December 2, 2021

Comet Leonard visible in morning

Comet Leonard visible in morning

At the edge of the solar system, there is a cloud of small, icy objects that are left over from the formation of the solar system. They’re too small to see from Earth, and much too far to visit, and yet they are like a deep-freezer full of evidence of how our solar system formed, preserved in the cold of deep space. Luckily, every so often one of these icy bodies gets bumped or deflected into a new orbit that carries it towards the inner solar system. Right now, you can see one of these tiny bodies in the sky with nothing more than a pair of household binoculars.

The object in questions is called Comet 2021 A1 (Leonard) – it was the first comet discovered in 2021, by Greg Leonard, a senior research specialist working at the Catalina Sky Survey at the University of Arizona. Catalina scans the sky looking for new things, so it finds a lot of comets, and this isn’t the first Comet Leonard, either. However, this comet Leonard may be bright enough to see without a telescope later this month.

A star chart outlining the trajectory of Comet Leonard from December 2 to 7, 2021.

How Do I Find It?

The comet is currently sitting in the morning sky between the Big Dipper and the constellation Bootes the Herdsman, and it has been seen in binoculars from a dark location (read: outside the city, without any nearby lights or the Moon to interfere). You can use the detailed chart below to zero in on where the comet will be each night – its orbit carries it around the sun fairly quickly and it’s in a different spot every night.

What Will I See?

If you’re using binoculars, you will probably see a faint round ball of grey light, perhaps with the hint of a tail sticking upwards. Try not looking directly at the comet, but direct your eyes slightly away and get the more sensitive parts of your retina involved – this technique of averted vision is key in seeing fainter objects.

If you have a DSLR camera, try sticking it on a tripod and taking some time exposures of the sky – use ISO of 800 or higher and exposure times of 1 second up to about 10 seconds, and see what you get. (You might get something with other kinds of cameras or cell phones, but probably not.)

Why Bother?

I’m not gonna lie, seeing a faint fuzzy ball in the sky isn’t going to make you jump up and down because of the physical appearance of the object. It’s a challenging observation of an object that humans may never see again, and a chance to see an object that is older than anything on our planet. Plus, comets have a way of being unpredictable, sometimes surging in brightness unexpectedly or even breaking apart into multiple pieces. You never know what you’re going to see.

Finding a comet with binoculars is something we can’t do very often – maybe once a year or even less. It’s also perfect practice for using a telescope – many of he skills you develop finding Comet Leonard will help you out if you aspire to use a telescope at some point. But for me, the chance to see such a fleeting celestial visitor is a magical experience, one that really makes me feel connected with the cosmos.

Now, all we need are some clear skies…

Scott Young

Scott Young

Planetarium Astronomer

Scott is the Planetarium Astronomer at the Manitoba Museum, developing astronomy and science programs. He has been an informal science educator for thirty years, working in the planetarium and science centre field both at The Manitoba Museum and also at the Alice G. Wallace Planetarium in Fitchburg, Massachusetts. Scott is an active amateur astronomer and a past-President of the Royal Astronomical Society of Canada.

Building Blocks of the Plains: A Fieldstone Wall in the Prairies Gallery 

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

 

Beginning in 2012, The Museum’s curators worked together to plan exhibits for the Bringing Our Stories Forward project (BOSF). As we travelled around the grasslands region to prepare ideas for our new Prairies Gallery, we developed a list of topics that would be essential for a representation of this region. We rapidly agreed on some things that had to go into the Gallery: prairie vegetation, the importance of wind, Indigenous prehistory (and most particularly mound-building cultures), and several other topics. One of these was fieldstone. 

 

Photograph of the exterior wall of an abandoned stone house with an open window frame and a worn shingled roof.

A wall of the Brockinton house shows some of the geological variety of fieldstone types. 

What is fieldstone, and why did we think it was essential? 

When European settlers arrived on the prairies, they wanted to build permanent houses and other buildings. They were now in a region where there were almost no trees away from the river valleys, so material for wooden houses could be scarce. Many settlers came from parts of Europe where houses were built from stone that was quarried from solid bedrock, but on the Manitoba prairie the bedrock was either buried far below the land surface, or it was soft Cretaceous shale that was useless as a building stone. 

There was however, a building stone resource that was readily available: loose fieldstone boulders, which lay on the land surface or could be readily found by digging near riverbanks. Fieldstone is a mixture of many kinds of stone. These stones formed as bedrock at  different times, under varied conditions, and include igneous, metamorphic, and sedimentary rock types. 

A church building built of varied fieldstone with a distinctive black and red steeple.

Some fieldstone structures in southwestern Manitoba are much grander than the Brockinton house. These photos show St. Paul’s United Church in Boissevain, built as a Methodist church in 1893. 

Looking up at the wall of a fieldstone building with two windows side by side. At the bottom of the frame, above the doorway, a datestone reads “Methodist Church / 1893”.

Doorway of St. Paul’s United Church in Boissevain.

Like the settlers, fieldstone had immigrated to the prairies. During the Ice Age (Pleistocene Epoch), huge glaciers covered Manitoba. Glacial ice flowed southward, pulling blocks of stone out of solid bedrock. Blocks (glacial erratics), left behind when the ice melted, are used as fieldstone. Most fieldstone thus originated far to the north of where it is found today. 

Map graphic of Manitoba showing where in the province stones dating from certain ages came from to arrive at Bockington House in the south-western corner of the province.

Most fieldstone in southwest Manitoba comes from bedrock far to the north. This stone dates from the Precambrian (over 541 million years ago) and Paleozoic (541–252 million years ago) ages. In the Ice Age (2.6 million–10,000 years ago), the stones were picked up by glaciers and moved great distances.

Looking at a sandy bank with stones embedded in it. A short spade stands propped against the tall bank.

Fieldstone occurs with other sediment in glacial deposits, such as here in the Assiniboine River valley near St-Lazare. 

Close-up looking at the joints between stones in a fieldstone wall.

Fieldstone blocks of variable size are mortared together in a wall of the Brockinton house. 

Since fieldstone was a distinctive natural material seen across many parts of the prairies, and since it was used by settlers when they built many of the early buildings, it was clear to us that the fieldstone story should be included in our Prairies Gallery. We already planned to build an exhibit about the Brockinton National Historic site, a significant precontact bison kill site in the Souris Valley south of Melita, so it made sense that we also create an adjacent exhibit that would represent a wall of the Brockinton house, a late 19th century structure that sits at the top of the slope above the archaeological site. 

But how could we build this exhibit? Stone is really dense, and a mass of solid stone would have been far too heavy to be supported by the floor in our gallery space. Stone is also not really a topic that would have been suited to an animated video like our beautiful Prairies Mural Wall, and a flat panel display would have been just that: flat. We needed some way to allow visitors to observe and touch the genuine stone, in a setting that imitated a real fieldstone wall.  

Fortunately, in our various travels around southern Manitoba we had met Todd Braun, a stonemason who works in the Altona area. By consulting with Todd and with our exhibit design team, a plan took form: a frame would be fabricated from steel clad in plywood, and Todd would prepare the stones to attach to that frame, reducing their weight by slicing them thin. 

Large selection of blocks of fieldstone laid out in a cleared area on snowy ground.

These are some of the fieldstone blocks that had been chosen by Todd Braun as possible raw material for our fieldstone wall. 

A selection of fieldstone blocks laid out together in a general square shape.

The selected stones were laid out so that we could see how they would fit into the wall. 

A 3-D metal frame in a standing U shape in a workspace.

A steel framework was fabricated in three sections to serve as a “skeleton” for the wall structure. 

Todd and I selected stones to represent the great variety of fieldstone seen in southwestern Manitoba. Many of these came from boulders and cobbles that Todd had found during his visits to various gravel pits. A few were rocks that we found together, and in one or two instances I went to other geologists to request examples of very particular rock types.

Once we had agreed on the stones to be used, Todd prepared them using traditional techniques, breaking each rock with a hammer until it had a blocky shape. These blocks were laid out in their approximate relative positions for the wall. After a fitted layout was achieved, Todd patiently took each block and trimmed it with a saw so that the visible surface was effectively a “veneer” with only a few centimetres of thickness. These veneers were then attached to the steel and plywood frame using adhesives and metal hardware, and the space between them was covered in traditional mortar. The “corner stones” were a particular challenge, since they had to be cut in such a way that they would look like solid three dimensional blocks once the wall was assembled. 

Thinned blocks of fieldstone being laid out on a section of metal frame.

The wall sections were tipped on their side to allow the sliced stones to be placed. Note how the corner stones have been cut so that they will look like three-dimensional blocks. 

View underneath the 3-D metal frame, now lying flat with thinned fieldstone blocks placed on the surface. Inside it is hollow other than support beams.

This view from the underside shows the substantial steel structure that underlies the wall. 

The rectangular base of the frame now with fieldstone blocks attached, being lifted with chains by a tractor.

The completed base section of the wall is light enough to be lifted by Todd’s tractor. 

To allow the wall to be assembled in Todd’s workshop prior to its installation in our gallery, the frame was actually built in three sections. This made each piece light enough to be readily moved, and small enough to fit through the smallest doorway between the Museum’s loading dock and our new Prairies Gallery. Very early one morning, Todd arrived at the Museum with the completed wall sections on his trailer. These were hoisted into the loading dock, and rolled through the Museum to the wall’s permanent gallery location. Todd and our construction team had created an ingenious hoist system that would allow each upper wall section to be lifted into position on the base section. Once the wall sections were in place, they were bolted together, and Todd covered the joins with fresh mortar. 

 

Two “pillars” of frame with fieldstone attached to the exterior being moved into place in the new Prairies Gallery with a hoist and girder system.

In the Museum, the upper wall sections were attached to a hoist and girder system so that the base section could be wheeled into place beneath them. 

Two individuals pump up pallet jacks with the rectangular base of the metal frame and fieldstone wall on them.

The base section was rolled in on two pallet jacks. 

Three individuals maneuver the rectanulgar base of the metal frame and fieldstone wall under the two side pillars, which are hanging in place on a joist and girder system, using two pallet jacks.

The finished wall looks very much like the walls you can see at Brockinton House and on other buildings in southwest Manitoba, and it beautifully demonstrates both fieldstone construction and the geological variety of this fascinating material. As is the case for some other Museum exhibits, there is no evidence of the incredibly complicated and lengthy development and construction process that allowed this structure to “look like the real thing.” 

The constructed fieldstone wall in the new Prairies Gallery next to descriptive exhibit panels and other displays.

The finished wall is surrounded by interpretive materials, telling the fieldstone story. 

Who Turned Out the Light?

With the days growing ever shorter, I find myself thinking about light and how we tend to take for granted the hard work that plants do, harnessing the energy from the sun. Photosynthesis is the beginning of most food chains on earth, the exceptions being bacteria (Archaea) that can obtain energy from inorganic chemicals like sulphur and ammonia. But since we don’t eat bacterial ooze for breakfast, this process remains relatively unimportant to humans. Photosynthesis is what gives us life!

Looking down at three small plants growing from the ground. Each has several green leaves, and a single white four-petaled flower.

Photosynthesis is a process where plants, and plant-like aquatic creatures such as phytoplankton, use energy from the sun (photons) to combine water (H2O) with carbon dioxide (CO2) from the air, to make sugar (C6H12O6). Oxygen (O2) is a “waste” product of photosynthesis. This reaction takes place in special green-coloured plant cells called chloroplasts. Plants and phytoplankton use the sugar they make to grow and reproduce themselves.

 

Plants like Bunchberry (Cornus canadensis) engage in photosynthesis, one of the most important chemical reactions on earth. © Manitoba Museum

Animals and fungi are incapable of photosynthesizing; they have to “eat” plants to stay alive. Even meat-eaters (i.e. carnivores) are ultimately dependent on plants for their survival, because they eat animals that eat plants or phytoplankton. Further, the oxygen that plants produce is also required by animals to breathe. Thus, we depend on plants for our very lives.

Some northern plants are “evergreen”, which lets them begin photosynthesizing as soon as the ground thaws in spring. In contrast, deciduous plants have to grow a whole new set of leaves before they can begin photosynthesizing again. As there is almost continual sunlight over the summer months in the far north, tundra plants can photosynthesize almost non-stop during this time. They must quickly produce enough sugar over the short summer to stay alive, in a dormant state, over the long, dark winter.

A bumblebee crawling on the centre of a yellow flower.

All animals, including insects like this bumblebee (Bombus sp.) on a sunflower (Helianthus sp.), depend on plants for food. © Manitoba Museum

A patch of low-growing purple flowers with occasional white flowers interspersed among them.

The evergreen Purple Saxifrage (Saxifraga oppositifolia), begins photosynthesizing as soon as it can, even when there is still snow on the ground. © Manitoba Museum

Close up of a white flower with a yellow centre.

One way that plants can increase the amount of light they receive is by slowly moving in response to the direction of the sun (i.e. heliotropism). Like tiny solar ovens, species such as Entire-leaved Mountain Avens (Dryas integrifolia), move their flowers each day so that they continually face the sun. As a result, the flower temperature is several degrees warmer than that of the air. This improves seed production, in part, because pollinating insects are more likely to visit warmer flowers. In other plant species (e.g. sunflowers or Helianthus) it is the leaves that rotate to be perpendicular to the sun, increasing the amount of light for photosynthesis.

Many ancient human societies in the northern hemisphere held religious gatherings or celebrations around the winter solstice (typically Dec. 21 or 22) because even though they knew many cold days were still ahead, the amount of sunlight would begin to increase again. Evergreen plants, like spruces, pines, mistletoes and holly, were sometimes part of these events, because they are the plants that refuse to wither when the light begins to fade.

 

The umbrella-shape of the flowers of Entire-leaved Mountain Avens (Dryas integrifolia), concentrates the sun’s rays on the young seeds developing in the center.© David Rudkin

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

William Beal, Renaissance Man of the North 

This last summer the Museum installed a new permanent exhibit about William Beal in our Parklands Gallery. Beal was a settler from Minneapolis who arrived in the Swan River Valley north of Duck Mountain in 1906, and homesteaded in the Big Woody district. 

William Sylvester Alpheus Beal (1874-1968) is best known now as a photographer, and left behind dozens of high quality images of his fellow settlers in the region. But Beal was much more than a photographer – he was the “Renaissance Man” of Swan River, a true intellectual. Besides having his own photo studio, he was a professional steam engineer and oversaw engines at various logging operations. 

Photograph of a vintage box camera and various bottles of photography developing chemicals.

William Beal used a camera like this one to photograph the people of Swan River Valley. He developed the 5 X 7 inch glass negatives in his own studio using chemical mixtures. Eastman Kodak camera, circa 1903, and chemical bottles. H9-5-716A. Copyright Manitoba Museum. 

He was also an amateur astronomer and constructed his own telescope; he formed a literary and theatrical society, and organized musical recitals; he organized and served on the local school board for 37 years; he was an assistant to the local doctor, providing a type of vaccine injection to locals during the 1918 Influenza pandemic; he was an electrician and fine carpenter; and he was renowned for owning a vast library. Evidently the only thing that didn’t interest him was farming, but he nevertheless cleared land, harvested crops, and received his full homestead grant.  

Black Settlers in Manitoba

The racism William Beal experienced in the United States denied him his chance of becoming a medical doctor. Though he formed close friendships in the Big Woody district, he was the only Black man in the area, and experienced racism there as well. 

In the early 1900s the Canadian government actively prevented immigration of Black people to Canada, through misinformation campaigns, bribery of officials, and arbitrary requirements not asked of white immigrants. In 1911, 200 Black farmers from Oklahoma were finally able to enter Manitoba at Emerson, after a rigorous and delayed inspection. It’s not known what hurdles Beal faced when entering Manitoba back in 1906, but after he settled in Big Woody district, he was there to stay, and contributed so much to the local community. He passed away in 1968 at the age of 94. 

Black and white vintage photograph of a couple in front of a makeshift hanging backdrop. The moustachioed man is sitting, wearing a dark suit and tie. At his shoulder stands a woman wearing a button-up blouse and long skirt. Both have serious expressions and are looking slightly out of frame to their left.

Abe and Dora Hanson, Big Woody district, Swan River MB c. 1917. Photo by William Beal. 

A family on a wooden porch in front the door of a building. A man sits on a chair with a toddler on his knee. Beside him stands a woman holding a smiling baby. A rifle is propped against the doorframe beside them.

Percy and Emma Potten with children, Evelyn and Bert, Big Woody district, Swan River MB 1915. Photo by William Beal. 

A man and a woman sitting side by side in front of a make-shift hanign backdrop. The man is bundled up, wearing a dark jacket and neck kerchief. The woman is wearing a light-coloured top and apron with a lightly-patterned skirt and a neck kerchief. Both are looking directly into the camera with serious expressions.

Roy and Hilda Sedore, Big Woody district, Swan River MB c. 1916. Photo by William Beal. 

Billy: The Life and Photography of William S. A. Beal, was published in 1988 by Leigh Hambly and Rob Barrows, a former Manitoba Museum photographer who grew up in the Swan River Valley. It features detailed research on Beal’s life and many of his photographs. 

Dr. Roland Sawatzky

Dr. Roland Sawatzky

Curator of History

Roland Sawatzky joined The Manitoba Museum in 2011. He received his B.A. in Anthropology from the University of Winnipeg, M.A. in Anthropology from the University of South Carolina, and Ph.D. in Archaeology…
Meet Dr. Roland Sawatzky

The Enduring Diorama – Museum Pronghorns Still Going Strong After 50+ Years

The Museum opened our newly renovated Prairies Gallery just last spring with spectacular new exhibits on the intriguing and engaging natural and human history of southern Manitoba. The addition of ground squirrels and their burrows, a riverbank bison bone bed, a homesteader stone house, an old school room, and hundreds of new specimens and artifacts, along with life-sized animations, prairie soundscapes, and feature videos provide exciting immersive experiences.

But some things from the old ‘Grasslands Gallery’ didn’t need changing, only a facelift. The pronghorn diorama at the gallery’s entrance remains as awesome and as valuable an educational tool as it did when it opened over 50 years ago in the summer of 1970, when it caught the eye of our first official visitors, Prince Philip and Queen Elizabeth:

A newspaper clipping reading,

The Prince asked a good question – pronghorn were frequently seen in the province prior to 1880, but are now only rare visitors wandering from North Dakota or perhaps Saskatchewan. But this is just one of hundreds of good questions that the diorama can elicit and help answer.

The diorama was designed, its backdrop painted, and installation overseen by renowned Manitoba artist Clarence Tillenius. He began planning in August 1968 and completed it, along with the bison diorama (much longer in production, from 1963), in June of 1970. As has remained the tradition for our dioramas to ensure authenticity, Tillenius visited the site that is portrayed, driving with other Museum personnel north of the U.S. border “to a point south of Waskada from where I [Tillenius] painted a study of the west end of the Turtle Mountains [sic] which appear in the background landscape.” (From a June 12 1970 letter to Dr. F.A.L. Matheson, then-president of the Museum.)

A rough handwritten plan for the Pronghorn antelope diorama. On the left are some notes about how many animals to include, what season to set the diorama in, and what size it should be. On the right a small sketch of the diorama from above with four animals. The note is dated August 9, 1968.

A rough plan for the diorama as envisaged by Tillenius. The basic size and shape was maintained, but only two actual pronghorn, a male and female, were in the final exhibit with a herd painted into the backdrop.

A museum diorama containing two pronghorns on a prairie landscape.

The pronghorn diorama effectively introduces the new Prairies Gallery much the way it introduced the original Grasslands Gallery, except for the new vibrant panels and its reinterpretation in a modern context. But it still shows the southwestern part of the Manitoba as it was before colonization, providing an opportunity to think about the transformation of our prairies over the last 250 years. The pronghorn diorama might be the closest some of our visitors ever get to experiencing original prairie in three dimensions. They can wonder at its expanse, its wildlife, and ponder its future. And it will do so for the next 50 years, or more we hope, perhaps inspiring the next generation of nature-conscious Manitobans to save our last vestiges of wild grasslands and their inhabitants.

Enduring – according to the dictionary – means having a validity that does not change or diminish. The pronghorn diorama, and the Museum’s many other signature life-size dioramas (bison, polar bear, caribou, moose, wolf den, elk, bat cave, snake den, Delta Marsh, Winnipeg 1919, and Nonsuch) are prime examples of enduring, undiminished wonder, exploration, and inspiration.

Come see for yourself!

Dr. Randy Mooi

Dr. Randy Mooi

Curator of Zoology

Dr. Mooi received his Ph.D. in zoology from the University of Toronto working on the evolutionary history of coral reef fishes. Following a postdoctoral fellowship in the Division of Fishes of the Smithsonian Institution…
Meet Dr. Randy Mooi

Resilience During the Great Depression

In the 1930s the people of the Canadian prairies experienced both an economic collapse and an environmental disaster. The stock market crash came first, in 1929, followed by a decade of drought in central North America. Wheat prices plummeted, and many crops were totally destroyed. Two thirds of prairie residents would eventually require “public relief” to survive.

With farms failing or deserted, and local economies in crisis, there was simply no cash to be had. How did these victims of disaster provide for their families? Many abandoned their livelihoods or farms and moved across the country, looking for work. Others took what aid they could find, including government work projects or vouchers for food and coal. Everyone became resilient and creative in their day to day lives.

The exhibit about the Depression in our new Prairies Gallery showcases artifacts of thriftiness and determination in desperate times.

A child's size skit suit on a dress form. The skirt and jacket are made from a heathered grey material, with a few flowers embroidered on the lapels of the jacket. A button-up white shirt is underneath.

Gwendolyne Dowsett received this wool suit when she was 11 years old. Her mother made it with material from three pairs of boys’ pants. The family won a prize of $2.50 for the outfit in a Neepawa thriftiness contest. TMM H9-11-952

A wooden bookend made of wood of varying shades of brown and orange. On the front is a bison on a hill top.

Kusti Saarinen made bookends to sell during the Depression. He collected discarded wood cigar boxes from tobacco shops to use for inlay material. TMM H9-7-425

A portion of a bed quilt made of squares alternating in white and cream. Each square has a round "flower" shape made of patchwork pieces of colourful fabric.

Julia Alice Tallon used cotton flour sacks for the base of this bed quilt. The pattern is called “Dresden Plate,” popular in the 1930s. TMM H9-29-494

A wooden toy hay wagon with yellow wheels, a green base, and a red wagon top.

Reverend George McMillan made wooden toys, like this hay wagon, for his children during the Depression years. TMM H9-36-909

Dr. Roland Sawatzky

Dr. Roland Sawatzky

Curator of History

Roland Sawatzky joined The Manitoba Museum in 2011. He received his B.A. in Anthropology from the University of Winnipeg, M.A. in Anthropology from the University of South Carolina, and Ph.D. in Archaeology…
Meet Dr. Roland Sawatzky

Hot to Trot: Plant Hunting in a Drought

Doing biological field work always comes with challenges. Since I began working at the Museum in 2003, the summers have been relatively wet. As a result, I’ve had to deal with muddy roads, many, many biting insects thirsty for my blood, and bootfuls of water obtained while exploring flooded wetlands. This year though, the roads were good, the biting insects non-existent, and many wetlands were so dry that I could walk right into the middle of them-no rubber boots required! In contrast, my main concern this year was possibly getting heat stroke!

Looking out over a lack and nearby brush and wetland.

As part of my research for a new book on Manitoba’s flora, I’ve been trying to track down populations of historically-collected plants (some of which haven’t been collected for over 100 years) to see if they still grow here. Fortunately, this year, all of the sites I needed to visit were close to major bodies of water: Lake of the Woods, Lakes Winnipeg and Manitoba, and Lac du Bonnet. As a result, I was able to go for a quick swim in the nearby body of water to cool off after a long day of hiking. Swimming is especially satisfying when you have been wearing long pants, wool socks and hiking boots in 30°C+ temperatures all day. Field work this year also involved drinking copious amounts of water (which were nearly completely sweated out given that I didn’t have to go to the bathroom all day!), lots of SPF 50 sunscreen, taking breaks under the shade of a tree, and wearing a cooling, water-soaked bandana around my neck.

 

This wetland near Lac du Bonnet that I visited was almost completely dry.

Looking down a emerging sandbar toward a section of wooded land. Water flows either side of the sand bar.

Dipping my hot feet in the cool lake water at Elk Island Provincial Park felt amazing!

Looking down at a wispy green plant growing in sandy ground by low water/.

I also got lucky with my field work, finding a new rare plant population and a new plant species for the province. The first rare plant species I discovered was Hairy Bugseed (Corispermum villosum). This species is currently ranked S1 (critically imperilled) in Manitoba because there are only three populations known in the province. I discovered a small population at St. Ambroise Beach Provincial Park on Lake Manitoba. Additionally, the population of this species that occurs out at Lake Winnipeg was found to be more extensive, extending all the way to Elk Island Provincial Park.

 

A new population of Hairy Bugseed was discovered at St. Ambroise Beach Provincial Park.

Out at Lake of the Woods, there are several plant species that reach the northeastern edge of their range. One is the lovely Small Purple Fringed-orchid (Platanthera psycodes). It was suspected to occur in Manitoba, but no one had actually collected a specimen until 1984. As I had never seen it before, I was thrilled to find and photograph the two plants in flower at the site.

Not far from the orchid, I saw another plant that I was on the lookout for: White Avens (Geum canadense). Although this species is relatively common in Ontario, Quebec, New Brunswick and Nova Scotia, it has apparently never been collected in Manitoba before. I carefully removed part of the stem only (not the root) to make an herbarium specimen, after verifying that there were more than ten additional plants in the vicinity.

Tall purple flower growing among tall grasses.

The Small Purple Fringed Orchid was an exciting, and beautiful find!

Close-up looking down at a small white flower.

I collected the first ever specimen of White Avens in Manitoba this summer.

Finding these new, rare plant populations made the hot, July temperatures much easier to handle. The specimens collected will be carefully preserved in perpetuity at the Museum to document these plant populations for conservation purposes, and for future researchers to study.

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

The Importance of Being a Flower

Like many of you, I enjoy walking through my neighbourhood and smelling the sweet fragrances of the summer flowers. Unfortunately, like many things, flowers are ephemeral. When I see a flower, I am always reminded of the Robert Herrick poem urging us to:

“Gather ye rosebuds while ye may,
Old Time is still a-flying;
And this same flower that smiles today,
Tomorrow will be dying.”

 

Since most wildflower field guides only feature pictures of the flowers and leaves, it is difficult, and sometimes impossible, to identify plants in the fruiting stage. So, to help our visitors identify the fruits of some of the most common plants in our province, a new case in the Museum’s foyer, called “The Importance of Being a Flower” recently opened. This case features 14 species of fruits juxtaposed with a photograph of the flower. Although fruits and seeds are not always attractive to look at, they are just as important as the flower, perhaps even more so, for they carry the DNA of another generation of plants in them. Flowers may only last a day, but seeds can last for decades or even centuries.  The oldest seed to ever germinate was a 2,000 year old date palm collected by archaeologists in the 1960’s from a fortress that had been build by Herod around 35BC and destroyed by Romans in 73AD (click here to read more)!

A display case containing a series of fruits and seeds of wildflowers, with a large text panel on the wall behind it.

A new, temporary exhibit on seeds is in the Museum’s foyer.

In severe drought years, like the one we are experiencing this year, some summer- and autumn-blooming perennial plants will not produce flowers or seeds at all; they conserve scarce water resources by foregoing reproduction altogether.  Doing so increases the likelihood that the adult plants will survive.  Although most spring-blooming plants did produce flowers, they may produce fewer seeds to reduce water stress on the adult plant.

Museums and other institutions like gene banks and University herbaria, protect and preserve fruits, seeds and other storage tissues of economically important species, as well as wildflowers. You may have heard of one of these facilities, the so-called “doomsday vault”, formally known as the Svalbard Global Seed Vault. This Norwegian facility has ultra-cold storage freezers that keep the DNA in seeds from degrading rapidly, the way they would at ambient temperatures. However, that facility is our last line of defence; other collections are also needed to adequately protect plant genetic diversity, including the Plant Gene Resource of Canada in Saskatoon, (click here to learn more). Many of our most important crop species are stored in gene banks for use in breeding programs, or to use if natural disasters negatively affect crop fields or wild plant populations.

A group of fruits and seeds, each stored by type in clear plastic containers.

The Museum collection contains the fruits and seeds of many species.

Shallow dish with several dried fruits and seeds are displayed next to a photograph of a purple flower. A label below reads, "Wild bergamot".

The fruits and seeds of each species are displayed on top of a picture of the flower. MM 45580

An individual leans over a work surface to adjust the placement of a series of photographs and displayed fruit and seed specimens.

Museum designer Anastasiia Mavrina tests the specimen layout for the case.

A small wooden chest containing rows of vials filled with seeds.

Another important thing to remember is that plants are constantly evolving to adapt to new conditions. Therefore, it is important for botanical institutions to continue collecting new samples to capture this evolution. As well, seeds stored in the vaults must be periodically grown, to allow them to generate newer, fresher seeds for preservation.

In addition to the foyer case, several of the Museum’s old seed collections are on display towards the end of the brand new, Prairies Gallery. Wildflower seeds collected in the 1920’s by naturalist Norman Criddle, are in the Breaking the Land case, and a collection of crop seeds made by a Junior Seed Growers Club in the 1930’s, are in a case on the Great Depression.

Some of the seeds in the Museum’s collection are so small that I marvel at the fact that all the information needed to build a new plant is actually inside. Life is truly amazing! Now, get out there and carpe diem!

This collection of crops seeds is in a case on the Great Depression in the new Prairies Gallery. H9-12-225

A display case with four rows of vials filled with wildflower seeds.

Norman Criddle collected the seeds of many species of wildflowers in the Carberry Sand Hills in the 1920’s. H9-23-142

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

How to Polish a Jellyfish

By Debbie Thompson, past Diorama and Collections Specialist 

More than 440 million years ago, during the Ordovician Period, northern Manitoba was at the edge of a sea near the equator. Among the many invertebrates that swam and lived in the salty waters were jellyfish. Their fossilized remains are the focus of ongoing research at the Museum.

After years of collecting, specific specimens were chosen to undergo a process called thin sectioning. This process creates ultra-thin slices of rock and fossil, supported by epoxy and glass slides. They are thin enough to allow light to pass through, revealing details about internal structures, which can then be studied using a microscope.

The fossils selected for this process can range in size from one to four centimeters in diameter. Every block is trimmed using a rock saw, so that the block will fit onto a glass slide.  The fossil surface then needs to be polished smooth and to an accurate scale in millimeters written on two sides of the block.

Five individual sitting and standing looking for fossils on a rocky outcropping with buckets and palaeontology tools at hand.

Palaeontologists and volunteers search for fossil jellyfish during Museum fieldwork. Image: © Manitoba Museum

A foil covered hot plate with three objects on it. With a red arrow pointing to it, on the left, is a fossil block, with foil peeled back from the top. WIth a purple arrow pointing to it, on the lower right, is a glass slide, and with a yellow arrow pointing to it, on the upper right, is a recycled yogurt container.

The red arrow points to the fossil block, note the scale (numbers written on sides of block).  The foil is peeled back to reveal the polished fossil surface. The purple arrow points to the glass slide, which has been polished so that epoxy glue will stick to it. The yellow arrow points to a container that is warming one part of a two-part epoxy. The hot plate heats up these components to aid in the even flow and setting of the epoxy. Image: © Manitoba Museum

A polished white fossil block from the side. On the top surface a specimen number is handwritten in black. On the short side a size scale is written in place showing 5-25 mm in increments of five.

Each slide is labeled with the data regarding that particular specimen. If too much epoxy is applied, it will flow over the edges and seep underneath the slide. Here the polished fossil surface has been epoxied to the glass slide. Image: © Manitoba Museum

A fossil block epoxied to a glass slide. A blue-gloved hand from out of frame scrapes the surface with a razor blade.

After the adhesive sets, but before it cures hard, any epoxy that seeped underneath is carefully scraped off using a razor blade, and solvent removes remaining residue. Image: © Manitoba Museum

A fossil block epoxied to a glass slide. A blue-gloved hand from out of frame polishes the surface with a small piece of light blue material.

Normally, a whole day will be spent just gluing the specimens onto the slides.  To help pass the time, it helps to listen to country music while doing this (although the Curator would strongly disagree with my choice of music). Image: © Manitoba Museum

A work station set up with various tools and equipment including earplugs, ear muffs, safety glasses, blue rubber gloves, a sponge, and a high-quality face mask.

Before starting the rock-cutting saw, the radio is turned off, much to the Curator’s delight! The thin section machine is noisy, creating the need for ear plugs and heavy-duty earmuffs.  Safety glasses are a must, guarding against stone chips.  The gloves protect the hands from being water logged for extended periods of time.  A mask is needed to prevent breathing in the water spray laden with sediment, as the water is recycled and gradually becomes dirtier the more it’s used.  The sponge is used to clean up the sludge that accumulates in the tray. Image: © Manitoba Museum

From out of frame a hand wearing a blue rubber glove holds a fossil specimen in place on a machine arm, near a saw blade. The saw is in a green, high-edged container, with murky water at the bottom.

The block is held on the thin section machine’s arm, and gently pushed into the saw. Very thick blocks will require several cuts from each side. Being extremely cautious, this could take me about 5 minutes to cut. Image: © Manitoba Museum

From out of frame a hand wearing a blue rubber glove holds a cut piece of a fossil specimen block. The remainder of the block is attached to the machine arm, near a saw blade. The saw is in a green, high-edged container, with murky water at the bottom.

The cut is finished. The glass slide with the thin slice of rock and fossil is still attached to the arm while I hold the remaining block. On both surfaces, the paler, circular fossil jellyfish can be seen. Image: © Manitoba Museum

A saw in a green, high-edged container with a blue blade on the left side, and an orange-ish blade on the right side.

The saw, with the cutting blade on the left and the polishing wheel on the right. The gauge in the middle indicates the thickness of the slide being polished. The slide will now be moved to the right-hand arm of the thin section machine, where it is polished on a diamond wheel. Image: © Manitoba Museum

Gloved fingers carefully holding the edges of a fossil slice.

The fossil has been cut and partially polished so thin that light begins to pass through it. It is nearly thin enough for microscopic study. The final hand polishing will be done by the Curator, using a slurry of fine grit on a glass plate. The slide is then placed in a protective envelope. In this example, the fossil is near the top left corner of the slide. Some of the internal features are a dark reddish colour, due to the presence of iron oxide. The faint pale outline is the edge of the jellyfish’s bell. Image: © Manitoba Museum

A fossil block laid on a metallic surface. The top fo the block is smooth from a fresh cut. On the short side is written a size scale, showing 5-25 mm in 5 mm increments.

The newly exposed cut surface is re-polished, and the whole process is repeated. Depending on how deep into the rock it goes, each block can yield 4 to 6 thin sections, creating thin slices that are just two millimetres apart. If a new fossil appears, we keep making thin sections. If the fossil disappears, one more slide is made to confirm that we have reached the end of sectioning for that specimen. Image: © Manitoba Museum

A thinnly slices fossil specimen with light shining through from behind. A jellyfish bell is in the centre.

Light passes through a finished thin section, revealing such intricate details as the rust coloured internal canals (due to the presence of iron oxide), and the margin of the bell with faint traces of its tentacles around the outer edges. Ruler is in millimetres. Image: © Manitoba Museum

After sectioning, the slide is scanned on a photographic flatbed scanner. A computer program then digitally assembles the thin section photos for each jellyfish to generate a 3-D image of the body, including internal structures and in some cases, tentacles.

Perseids Meteor Shower: 2021 Edition

August brings the Perseids meteor shower, an annual event that gets many people looking skyward. In recent years, social media has been hyping (and sometimes overhyping) celestial events, since they tend to generate a lot of interest (and thus “clicks”, “likes”, and “shares”), so it can be hard to know what you can actually expect to see. Here is the Manitoba Museum Planetarium’s guide to the 2021 Perseids meteor shower.

Perseids Meteor Shower 2021

Start of activity: July 17

Peak activity: early morning of August 12

Peak rate: 50-75 meteors per hour from a dark sky

Lasts until: August 24

A photograph of several meteors shooting past in the night sky as the last bits of sunset fade away near the horizon.

What’s Happening?

A meteor is the formal name for a “shooting star” or “falling star” – it’s a streak of light that flashes across the night sky. They happen when a tiny piece of dust or grain of sand from space crashes into the earth’s atmosphere at thousands of kilometers an hour. The speed of the dust particle gets turned into heat and light energy, and creates the visible flash we see. The piece of dust is totally vaporized while still high up in the atmosphere dozens of kilometers above Earth’s surface.

This actually happens all the time, but most of us don’t notice. If you went out on a dark, moonless night you’d probably see a half-dozen metros per hour if you watched the sky continuously. But they only appear for a second and they’re gone – so look down at the wrong time and you’ll miss them.

The source of this dust is perhaps surprising – it’s leftover material from the formation of the planets. There’s dust spread throughout the solar system, each piece in orbit around the sun like a tiny planet. The earth as it orbits the sun sweeps up some of this dust, and each one becomes a meteor.

Several times a year, though, the earth goes through an extra-thick area of dust – like a cosmic dust bunny. These dust bunnies are left behind by comets – “dirty snowballs” a few kilometers across that orbit the sun in oval-shaped orbits. When comets get close to the sun, the snow melts and leaves the dust behind in a trail. If that trail happens to cross the orbit of the earth, we will see a meteor shower every year on that date.

The Perseids

The Perseids meteor shower is probably the best-known meteor shower (although it’s not the best one of the year) because it happens during summer vacation time for the northern hemisphere. Its peak is around August 12th each year, although the date varies by a day or so. The Perseids are dust left behind by Comet Swift-Tuttle, which loops around the sun every 133 years or so. The meteor shower is named after the constellation that the meteors seem to come from – the constellation Perseus.

How and When to Look

The best way to see meteors is to get outside the lights of the city. Some of the meteors will be faint, and so you will miss them if the sky is too bright from nearby streetlights, houses, or other sources of illumination. A park or parking lot outside the city is a good place to head. This year, the light from the Moon will not interfere either because the moon will set in early evening, so this is probably one of the better years to see the Perseids.

Meteor showers are the ultimate in low-tech observing. Take a blanket or reclining lawn chair along, and set up with your feet pointed away from any nearby lights or light pollution. (For southern Manitobans, this generally means putting your back to Winnipeg’s lights.) You don’t need binoculars or a telescope – you want to be able to see as much sky at once as you can, since the meteors can appear anywhere in the sky. A telescope would just narrow your view too much.

Turn off your phone – the light from a mobile device will ruin your eyes’ ability to see faint stars and meteors. Even a quick glance will make it hard to see for a few minutes, so resist the inclination to check the web. Spend the time with the stars instead.

As for when the look – it depends on what you want to see. If you go out before midnight, you will see only a few meteors, but the ones you do see will probably be big bright ones. If you want to see lots of meteors, you want to watch from about 2am to dawn on the morning of the 12th. In the run-up before dawn, your part of the earth is heading straight into the trail of dust, and you’ll see the most meteors.

This is why some people have been disappointed by meteors showers (in addition to the social media hype). Meteor showers have a slow fade-in period of a few weeks, then a peak that might only last a few hours, followed by a slow fade-out. On the night before or after the peak, meteor rates are often less than half of what the peak is, and the rate drops quickly as you get farther from the peak.

This year, the Perseids are definitely worth the drive out of town for the peak. I plan to be out from dark on the 11th until dawn on the 12th with our all-sky camera system to record what we can. Follow the Manitoba Museum on social media for updates and live broadcasts during the meteor shower (weather permitting).

While you’re out counting meteors, there are lots of other sights to see: constellations, planets, satellites, and the year’s best views of the Milky Way. Visit the planetarium in person to see Manitoba Skies, a live sky tour, to learn more (showtimes here). You can also check the Manitoba Museum’s Astronomy blog for Manitoba Skies posts about monthly night sky information.

Clear skies!

Scott Young

Scott Young

Planetarium Astronomer

Scott is the Planetarium Astronomer at the Manitoba Museum, developing astronomy and science programs. He has been an informal science educator for thirty years, working in the planetarium and science centre field both at The Manitoba Museum and also at the Alice G. Wallace Planetarium in Fitchburg, Massachusetts. Scott is an active amateur astronomer and a past-President of the Royal Astronomical Society of Canada.