I Miss the Mammoths

I Miss the Mammoths

By Dr. Graham Young, past Curator of Palaeontology & Geology

 

Recently, there seem to have been a lot of stories in the media about the remarkable intelligence of elephants. Scarcely a week goes by without a new science story about how elephants are among the few non-human creatures that are self-aware, about their superb communication skills, about the ways in which they care for one another, or about their wonderful memories (it is true: an elephant never forgets). Whenever I see these stories I feel wistful, contemplating the elephants that used to live around here. I imagine how they wandered across the landscape, using their big brains as they communicated about food and predators.

If you are here in still-snowy Winnipeg, you might wonder if I am feeling OK, or you would at least think “what does this have to do with our local situation?” After all, wild elephants live a very long way away, in warm parts of Africa and Asia. Our lack of living elephants is, however, a disparity of time rather than one of geography. Geologically speaking, it is just the blink of an eye since the time when this area was regularly visited by herds of elephants.

A hand drawn illustration of a mammoth molar from above.

Crown view of a woolly mammoth molar from Bird, northern Manitoba (specimen V-1739; illustration by Debbie Thompson)

Part of an aged fossilized pelvis in a storage container.

Partial mammoth pelvis from southeastern Manitoba (specimen V-2640; scale is in centimetres and inches).

Side view of a large mammoth molar with a flat upper and jagged "roots" along the bottom.

Side view of a mammoth molar from southeastern Manitoba (specimen V-2554; scale is in centimetres).

I am speaking, of course, about mammoths. Although woolly mammoths (Mammuthus primigenius) are better-known from Ice Age (Pleistocene) deposits in Siberia, Alaska, and the Yukon, many examples have been found across the Canadian Prairies. Quite a few mammoth bones and teeth have been collected in Manitoba, along with the occasional tooth belonging to their distant cousin the American mastodon (Mammut americanum).

A portion of a long, aged mammoth tusk.

Here at the Museum we have mammoth teeth, vertebrae, limb bones, jaws, and other pieces, collected from many different sites in Manitoba and Saskatchewan. Nearly all of these have been found separately in glacial deposits, and there is good evidence that they had been transported and abraded before they were finally deposited. Most of them are not mineralized; they are composed of the original bone and tooth material that was preserved in sand and gravel far below the water table. Some of the bones were still so “fresh” that they stank of rotting mammoth when we started to dry them out for preservation.

Sadly we have not yet found any more complete skeletons, but the fossils we have give excellent evidence that these animals were widespread in this region. They were probably common during the interglacial warm spells, those intervals of milder conditions when the ice sheets receded from this region.

 

Image: An incomplete mammoth tusk found northeast of Transcona (Winnipeg), Manitoba (specimen V-209).

Some of our mammoth bones are from sites where associated wood material has been dated to about 40,000 years old, so they date from well before the end of the Ice Age. The last mammoths in North America, however, became extinct about 10,000 years ago, and the very last ones in the world lived on Wrangel Island, Siberia, until just 4,000 years ago (by which time the Egyptians had already constructed some of their pyramids!). We don’t really know why mammoths became extinct, but there seem to have been several factors involved: climate change at the end of the Ice Age and increased hunting by human populations may have been the major causes.

Since the mammoth is often reconstructed as a hairy creature with a “primordial” sort of appearance, you might think that it was not really that similar to modern elephants, but modern scientific information tells us otherwise. We have long known that the teeth and bones of mammoths indicate an affinity to Asian elephants (genus Elephas). Asian elephant teeth, for instance, are much more like mammoth teeth than they are like the distinctive teeth of African elephants (genus Loxodonta). Recently, genetic studies have confirmed the similarity and shared ancestry of mammoths and Asian elephants. Mammoths and Asian elephants shared an ancestor about 5.8-7.8 million years ago, while that shared ancestor diverged from African elephants 6.6-8.8 million years ago.

 

Image: A mammoth scapula (shoulder blade) from southeastern Manitoba (V-2639).

Many of the new things we are learning about elephant behaviour seem to apply to both Asian and African elephants. Given what we now know about evolutionary relationships, it must be assumed that mammoths would have had the same sort of intelligence and behavioural traits, and it is possible that even mastodons were somewhat similar. The new information on elephant intelligence is allowing mammoths to be well understood as “living” creatures, even if the attempts to clone them are unsuccessful.

It is saddening that we came so very close, geologically, to seeing those herds of mammoths. Whenever I look at those fossils, whenever I contemplate the tusk of a huge adult or the jaw of a baby mammoth, I miss the animals.

Diorama Details

By University of Winnipeg student Kristina Misurska

 

Hello, everyone! Kristina’s blog post for this week is going to be a bit different than some of her other posts:

Over Reading Week I went to a conference in Albuquerque, New Mexico, so I didn’t start any new research. Most of my work since my last blog post has been focused on continuing to figure out what is going to be involved with the QR code project, so I thought I would instead take this opportunity to blog a bit about the diorama itself.

Two figures in a miniature diorama winter scene, wearing traditional winter gear and with bundles on their backs.

The diorama is an astounding piece of work. Betsy Thorsteinson, an extremely talented artist, along with her skilled group of volunteers, put an incredible amount of detail into the diorama. The result of all their hard work is a diorama that, from afar, looks as if it could be a photograph of a real-life fishing camp. Taken as a whole, the diorama is beautiful.

To fully appreciate the amount of effort that went into the creation of the display, however, it helps to take a closer look. To that end, two separate monocles, or monoculars, are provided with the diorama so that visitors can get a close-up view of some of the details. The monocle lets viewers zoom in on different areas and see food being prepared in pottery vessels, birds flying amongst trees, and fish being smoked over fires.  The monocles help to focus on the thought and precision that went into the display. From the figurines of the family, to the branches of the trees, to the smoke rising from the campfires, every detail tells a story.

 

Image: Closeup of winter travelling scene, Aschkibokahn Diorama

The monocles help visitors to zoom in on areas that make them curious. This parallels what I am hoping to accomplish with my project –  to give visitors the option of learning more about the present-day site, along with seeing the bigger picture of the site.

That’s all for this week! Please check back next week to see how my project progresses.

QR Code For Aschkibokahn Mini-Diorama

By University of Winnipeg student Kristina Misurska

 

Welcome back, everybody! This week Kristina’s post is a quick look at some of the behind-the-scenes planning that she’s been doing for her project:

As I mentioned in my last post, the goal of my project is to look at ways of linking the Aschkibokahn archaeological site and diorama with the present-day community of Duck Bay. The work I did this week involved looking at how to best integrate our research materials into the existing exhibit.

Two individuals each holding cell phones standing in front of the Aschkibokahn diorama in the Manitoba Museum's Lower Parklands Gallery.

One of the ideas we have come up with is to set up a QR code that links to a webpage with supplementary information about Duck Bay. Some of the materials we are hoping to share on this page include a poem written by Melba Sanoffsky, who grew up in Duck Bay, as well as photographs of the community through the years.

Before we can go any further we have to do something practical: ensure that smart phones are able to get reception in the exhibit area.  To check this, I visited the gallery with one of the curators. We have different service providers and we wanted to make sure we both had a signal and reception. We pulled out our phones, and success! Now we know it is possible to use QR codes in the exhibit area. The next steps will be to look at the materials we have at the museum, and to decide what else we would like to include in our web display.

 

Image: Kristina with Amelia Fay, Curator of the Hudson’s Bay Collection, checking web access at the Aschkibokahn mini-diorama.

At this point, the web page/QR code is just a concept. I will keep you informed as to what we actually come up with. Stop by the blog next week to see where I’m at with my project, and don’t forget to visit the new diorama!

Slicing the Onion

By Dr. Graham Young, past Curator of Palaeontology & Geology

 

A couple of weeks ago, I gave a presentation at McNally Robinson in Winnipeg, as part of our Museum lecture course Into the Vault. I was planning to talk about the ancient island shoreline deposits we have been studying in the Churchill area, and as I thought about history and pre-history, I was reminded of an observation I had made during an earlier trip to southwestern Manitoba. In most parts of a relatively flat landscape, the ground surface is the result of processes in the present day and the recent past; it is only where some of that surface is peeled away that we can really see evidence of a deeper past.

View down a downtown road between tall office buildings during winter. Under a blue sky there is snow along the sides of the road and leafless trees.

Downtown Winnipeg, as it has looked so often this winter.

Looking down a gravel road under a clear blue sky. Yellow canola grows in fields either side of the road.

The endless horizon of a flat landscape in western Manitoba.

Photo taken from a moving vehicle on a single lane road. A vehicle drives in front, and in the distance, further in on the field, are three modern windmills.

Our modern landscape is different from all past landscapes.

View up a gentle hill towards a now abandoned homestead built out of fieldstone.Overgrown bushes and trees grow close to the building.

On the surface, we can see evidence of the historic past: an abandoned farmhouse at Brockinton, Manitoba.

Where the earth is split open, along riverbanks and shorelines, and at roadcuts and quarries, we can see its older layers. While the surface usually represents the present, recent past, and relatively recent prehistory, the layers below that surface may be extremely old. Southwestern Manitoba and the Hudson Bay Lowland are both in the part of North America known geologically as the Platform, which has been free for a very long time from disruptive forces such as earthquakes and volcanoes. As a result, the layers are relatively orderly; the sediment was laid down almost horizontally, layer upon layer. Slicing through them vertically looks quite similar to slicing an onion with a knife.*

A whole onion upside-down on a plate.

A whole onion upright on a plate.

A whole onion on a plate with a hand holding a knife blade to the side of the onion in preparation of slicing.

A wedge of an onion sliced to show its many layers.

As we dig down into the upper surface of the land, below the historic remnants we can see evidence of prehistoric occupation of this region. Almost everyone is familiar with widespread artifacts such as arrowheads, but in some places in southern Manitoba we can see ancient burial mounds or traces of long-past hunting sites.

Elsewhere, the cuts in the Earth extend into older layers. Some of these layers are still made of sediment that has not been turned to rock, but they date from the late part of the Ice Age, before people are known to have lived in this part of the world.

Two individuals trekking through tall grass towards a distinct mound in the land.

Calf Mountain, near Morden, is an ancient burial mound.

A person leans down into frame, reaching down towards bison bones embedded in the soil.

Kevin Brownlee examines bison bones at a hunting site dating from about 1200 years ago.

An individual stands beside a cut of ground beside a bank higher than themselves.

Near St. Lazare, Kevin looks at a cut bank is composed of till (sediment) deposited thousands of years ago by a glacier.

View towards a gorge with a river flowing through the centre. Green and yellow folliaged trees grow either side.

If the cut is deep enough, or if a high part of the bedrock reaches up to near the surface, we may see layers that date from long before the Ice Age. For example, along the Manitoba Escarpment there are many places where strata of Cretaceous age can be seen. These beds, dating from the later part of the age of the dinosaurs (roughly 100 million to 66 million years ago), are composed of shale and related rocks made of sediment deposited in the Western Interior Seaway.

If you were to drill a vertical hole into the Earth anywhere in southwestern Manitoba, your drillbit would eventually pass down through the Cretaceous layers into successively older beds of Jurassic, Mississippian, Devonian, Silurian, and Ordovician age (see diagram below). Units of these ages are always in the same order, from youngest at the top to oldest at the bottom, thanks to the simple and straightforward law of superposition and principle of original horizontality. Basically, sediment layers deposited by water or wind tend to be close to horizontal due to gravity, and each layer is laid down on top of the older layers that are already present in an area.

 

Image: In the Wawanesa gorge of southwest Manitoba, the upper yellowish sediments are glacial and postglacial, while the lower grey ones are from the Late Cretaceous Period.

The geological time gaps in the Manitoba record (such as between the Mississippian and Jurassic rocks, where we might have expected deposits from the Pennsylvanian, Permian, and Triassic periods) simply represent intervals in which sediment was not being deposited in this region, and was perhaps being eroded.  Most of our sedimentary rocks were deposited under seawater; the intervals of deposition occurred at times when the sea invaded the middle of the continent, and the gaps in deposition represent times when the sea left this region. We are in the latter sort of situation nowadays, though of course sediment IS still being deposited in one part of the middle of North America: in Hudson Bay.

The layers in the diagram below look to be strongly tilted, but this is because the diagram has a 200x exaggeration of the vertical scale, relative to the horizontal. In reality, they are tilted just a few degrees. The tilt is related to their having been deposited on a seafloor that sloped gently toward the centre of the ancient sedimentary basin, which was located to the southwest.

A geological diagram slowing the layers of earth from west to east in Manitoba.

A west to east geological cross-section through southern Manitoba shows how the older strata are located below younger ones (vertical scale greatly exaggerated). (Image from the Manitoba Geological Survey).

A rugged cut of bank with bare trunks of trees in frame both below and above the cliffside.

Limestone beds in the Fisher Branch area, north of Winnipeg, were deposited during the early part of the Silurian Period, about 440 million years ago.

This slight tilt is, however, very important when we consider where we might find particular layers on the surface. Geologists often talk about the rocks of the Platform as having “layer cake stratigraphy.” Like the onion, the layer cake is a useful metaphor. If we imagine a cake plate being tilted, and then the cake being cut parallel to the tabletop, it is obvious that the lower layers of the cake would be visible from above as you move away from the direction of tilting.

A landscape looking out over the cliffside of a stretch of land leading down to a shoreline. The sky is dramatically lit with thick clouds in shades of light and dark blue.

Similarly, in southern Manitoba we see older layers meeting the ground surface as we move eastward, away from the centre of the sedimentary basin. Although there is Cretaceous bedrock at the surface along the Manitoba Escarpment, the sedimentary rocks in the Winnipeg area are far older. North of Winnipeg we can visit sites that straddle the boundary between the Ordovician and Silurian periods, with Silurian beds about 440 million years old near Fisher Branch, and Ordovician beds 445-450 million years old at Stony Mountain and Stonewall.

The oldest Ordovician sedimentary beds in Manitoba, belonging to the Winnipeg Formation, can be observed toward the eastern side of Lake Winnipeg at places like Manigotagan and Black Island. Just east of these places, however, we reach the bottom of the layer cake. The “cake plate”, if you will, is composed of the very hard, very old rocks of the Precambrian Shield (aka Canadian Shield).

 

Image: Sandstones of the Ordovician Winnipeg Formation at Black Island, Manitoba, are about 454-458 million years old.

The Shield rocks are geologically complex, having been formed as mountains were growing, volcanoes erupting, and continents crashing together in this region about 1.8-3.5 billion years ago. Since they were formed by such active processes, they are often folded, faulted, and overturned; as a result we can no longer apply our simple onion/cake metaphors once we reach those rocks. But those comparisons work wonderfully in any of Manitoba’s younger strata!

 

* The growth of onions is apparently quite different from this age-layering of sediment on the Platform, but it is still a handy visual metaphor.

Aschkibokahn mini-diorama

By University of Winnipeg student Kristina Misurska

 

I would like to introduce Kristina, a Master’s student at the University of Winnipeg, who is completing a program in Curatorial Practices. As part of her internship with the Manitoba Museum (TMM), she is working on a couple of projects to gain experience in different areas of museum studies. Last month, she wrote a blog post about a project with the HBC Collection, and this month she is working with Anthropology Department on exhibit design and programming. This is her first Anthropology blog:

View into a mini diorama showing an area of land progressing through the seasons, and the adaptions of the people living there during each season.

On January 16, TMM unveiled a new display in the Parklands/Mixed Woods Gallery, called the Aschkibokahn mini-diorama. This diorama, the result of nearly twenty years of research, planning, and hard work, explores the activities of an Anishnaabe family from about 800 years ago as they move across the land from winter to summer. The project is based on work undertaken at the Aschkibokahn archaeological site, located near the present-day communities of Duck Bay and Camperville.

One of TMM’s goals for this exhibit is to link the archaeological site to these present-day communities. My role in this project is two-fold. On the one hand, I will be gathering and sorting through existing research to figure out the best ways to integrate this information into a comprehensive exhibit. On the other hand, I will be exploring different means of re-establishing connections with community members in order to gain a fuller picture of the history of the region.

 

Image: New Parklands Gallery Diorama

I will be posting blogs over the next couple of months to keep everyone up to speed with my project. I hope you all stay tuned to see how the project progresses and I encourage everyone to come down and check out the beautiful new diorama!

Mini-Diorama Opens

By Kevin Brownlee
Past Curator of Archaeology 

Yesterday the Museum launched a spectacular new mini-diorama in the Grasslands/Mixed Woods Gallery. The exhibit highlights the incredible talent of diorama artist Betsy Thorsteinson. Betsy along with Debbie Thompson, Ruth Dowse and countless volunteers worked on the project. The diorama highlights four separate scenes: a mid winter camp in Duck Mountain, moving camp in late winter, early spring maple sugar camp and fishing camp in late spring. These scenes represent an Anishnaabe family as they move across the landscape about 800 years ago. 

Close-up of a Museum diorama featuring members of an Anishnaabe family moving camp on snowshoes and sleds through a snowy forest.

Two of the scenes are based on archaeological excavations. The mid winter camp is representing a site on Child’s Lake in Duck Mountain. The spring fish weir is representing the Aschkibokahn Site at the mouth of the Duck and Drake Rivers on Lake Winnipegosis. The use of a mini-dioramas to depict the past is an exceptional way of communicating the results of archaeological research. There is no better way of bringing the past alive.

I have had the pleasure of assisting Betsy on this exhibit. I provided the colour of fish both before and after it was smoked, how bear paw snowshoes are worn and how the internal organs of fish were prepared. In other circumstances I related stories and experiences to Betsy and these would appear in the diorama. Grey Jays or Whiskey Jacks are called Grandmother by many First Nation people, who will feed these birds when they visit camps. Feeding these birds shows respect to the visiting grandmothers. When you visit the diorama find the Grandmother.

Pīsim finds her Miskanow 

By Kevin Brownlee
Past Curator of Archaeology 

I have to share with you about the results of a wonderful project that I have been working on for the past 6 years… actually more like 20…

Open pages of the book Pīsim Finds her Miskanow showing text with diagrams, and artistic illustrations.In 1993, the remains of a woman were found at Nagami Bay (Onākaāmihk) west shore of Southern Indian Lake. The following year, community members from South Indian Lake and archaeologists worked together to recover our ancestor in a respectful and honourable way. The story of her miskanow, life journey, was pieced together from her remains and her belongings and told in the book Kayasochi Kikawenow, Our Mother from Long Ago, which I co-authored with E. Leigh Syms.

After Kayasochi Kikawenow shared her teachings, she was respectfully brought home for reburial in the community of South Indian Lake in 1997. Now, 16 years after her reburial, her story is being retold in a new way for young people. Using historical fiction, William Dumas brings Kayasochi Kikawenow to life as the main character, Pīsim, in Pīsim Finds Her Miskanow. This book shares a week in the life of Pīsim as a 13-year-old living on Southern Indian Lake during the mid 1600s just before Europeans arrived into the region. The book was reviewed by renowned archaeologist Brian Fagan, Emeritus Professor of Anthropology, University of California) who states the book is the result of brilliant teamwork between archaeologists, the Cree, and an accomplished storyteller… the book promises to be a classic of Canadian history. 

Councilor Esther Dysart speaking into a microphne at a podium. Kevin Browlee stands to the side.

In September the Museum hosted a book launch that brought together the research team, members from O-Pipon-Na-Piwin Cree Nation (South Indian Lake) including youth, the author and illustrator and many dignitaries including a councilor from the community. It is rare to have over 200 people attend a book launch but this is no ordinary book. Buy your own copy from the Manitoba Museum gift shop.

Image: Kevin Brownlee and Councilor Esther Dysart at book launch.

Curator

By Dr. Graham Young, past Curator of Palaeontology & Geology

‘I don’t know what you mean by “glory”,’ Alice said.

Humpty Dumpty smiled contemptuously. ‘Of course you don’t — till I tell you. I meant “there’s a nice knock-down argument for you!”‘

‘But “glory” doesn’t mean “a nice knock-down argument”,’ Alice objected.

‘When I use a word,’ Humpty Dumpty said, in rather a scornful tone, ‘it means just what I choose it to mean — neither more nor less.’

‘The question is,’ said Alice, ‘whether you can make words mean so many different things.’

‘The question is,’ said Humpty Dumpty, ‘which is to be master — that’s all.’

– Through the Looking Glass, by Lewis Carroll

When I started to work at the Museum just over 20 years ago, my job title said that I was the “Assistant Curator of Geology and Paleontology.” Quite a mouthful, to be sure, and one for which the meaning was not entirely clear. Certainly people could understand the “assistant” part, except that I wasn’t actually the assistant to anyone, since I was also the only staff member in geology and paleontology. Rather, the “assistant” in my title was like that for an assistant professor at the university. It meant that I was on the first rung of progress through a professional career, and if I worked hard then I could look forward to being associate curator, and then full curator.

But what about the “curator” part of the title? What did that mean?

In the early 1990s, curator was not a commonly-used word, to the extent that it seemed like a lot of people had never heard it. I would tell them that I was responsible for the rock, mineral, and fossil collections, and that I created exhibits and answered inquiries. Those were really the things that were emphasized in my job description, and to be honest I didn’t look further than that into what a curator might be.

A smiling man, Graham Young, standing outside in front of a store under a green sign reading, "CURATOR".

Nowadays, of course, it is a popular thing to be a curator. A quick online search of this word reveals more than twenty-five million website results! Out in the world we hear about fashion collections that have been “curated” by particular experts, or about an interior designer acting as “curator” for the objects included in the public rooms of some famous person. When a word goes from obscurity to flavour-of-the-month, it is bound to be diluted and broadened, as I found earlier this autumn when I came upon an art and décor shop called Curator in the west of England. And beyond the realm of objects there are curators of paper documents, content curators who collect and organize information, and curators of the digital world (as demonstrated in this Dilbert cartoon).

 

Image: A curator stands outside a shop named Curator at Stow-on-the-Wold, England (photo by Katie Murphy)

But where does the word come from, and how does it lend itself to so many different purposes?

Curator is derived from the Latin curare, to care for, so a curator is a person who takes care of something. In fact, in Scottish legal terms a curator is someone who is the guardian of a minor or mentally ill person. Several other nouns that come from the same root have religious connotations, such as the English curate (an assistant priest), the French curé (a parish priest), and the Curia (the central administration of the Catholic Church). It is, perhaps, no coincidence that the name for our profession gives some evidence of the reverence with which we hold the objects given to our care.

Even if you hear that someone is a curator at a museum, as opposed to all those other types of curators, that still doesn’t necessarily give you a clear idea of what that person might do. I know of English museums where the people called curators are what we would call Collections Specialists at The Manitoba Museum, people who are responsible for the care of collections but not their interpretation. Elsewhere, the curator may be the administrative lead for an entire institution, a position more equivalent to that of our Executive Director. In museums of art, curators may have no responsibility for long-term care of collections; rather, they may be specialists hired as consultants to select and interpret the works for a particular exhibition.

The address on an envelope addressed to "Graham Young / Geology, Palaeontology & other things dusty or crusty / The Manitoba Museum / 190 Rupert Ave / Winnipeg, Manitoba / R3B 0N2".

And how do all of those other jobs relate to my job, you might ask? If someone asked me nowadays what the tasks are for the Curator of Geology and Paleontology, I would have to say that it includes some of the sorts of work included in every one of those other “curator” jobs! Certainly I have a role in caring for the collections, I do field collecting and select other pieces to add to the collections, and I am involved in the identification and cataloguing of specimens. But I also carry out primary research about certain parts of the collection, which adds to the body of world scientific knowledge, and I publish that research in scientific journals and present it at conferences. I identify rocks and fossils for members of the public and I give lectures to interested groups. And of course I develop exhibits, including the preparation of grant proposals to raise money for particular parts of our galleries.


Image: One way of looking at my job, according to an envelope received from a curator at another provincial museum.

Writing about my job in this way, it seems like an awful lot. I guess it is. Manitoba is a very big place, and the Museum has a modest number of dedicated curators whose job it is to cover and represent that territory. Like all the other curators at the Museum I absolutely love this job; the diversity of work is just one of the things that makes it possibly the best job in the world.

Mud, Glorious Mud?

By Dr. Graham Young, past Curator of Palaeontology & Geology

 

I have often been told by members of the public that, “it must be so exciting to do paleontological fieldwork.” This is true, it can be very exciting to visit new places, to discover and collect fossils that were previously unknown to science. But often the conditions are such that the fieldwork is more of a necessary evil. It is a step that must be passed to acquire essential specimens, rather than a pleasure in itself.

Last week was a case in point. I had planned to travel to the Grand Rapids Uplands of central Manitoba with Dave Rudkin (Royal Ontario Museum) and Michael Cuggy (University of Saskatchewan) to carry out a bit of additional collecting at some unusual fossil sites. We had chosen late September because (1) the weather is often dry and clear, and (2) the mosquitoes and blackflies have generally been depleted by this time of year.

It turned out that we were only partly right on just one of these assumptions: I don’t think I saw a single mosquito. Their absence was, however, compensated by the swarms of blackflies that descended whenever the wind died down. And that merciful wind was a chill, damp one, associated with rains that were at times heavy.

Dr. Graham Young seated on a rocky surface using a trowel to scrape thick mud off of knee pads worn over his yellow overpants. Mud covered his boots.

Scraping away the inch of mud adhering to my knee pads (photo: Dave Rudkin, Royal Ontario Museum)

An individual standing across a large puddle on a rocky ground.

Michael contemplates water “ponded” on the bedrock surface.

We first arrived at the main site on Wednesday afternoon. Under a relatively pleasant overcast sky, we spent several hours splitting rock, but found little in the way of specimens worth taking back to the Museum. By Thursday morning the torrential downpours had begun. These died off by the time we arrived at the site, but we discovered that the gently sloping limestone had been replaced by a “water garden” that combined both pond and waterfall features.

Donning multiple layers for protection from the rain and chill (I recall that I was wearing a t-shirt, flannel shirt, fleece, jean jacket, and rain jacket!), we swept away as much of the water as possible, then settled back into our splitting routine. The standard procedure is to place the chisel along a horizontal zone of weakness in the rock, hammer until the rock begins to split, lever it up with a pry bar, wash mud off the surfaces and examine for fossils.  If no fossils are found, you throw the slab onto the discard pile and start again. After an hour or two this becomes wearying and repetitive. By the time the heavy rain returned at 2 pm, at least some of the chill from the rock surface had transferred itself into my knees and back, and I was grateful that we could stop.

 

Image: Michael and me, at work along a damp bedrock surface (photo: Dave Rudkin, Royal Ontario Museum)

By Friday the rain had ceased, but much of its moisture seemed to have attached itself to any clay that remained on and adjacent to the bedrock, resulting in large patches of wonderfully glutinous mud. Our crawling in this mud was at least worthwhile, as we came upon an area of rock that was very rich in fossils. We hauled out nine partial eurypterids (“sea scorpions”), along with other associated bits and pieces. By the end of the day Michael and I looked rather disgusting, encrusted with mud as we were. We were also disgusted with Dave, because he somehow managed to avoid getting mud on himself!

An oblong eurypterid fossil in a slab of rock.

An Ordovician eurypterid from the Grand Rapids Uplands (specimen I-4036B).

Two individuals wearing and orange and a blue jacket standing for a photo next to a small pile of rock slabs along with tools like a broom and hammer.

Dave and Michael stand by the cluster of eurypterid-bearing slabs.

Saturday we had planned to do quick stops at several sites, prior to returning to Winnipeg in the afternoon. Of course, by now the weather had improved and we were greeted by a sunny, mild day with patchy cloud. Nevertheless, we were not unhappy that we had finished heavy collecting on the main site, as the blackflies had returned in profusion.

So if paleontologists tell you they are off to do fieldwork, you should not immediately imagine a romantic, exciting “dig”, in a setting reminiscent of that at the start of Jurassic Park. The specimens are often worth the pain, but the pain is often genuine!

New Guidebooks Published

By Dr. Graham Young, past Curator of Palaeontology & Geology

 

Following on from my recent post about the geology of the Canadian Museum for Human Rights, it seems entirely appropriate timing that another piece of architectural geology work has just been published. Last week, a guidebook to the geology of the Manitoba Legislative Building, by Jeff Young, Bill Brisbin, and me, finally appeared in downloadable form. The entire file (20 megabytes) can be found here.

An aerial view of the Manitoba Legislative Building - a large building with a central tower ending in a dome with a gold statue at the top.

The Manitoba Legislative Building (photo by Jeff Young).

Interior of an imposing round room with pillars and a large arched doorway. In the centre of the room is a circular banister with a skylight looking down to the lower floor.

The Rotunda inside the Manitoba Legislative Building features walls of Manitoba Tyndall Stone, and floors of Tennessee marble, Verde Antique marble, and Ordovician black marble.

This book was published as part of a series of field trip guides for the Geological Association of Canada – Mineralogical Association of Canada annual meeting, which took place in Winnipeg in May. Jeff Young (University of Manitoba) and I had the pleasure of leading an afternoon tour of the Legislative Building; it is such an interesting and beautiful structure, and it is always a pleasure to see people’s reactions to its geological features. The guidebook is based on research Jeff and I did with Bill Brisbin (also of U of M) almost a decade ago.

In addition to the Legislature guidebook, I also enjoyed assisting with a field trip on the Ordovician to Silurian geology of southern Manitoba. The guidebook for that trip (26 megabytes), by Bob Elias et al., can be downloaded here.