian galleries are not the only major institutions to have made purchases from Kapoor; galleries in Singapore, Germany, the U.S. and Canada have returned art objects to India over the past year.

A private New York collector surrendered a $1 million bronze to U.S. authorities in mid-2015 after it was identified as stolen. It has also become clear that many major U.S. institutions dealt with Kapoor, including the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Art Institute of Chicago, the Toledo Museum of Art in Ohio and the Smithsonian's Freer and Sackler Galleries in Washington DC.

Crennan's independent report on the Canberra gallery's Asian Art Provenance project, published on Feb. 17, covers 36 objects acquired between 1968 and 2013, including the 14 bought from Kapoor between 2002 and 2011.

Crennan found that only 12 of the 36 had satisfactory provenance, while two others needed further research and the remaining 22 had insufficient or questionable provenance documentation. The gallery aims eventually to publish the provenance of all 5,000 objects in its Asian art collection.

Aside from the Kapoor purchases, the 36 objects whose documentation was reviewed by Crennan included a red sandstone sculpture, the "Seated Buddha," which the gallery bought from Nancy Wiener Galleries in New York for $1,080,000 in 2007. Last year, after discussions about how the Kushan-period sculpture -- created between 200 BC and 400 AD -- was exported from India, Wiener agreed to refund the purchase price to the Canberra gallery and undertook to return the sculpture to India in 2016.

"Exemplary collaboration"

India's High Commissioner in Australia, Navdeep Suri, praised the Canberra gallery's actions, saying its collaboration with the Archaeological Survey of India to determine the provenance of the "Seated Buddha" was "truly exemplary." He said the Australian gallery had set an example for other countries and institutions to follow in the restitution of stolen artworks to their countries of origin.

The Canberra gallery bought the "Seated Buddha" with assistance from gallery benefactor Roslyn Packer, widow of the late media tycoon Kerry Packer. Roslyn Packer also helped the gallery to buy an 800-year-old sculpture, the "Sacred Bull Nandi, Vehicle of Shiva," for A$655,000 from another New York art dealer, Carlton Rochell, in 2009. This sculpture's provenance is also under a cloud; Crennan's report described it as "problematic" and needing further research.

In a September 2014 statement to mark Abbott's return of the two statues to India, the Canberra gallery said it "would never knowingly purchase a stolen or looted item." It said the gallery had undertaken lengthy, comprehensive and independent research before it bought the Shiva Nataraja from Kapoor in 2008. "Despite these efforts, court proceedings may yet confirm that the gallery has been a victim of a most audacious fraud," said the then director of the gallery, Ron Radford. Radford retired the same month, after 10 years as director.

The search for the Hindu statues stolen from two temples in Tamil Nadu in 2006 and 2008 was aided by photographic evidence from the archives of the French Institute of Pondicherry. The institute, established in what was once the French colony of Pondicherry, about 200km south of Chennai, had a collection of photographs of items in various temples in the region. These were matched against catalogue pictures of items being offered for sale by Kapoor in New York. Kapoor's Art of the Past gallery manager Aaron Freedman pleaded guilty in the U.S. in December 2013 to one count of criminal conspiracy and five counts of possession of stolen property. He is now helping U.S. federal authorities with their inquiries. Another New York associate, Selina Mohamed, was charged in December 2013 with possession of stolen property. She subsequently pleaded guilty to a misdemeanor charge of conspiracy and in March 2015 was given a one year conditional release.

The arrests were part of Operation Hidden Idol, run by the U.S. Immigration and Customs Homeland Security Investigations' cultural property unit, which focused on Kapoor's activities.

The Kapoor case evokes parallels with an art looting saga from the 1970s involving a temple north-east of Cambodia's famed Angkor complex. Between 2013 and 2015, six 10th century sandstone statues that were stolen from the Koh Ker temple during the Cambodian civil war were returned to Cambodia from the U.S. The Metropolitan Museum of Art in New York returned two of these statues in 2013 after it said new information had come to light that was not available when the statues were donated to the museum between 1987 and 1992.

In 2014, three items portraying characters from the Mahabharata, an epic Sanskrit poem of ancient India, were returned by the U.S., including a statue of Duryodhana that was first auctioned in London in 1975. The statue was due to be auctioned by Sotheby's in New York in March 2011 before action by Unesco, the United Nations cultural organization, stopped the sale on Cambodia's behalf.

Another statue, of the character Bhima, was returned by California's Norton Simon museum and a third, representing the character Pandava, was returned by Christie's auction house in 2014. Last year, the Cleveland Museum of Art said it would return a statue of Hanuman, a Hindu god, that it acquired in 1982.

Author: Geoff Hiscock | Source: Nikkei Asian Review [March 04, 2016]

The British Museum will open a major exhibition presenting a history of Indigenous Australia, supported by BP. This exhibition will be the first in the UK devoted to the history and culture of Indigenous Australians: both Aboriginal peoples and Torres Strait Islanders. Drawing on objects from the British Museum’s collection, accompanied by important loans from British and Australian collections, the show will present Indigenous Australia as a living culture, with a continuous history dating back over 60,000 years.

The objects in the exhibition will range from a shield believed to have been collected at Botany Bay in 1770 by Captain Cook or one of his men, a protest placard from the Aboriginal Tent Embassy established in 1972, contemporary paintings and specially commissioned artworks from leading Indigenous artists. Many of the objects in the exhibition have never been on public display before.

The objects displayed in this exhibition are immensely important. The British Museum’s collection contains some of the earliest objects collected from Aboriginal people and Torres Strait Islanders through early naval voyages, colonists, and missionaries dating as far back as 1770. Many were collected at a time before museums were established in Australia and they represent tangible evidence of some of the earliest moments of contact between Aboriginal people, Torres Strait Islanders and the British. Many of these encounters occurred in or near places that are now major Australian cities such as Sydney, Melbourne, Adelaide, and Perth. As a result of collecting made in the early 1800s, many objects originate from coastal locations rather than the arid inland areas that are often associated with Indigenous Australia in the popular imagination.

The exhibition will not only present Indigenous ways of understanding the land and sea but also the significant challenges faced by Indigenous Australians from the colonial period until to the present day. In 1770 Captain Cook landed on the east coast of Australia, a continent larger than Europe. In this land there were hundreds of different Aboriginal groups, each inhabiting a particular area, and each having its own languages, laws and traditions. This land became a part of the British Empire and remained so until the various colonies joined together in 1901 to become the nation of Australia we know today. In this respect, the social history of 19th century Australia and the place of Indigenous people within this is very much a British story. This history continues into the twenty first century. With changing policies towards Indigenous Australians and their struggle for recognition of civil rights, this exhibition shows why issues about Indigenous Australians are still often so highly debated in Australia today.

The exhibition brings together loans of special works from institutions in the United Kingdom, including the British Library, the Pitt Rivers Museum and the Cambridge Museum of Archaeology and Anthropology. A number of works from the collection of the National Museum of Australia will be shown, including the masterpiece ‘Yumari’ by Uta Uta Tjangala. Tjangala was one of the artists who initiated the translation of traditions of sand sculptures and body painting onto canvas in 1971 at Papunya, a government settlement 240km northwest of Alice Springs in the Northern Territory. Tjangala was also an inspirational leader who developed a plan for the Pintupi community to return to their homelands after decades of living at Papunya. A design from ‘Yumari’ forms a watermark on current Australian passports.

This exhibition has been developed in consultation with many Aboriginal and Torres Strait Islander individuals, Indigenous art and cultural centres across Australia, and has been organised with the National Museum of Australia. The broader project is a collaboration with the National Museum of Australia. It draws on a joint research project, funded by the Australian Research Council, undertaken by the British Museum, the National Museum of Australia and the Australian National University. Titled ‘Engaging Objects: Indigenous communities, museum collections and the representation of Indigenous histories’, the research project began in 2011 and involved staff from the National Museum of Australia and the British Museum visiting communities to discuss objects from the British Museum’s collections. The research undertaken revealed information about the circumstances of collecting and significance of the objects, many of which previously lacked good documentation. The project also brought contemporary Indigenous artists to London to view and respond to the Australian collections at the British Museum.

Neil MacGregor, Director of the British Museum said, “The history of Australia and its people is an incredible, continuous story that spans over 60,000 years. This story is also an important part of more recent British history and so it is of great significance that audiences in London will see these unique and powerful objects exploring this narrative. Temporary exhibitions of this nature are only possible thanks to external support so I am hugely grateful to BP for their longstanding and on-going commitment to the British Museum. I would also like to express my gratitude to our logistics partner IAG Cargo and the Australian High Commission who are supporting the exhibition’s public programme.”

Source: The British Museum [April 23, 2015]

The hidden secrets of Egyptian mummies up to 3,000 years old have been virtually unwrapped and reconstructed for the first time using cutting-edge scanning technology in a joint British-Australian exhibition.

Three-dimensional images of six mummies aged between 900BC and 140-180AD from ancient Egypt, which have been held at the British Museum but never physically unwrapped, give an insight into what it was like to live along the Nile river thousands of years ago.

"We are revealing details of all their physical remains as well as the embalming material used by the embalmers like never before," the British Museum's physical anthropology curator Daniel Antoine told AFP at the Powerhouse Museum in Sydney Thursday. "What we are showing to the public is brand-new discoveries of their insides."

Two of the travelling mummies were previously exhibited at the British Museum in 2014, with the other four being revealed to the world for the first time in the Sydney show that opens on Saturday.

A dual-energy computed tomography (CT) scanner at the Royal Brompton Hospital in London—of which only a handful are in operation around the world—was used to obtain thousands of slices of images of the mummies, with volumetric software then harnessed to create 3D models, Antoine said.

It effectively allows visitors to virtually peel back the layers of history through interactive 3D visualisations of the CT scans.

"I've been able to image the arteries of the mummies, the ones that have been left, and I'm able to look at whether they are suffering from diseases which many people are suffering from today, (such as) cardiovascular diseases," Antoine added.

He believes the mummies can be rescanned in a decade's time using the latest technology to find out more about their state of health, what diseases they were suffering from and the nature of their deaths.

"We hope in the future to image the soft tissues at the cellular level to look at whether there's any changes or to find evidence, for example, of cardiovascular diseases but also things like cancer."

The scans found that one of mummies, Tamut, a priest's daughter from about 900BC, had plaque in her arteries. Three-dimensional printing was also used to recreate amulets found during scans of her mummified remains.

The earliest evidence of mummification in Egypt suggests that the practice of wrapping bodies to preserve them after death dates back as far as 4500BC.

The mummies are due to travel to Asia next year.

Source: AFP [December 08, 2016]

Scientists from the Universities of Bristol and Málaga have proposed that the long extinct marsupial lion hunted in a very unique way -- by using its teeth to hold prey before dispatching them with its huge claws.

The marsupial lion, or Thylacoleo carnifex, was a predator in the Pleistocene era of Australia and was about the same size as a large jaguar.

It was known to have existed from around two-and-a-half-million years ago until as recently as a few tens of thousands of years ago.

The animal is depicted on native Australian cave art and some speculate it still survives as the "Queensland Tiger."

As its name suggests, the marsupial lion has long been presumed to be a cat-like predator, despite lacking large canine teeth -- instead it had large, protruding incisors that have been suggested to be canine substitutes.

Thylacoleo was a powerful beast but, as other researchers have noted, it had limbs of different proportions to a lion, suggesting it was not a fast.

It also sported a very large claw on its hand, similar to the dew claw of cats but of a much bigger size, with a bony sheath foisted on a mobile first digit (thumb).

The new study, >published in Paleobiology by Christine Janis, a Marie Curie Research Fellow at the University of Bristol (currently on a leave of absence from a professorship at Brown University, USA) with colleagues Borja Figueirido and Alberto Martín-Serra from the University of Málaga, Spain looked at the elbow joints of a large number of living mammals.

This showed a strong association between the anatomy of the humerus (upper arm bone) where it articulates with the forelimb and the locomotor behaviour of mammals.

Animals more specialized for running (like a dog) have a joint indicating movement limited for back and forwards, stabilising their bodies on the ground, while animals more specialised for climbing (like a monkey) have a joint that allows for rotation of the hand around the elbow. Modern cats, which (unlike dogs) use their forelimbs to grapple with their prey, have an elbow joint of intermediate shape.

Christine Janis said: "If Thylacoleo had hunted like a lion using its forelimbs to manipulate its prey, then its elbow joint should have been lion-like."

"But, surprisingly, it a unique elbow-joint among living predatory mammals -- one that suggested a great deal of rotational capacity of the hand, like an arboreal mammal, but also features not seen in living climbers, that would have stabilized the limb on the ground (suggesting that it was not simply a climber)."

Christine Janis and colleagues proposed that this unique elbow joint, in combination with the huge "dew claw" on a mobile thumb, would have allowed the marsupial lion to use that claw to kill its prey.

In contrast the large incisors were blunt. While Thylacoleo had massive shearing teeth in the back of its jaw, the incisors appear to have functioned better for gripping than for piercing flesh in a killing bite.

They concluded that, unlike a real lion, which holds its prey with its claws, and kills it with its teeth, the marsupial lion -- unlike any living predator -- used its teeth to hold its prey, while it despatched it with its huge claws.

Source: University of Bristol [August 16, 2016]