View of a large ship’s keel displayed in dry dock hall where viewers can get up close with is. A glass ceiling has been built at “water level” through which one can see the rest of the ship above.
November 21, 2016

Planes, Trains, Automobiles, & A Ferry: My UK Adventure

Planes, Trains, Automobiles, & A Ferry: My UK Adventure

This summer I spent three glorious weeks exploring museum collections, historic ships, archaeological and historic sites, and local cuisine in England and Scotland. Here’s the stats on this trip: 

  • 8 cities 
  • 22 museums & galleries (including 4 historic ships) 
  • 15 heritage sites (including archaeological sites) 
  • 2 17th century pubs (for Nonsuch Gallery research!) 
  • 380,504 steps (according to my iphone health app) 
  • 10 days of train travel 
  • 1 roundtrip ferry to Orkney 
  • 4 days of driving (eep!) in Orkney 

I went on this whirlwind trip with two major goals: to view collections related to the HBC; and to conduct research for our upcoming Nonsuch Gallery renewal.  I came back exhausted, but also incredibly inspired and I can’t wait to start pulling all of my photographs and notes together. 

For some folks my itinerary might seem a bit museum-heavy, but for a nerd like me it was heaven!  In fact I really only started to experience museum fatigue on my last stop, in Edinburgh (which just means I’ll have to go back!). 

So, did I achieve my goals?  YES! 

Viewing collections housed in other institutions is important to get a sense of what else is out there and learn more about the people collecting Indigenous artifacts during their employment with the HBC. Some of the artifacts I viewed were quite similar to ones here within the HBC Museum Collection, including some beautiful embroidery that was likely made by the same women from Norway House that made the pieces my colleague Maureen Matthews exhibited last year. 

I also had great meetings with people who care for Cutty Sark (in Greenwich), Victory and Mary Rose (Portsmouth). I feel quite lucky that our Nonsuch is indoors and does not have to deal with the elements which pose much greater conservation issues than what we deal with in our climate-controlled gallery! 

I hope to blog about specific stops along my journey as time permits so stay tuned, but here’s a small sample of photos!

Dr. Amelia Fay sitting in front of a table with several artifacts laid out in front of her, holding a shoe as she makes notes in a notebook.

Examining artifacts at the British Museum’s offsite storage.

A ram’s head with large curling horns that has been converted into a snuff mull with a jewelled container on the top of its head and light chains handing down from it’s forehead, connected to snuff tools.

A ram’s head snuff mull similar to ours in the HBC Gallery (Wellcome Collection, London)

Photograph looking up at a large crest and on a ceiling. The coat of arms bears two rearing elk either side of a shield with a beaver in each of the four sections of a cross. A fox sits above the shield, and a banner below reads, “Pro Pelle Cutem”.

The HBC crest can still be seen at Hudson Bay House, their former London headquarters.

View of a large ship’s keel displayed in dry dock hall where viewers can get up close with is. A glass ceiling has been built at “water level” through which one can see the rest of the ship above.

Impressive view of the Cutty Sark keel. 

A large docked ship with three masts. While there is full rigging in place, the sails are drawn up.

Cutty Sark in all her rigged glory! 

A close-up of the stern of a large wooden ship with “VICTORY” written across the back. In the background is a domed black building.

The stern of the Victory, with the Mary Rose gallery (the strange black orb) in the background.

A large wooden ship in light-beige wood with thick dark stripes. The ship has three masts and three levels of gun ports.

The Victory had a face-lift recently, they’ve done paint-chip analysis and these are her original colours!

Looking down into a large gallery full of glass display cases, with a wrap-around balcony-style second level. A sign at the top of the frame says “Pitt Rivers Museum / Anthropology and World Archaeology”.

If you visit the Pitt Rivers in Oxford give yourself lots of time!

Dr. Amelia Day wearing blue latax glove examining an artifact at a table. Several other artifacts sit on padding in front of her and in a tray beside her.

Looking at artifacts in Aberdeen, Scotland!

Looking into a large gallery space with a oval domed glass ceiling. Two wrap around balconies show second and third levels to the building.

The National Museum of Scotland (Edinburgh) is a stunning building.

A mannequin wearing a jacket and light-coloured fur hat sitting in a small boat with a pack. Behind the mannequin is a large wall handing with the HBC Coat of Arms. The coat of arms bears two rearing elk either side of a shield with a beaver in each of the four sections of a cross. A fox sits above the shield, and a banner below reads, “Pro Pelle Cutem”.

Halkett boat diorama in the Stromness Museum (Orkney). A must-see museum for anyone interested in HBC!

A brass bell with a cord hanging from inside it suspended in a small wooden arch. “AMELIA” is engraved on the bell and a plaque belwo reads, “Ship’s bell from S.S Amelia / Loaned by Magnus Ritch”.

They let me ring the bell, it is my name afterall.

Dr. Amelia Fay

Dr. Amelia Fay

Curator of Anthropology & the HBC Museum Collection

Amelia Fay is Curator of Anthropology and the HBC Museum Collection at the Manitoba Museum. She received her BA in Anthropology from the University of Manitoba (2004), an MA in Archaeology…
Meet Dr. Amelia Fay

Weird Tasks: Moving the Glyptodont 

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

 

As we have worked our way through the pliosaur exhibit project, we have come up against a series of problems that have required novel solutions. About a month ago we carried out a very strange task, and one that none of us had ever had to do before: we needed to move the glyptodont. 

Before I explain how we did this, perhaps I had better backtrack a bit, as you probably have some questions at this point: “What is a glyptodont, anyway? Where did the Museum get its glyptodont and why did you need to move it?” 

A graphic illustration showing an individual standing next to a fossil of a creature with a large armoured shell and tail (Glyptodont) displayed on a raised platform.

The glyptodont, as featured in Ward’s catalogue from 1866. 

Black and white photograph of a museum gallery with many display cases and platforms. In the foreground, bottom left corner is a fossil of a creature with a large armoured shell and tail (Glyptondont) on its platform. In the background, upper right corner, is a large fossil standing on it’s hind legs with arms raised in front of it ( Megatherium) on its platform.

The Redpath Museum in 1925, showing both the glyptodont (left) and the ground sloth (right). (photo: McCord Museum).

Photograph looking into the Manitoba Museum Earth History Gallery from behind the display platform holding the Megatherium. In the background, to the right, is the glyptodont on its display platform near descriptive panels with illustrations of the globe.

The ground sloth and glyptodont, in their positions in the Earth History Gallery from 1973 to 2016.

Glyptodonts were creatures that lived during the Ice Age, that have been described as “fridge-size armadillos,” although the largest ones could perhaps have been called “armadillos the size of Volkswagen Bugs.” They were heavy, armoured creatures that weighed up to two tonnes. They spent their time lumbering around the forests and plains of South America and southern North America,  eating trees and grasses. Glyptodonts became extinct about 10,000 years ago during the “Quaternary Extinction Event,” at about the same time as giant ground sloths and other large mammals, probably as a result of climate change and hunting by humans. 

Our particular glyptodont is a replica of a fossil that belonged to the genus Glyptodon, and like our ground sloth it came to the Museum by a long and circuitous route. The glyptodont and the ground sloth were among the earliest casts of big vertebrate fossils, produced during the late 19th century by Ward’s Natural Science Establishment in Rochester, New York. Our ground sloth (Megatherium) was supplied to the Redpath Museum in Montreal in time for the opening of that institution in 1882, while the glyptodont joined it in Montreal some years later. 

By the 1960s, the Redpath was renovating, and these immense casts were removed and needed a home. The Manitoba Museum was under construction, so the casts were transferred to us and shipped to Winnipeg. They were assembled when the Earth History Gallery was constructed, and were there in time for the gallery opening in 1973. For the forty-plus years since then, both of these huge and historic casts have stood in place on the platforms that had been constructed for them. 

Now, in 2016, we are renovating that part of the gallery so that we can install our exciting fossil pliosaur, and to make space we have had to move the glyptodont. Since this replica had been in place since long before any of us worked here, we did not have any advance knowledge of how it should be handled, and since it is an irreplaceable artefact dating from  over a century ago, we considered this move with some trepidation. Since it turned out that the glyptodont is also immensely heavy, having been constructed of plaster, wood, and iron in the best 19th century fashion, our trepidation was well placed. 

 

Close-up photograph of the Glyptodont: a four-legged creature with a large, rounded, armoured shell, and thick armoured tail reaching the ground.

Detail of the glyptodont, as it was from 1973 to 2016.

As has been the case with handling the plesiosaur specimen, our technical staff love this sort of challenge, and Bert Valentin and Sean Workman had come up with solutions in the best “jury rigged” manner. Back when we installed our mineral exhibit, Bert had modified an engine hoist so that we could move our giant amethyst specimen, which weighs close to half a tonne. Now, with a fossil cast that weighs about the same amount (we weren’t able to weigh it, so this is a best guess), Bert re-modified that hoist as a glyptodont-lifter. The following sequence of photographs shows how it went – the process was much more nerve-wracking than it appears here! 

Two individuals sit either side of the Glyptodont watching as another individual works lying on the display platform under the shell.

Bert Valentin crawls under the glyptodont to saw the head off, while Janis Klapecki and Sean Workman assist. The head will be taken out for conservation work, while we move the glyptodont’s carapace. 

The Glyptodont shell from the side with beams under it and strapped either side of it ready to be lifted off its platform using an enginge hoist.

The engine hoist is placed over the glyptodont, which is attached by thick straps attached to steel beams. The long pieces of wooden rail will allow us to control the tipping of the carapace when it is unbolted from the platform. 

View from the front of the Glyptodont shell showing steel beams running insider it at either side and attached with thick yellow straps to the engine hoist above. Bubble wrap placed on the shell protects it from the friction of the straps.

An end-on view shows how the steel beams are passed under and through the glyptodont. 

A display platform with a large fossil standing on its hind legs with its tail stretching behind it (Megatherium). The fossil’s head and arms are out of frame. A wooden additon has been added to the platform to the right of the Megatherium and a cardboard cutout in the shape of the Glyptodont lies on the top of the new addition.

Marc Hebert had built this extension to the ground sloth’s platform. A cardboard cutout shows the location to which we will move the glyptodont. 

Three individuals work together to move a large Glyptodont carapace onto a wheeled cart from a platform using an engine hoist lift.

Before Sean can begin to hoist the replica, Bert adjusts the attachments. 

Four individuals work together around the Glyptodont carapace, now being moved using the engine hoist. They hold it steady either side of the carapace with wooden rails attached to the support beams running under the shell.

It is lifted, and the scary part of the operation begins! 

The engine hoist carrying the Glyptodont carapace backed against its ne platform space beside the Megatherium fossil. Three individuals work to keep it balanced as they move it.

Sean rolls the hoist, while Bert and I use the rails to keep the carapace steady. 

On the left, two individuals stand beside an engine hoist with the Glyptodont carapace strapped to it. On the right, Dr. Graham Young stands on the new platform looking down at where the Glyptodont is to be moved.

Contemplating just how we are going to swing that heavy fragile antique up onto the platform… 

One indivudal kneels at the back of the engine hoist to watch under the Glyptodont as two other individuals use the wooden rails strapped either side of the Glyptodont to guide it into place over the platform.

…and here we go, using the cart to prop the base supports. 

Four individuals works together to lift the Glyptodont carapace onto the wooden platform, holding the wooden rails stapped either end of it.

Traditional muscle power is used to slide the glyptodont to its final location. 

Two indivduals stand either end of the new platform looking at the Glyptodont carapace, now in place.

The replica is now attached in place, ready for the rest of the exhibit to be completed around it. 

Chief Piapot and the Qu’Appelle Treaty 

By Maureen Matthews 

Past Curator of Cultural Anthropology 

 This is an image of an original 1875 handwritten parchment document related to the signing of Treaty No. 4., the “Qu’appelle Treaty”, temporarily on display at the museum as part the “We are All Treaty People Exhibit”. Treaty No. 4 was originally concluded at Fort Qu’Appelle in 1874 but many Anishinaabe and Cree Chiefs were absent at the time. This fragile document sets out instructions for Treaty Commissioner William Christie to return to Fort Qu’Appelle in the summer of 1875 and ” secure the adhesion” of the remaining Chiefs. 

Among those Chiefs was Piapot, one of the most famous and powerful leaders of the Plains Cree. He wanted a reserve for his people in the Cypress Hills region of what is now South-Western Saskatchewan. Christie misled Piapot about the terms of the Treaty, and Piapot’s band were forced to settle more than two hundred and eighty miles to the east. This document initiated a train of events which led to a decades long enmity between Canadian officials and the Plains Cree of Piapot’s band. 

Close-up view of some of the artifacts featured in the “We Are All Treaty People” Exhibit: a wooden pipe and some tabacco laid on a pipe bag with beaded detailing. A Treaty No. 1 handshake medal.

Also featured in the “We are All Treaty People” exhibit is a peace pipe formerly owned by Piapot. The pipe was a gift of thanks to a minister who conducted the marriage of Piapot’s daughter.

The text of the document follows: 

Copy of a Report of a Committee of The Honourable The Privy Council 

Approved by His Excellency The Administrator of the Government in Council on the 9th of July 1875. 

A Memorandum dated 2nd of July, 1875, from, The Honourable the Minister of the Interior,  respecting the Treaty concluded at Qu’Appelle in September last with the Cree, Saulteaux and other Indians mentioned therein, provides among other things, that reserves be selected for the Indians affected by the Treaty by Officers appointed for that purpose; that the said Treaty further provides , that annual payments should be made to the Chiefs, Headmen and Heads of Families of the various Tribes , and also that presents of clothing and other articles shall be annually distributed among the different Bands included in the Treaty. 

That it appears to him desirable that steps should be taken for the selection during the present season, of the Reserves in question and that for provision to be made at once for the payment of the annuities and distribution of Presents  authorized to be distributed this year 

The Minister also represents that in consequence  of the absence of the Chiefs of certain of the Indian Bands affected by the said Treaty, their adhesion thereto has not as yet been obtained and thus it is important that they be brought into the Treaty as soon as practicable. 

He therefore recommends: 

 That William Joseph Christie, Esquire of Brockville, Ontario with the assistance of persons as may be named for the purpose by the Minister of the Interior be appointed to select the Reserves where they shall be determined most convenient and advantageous for the Indians , each reserve to be selected as provided by the Treaty after conference with the Band of Indians interested therein and subject to the conditions set forth in the Treaty.  

That the said, Mr. William Joseph Christie and the other person named as aforesaid by the Minister of the Interior to be authorized to pay the annuities and to distribute Clothing and other Presents authorized by the Qu’Appelle Treaty  and secure the adhesion of the Bands of Indians living within the territory covered by the Treaty and who either from absence or any other cause, were not parties to the Treaty concluded last year. 

The Committee submit the foregoing recommendation for your excellency’s approval. 

To The Honourable 

The Minister of the Interior Etc, etc, etc } 

Department of the Interior, Ottawa , 15 July 1875 

  1. J. Christie, Esquire                                      [signed] Minister of the Interior

 

Images: Parchment document HBC 1, Photo The Manitoba Museum 

Pipe, H4-42-6A, Pipe Bag, H 4-4-21-76, and Treaty Medal, HBC 57-53, Photo The Manitoba Museum. 

Dr. Amelia Fay

Dr. Amelia Fay

Curator of Anthropology & the HBC Museum Collection

Amelia Fay is Curator of Anthropology and the HBC Museum Collection at the Manitoba Museum. She received her BA in Anthropology from the University of Manitoba (2004), an MA in Archaeology…
Meet Dr. Amelia Fay

Left Behind in Airport Cove 

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

 

If you think about how Museum paleontologists get fossils, you might guess that we go out and find where the fossils are, extract all of them from the rock and sediment, and return them to the Museum. Certainly that is what we do where fossils are scarce, but in many instances our job really consists of deciding what to leave behind. Our specialists at the Manitoba Museum are called curators, and a curator by definition has to be able to select what is needed for collections and exhibits. 

Photo looking out over a rock landscape with low pools of water. A group of indviduals are scattered around looking at the rocks

Our field group, walking across dolostone beds in the Silurian part of the cove.  

This fact was really brought home to me in the past couple of weeks, as we revisited sites in Airport Cove, the stretch of shoreline north of the airport at Churchill. Airport Cove covers a large area, with many patches of bedrock spread across the shoreline. These patches of rock allow us to sample many different sedimentary beds from the end of the Ordovician Period and the beginning of the Silurian Period, roughly 445-435 million years ago. 

Landscape view over a rocky stretch of ground leading to the open water in the distance.

In the cove, the rock seems to go on almost forever. 

The rocks in the cove were deposited as sediment in warm tropical seas, so fossils are plentiful in many of them. With such an embarrassment of riches we have to be selective every time we go out in the cove; if I collected every decent fossil, we would need an entire freight train to get them to Winnipeg!  And then, where could we possibly store them? 

Close-up on rock surface with two shell fossils embedded in it. A size scale card is placed in frame along the bottom.

Two examples of the large Silurian brachiopod (lamp shell) Virgiana decussata.

As a result of our previous work here, many examples of the “standard” fossils from Airport Cove are already resident in the Museum’s collections, and this time we were looking for very specific and rare things. So we would walk around the cove each day, considering and photographing the more common sorts of fossils. Some of these are old friends, on blocks of stone that I can remember being in the same place ten or fifteen years ago. Others were new to me, but I can hope to see them again if I get back here. And then there are the few fossils that are so good that they must go to the Museum; one of these is shown at the end of this piece. 

Close-up photo of a section of rock with many small fossil pieces embedded in it. A size scale card is placed in frame along the top.

Abundant pieces of auloporids, Silurian “organ pipe” corals, in a dolostone bed low in the modern intertidal zone.

If you are ever in the Churchill area and wish to go looking for fossils, please follow all  guidelines on polar bear safety! We had to leave our work area at Airport Cove twice last week as there were bears nearby, and on one occasion a mother and cub walked right through our site very shortly after we got into the truck. 

Photograph of a section of rock with an elongated tube-shaped fossil in the surface. A size scale card is placed on the rock beside the fossil.

Old friends: we have been walking past this block of Ordovician stone for the past fifteen years or more. The elongate fossil on the left is the central tube (siphuncle) of a nautiloid cephalopod, while that on the right is an tall aulacerid stromatoporoid (sponge). 

Close-up photo of a section of rock with a curved U shaped fossil in the surface. A size scale card is placed in frame along the top.

The pygidium (tail) of the Ordovician trilobite Isotelus.

Close-up photo of a section of rock with dark lichens growing on the surface. Two fossils are embedded in the rock, on round and swirled, the other rounded on one side. A size scale card is placed in frame along the left edge.

Another example of the gastropod Maclurina manitobensis (lower), with an unidentified fossil that might be a stromatoporoid sponge.

A section of rock with half of a round, swirled fossil embedded in it. A quarter is placed on the rock’s surface for scale.

The one we couldn’t leave behind: this beautiful Ordovician coiled nautiloid cephalopod is now in transit to Winnipeg, along with the other fossils we collected. 

Landscape photograph looking out over a rocky shoreline at the water’s edge.

The end of the cove.

The Fossils Surround Us 

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

 

Those of us who live in Winnipeg know that fossils are never far away. Many Winnipeg structures feature surfaces clad in Tyndall Stone, a fossil-rich dolomitic limestone of Late Ordovician age (about 450 million years old). Tyndall Stone covers public buildings such as the Manitoba Legislative Building and the Winnipeg Art Gallery, and commercial buildings in the downtown core, but it can also be seen in thousands of homes in Winnipeg: in walls, steps, and fireplaces. 

Thus, it is hardly surprising that the Museum and the adjacent Centennial Concert Hall both use Tyndall Stone inside and out. Of course Tyndall Stone fossils are represented in our Earth History Gallery, but if you think about it, it is odd that there are so many more “museum-grade specimens” exposed to the weather on the outside of the building. On the inside, as these photos show, we sometimes cover up beautiful fossils with the detritus of everyday existence: signs, fountains, alarms, and thermostats. In part, this is because the fossils are so abundant that it is hard to avoid them when placing objects, but it may also be that they are so commonplace here that people ignore them and take them for granted. 

Maybe someday we will add interpretative signage to some of the better and more accessible fossils on and in the Museum, but that would be a big project to undertake. In the meantime, here is a sampling of a few of the good ones.

Photograph of a Tyndall Stone wall with intermitant fossils embedded in it, and an EXIT sign in the upper right corner.

The hallway near the elevators may look like an unprepossessing remnant of the 1960s, but those mottled walls are thin slabs of Tyndall Stone. This stone, quarried by Gillis Quarries Limited at Garson, Manitoba,  is rich in fossils representing life from an ancient tropical seafloor. 

Close-up of a clock fixed to a Tyndall Stone wall with a white fossil under the bottom left corner of the clock.

Geologically, Tyndall Stone is part of the Selkirk Member of the Red River Formation; this bedrock formation underlies much of southern Manitoba, but it is only exposed in certain places such as in cliffs along Lake Winnipeg, and in the Tyndall Stone Quarries at Garson. Behind this clock, the darker mottles represent burrows in the ancient seafloor, made by millions of little arthropods or worms. The white structure to the lower left is the colonial coral Protrochiscolithus. 

Close-up on a emergency “Break Glass for Key” fixture attached to a Tyndall Stone wall. Beneath the fixture is a large rounded fossil of a stromatoporoid sponge.

The big brown blob beside the elevator is a stromatoporoid sponge. To its lower right, a smaller dome-shaped stromatoporoid (brown dome) was encrusted by the tabulate coral Protrochiscolithus (white), and to the right is a honeycomb rugose coral (Crenulites?). 

Close-up photo of a Tyndall Stone wall. On the left, edge a red fire alarm box is fixed to the wall. To the right, is a horn-shaped fossil of the chain coral Catenipora.

The pattern in the upper right represents the chain coral Catenipora, which grew on the ancient seafloor (a place with no risk of fire!). 

Close-up of a water fountain. On its left, at the edge of the frame, is a small, light-coloured fossil.

The white thing beside the water fountain is an excellent example of a rugose coral (horn coral). 

Close -up of a light and bell alarm fixture in a Tyndall Stone wall. Below is is a dome-shaped fossil of the colonial coral Protrochiscolithus.

The ancient seafloor was mostly soft and muddy, but many of the creatures required firm or hard substrates. Since substrate was at a premium, animals often grew on top of one another. The dome-shaped structure to the lower left in this photo represents the colonial coral Protrochiscolithus (white part), which grew on top of a stromatoporoid sponge (brown part). 

Close-up of a thermostat fixed to a Tyndall Stone wall partially covering a horn-shaped fossil cephalopod.

As common as dirt: there are so many fossils in these walls that some very good ones, such as this cephalopod, have been covered by things like this thermostat. 

Photograph looking up a tall exterior wall made of Tydnall Stone.

Since there are so many fossils in the relatively small area of the foyer walls, imagine how many there are on the outside of the Museum! 

Public Archaeology Press

By Kevin Brownlee
Past Curator of Archaeology

Over the course of the past year I have been involved with a few publications highlighting Archaeology. Each is quite different, from public outreach to academic article to education online resources.

The first is a book published by the Manitoba Museum called Stories of the Old Ones from the Lee River, Southeastern Manitoba: The Owl Inini, Carver Inini and Dancer Ikwe (2014). The publication is the result of many years of work by the Museum and our community partner Sagkeeng First Nation. The lead author E. Leigh Syms retired Curator of Archaeology along with a diverse group of contributors including the late Elder Mark Thompson. The book is publically written and includes over 150 images, maps, drawings and paintings. I was the project manager for the publication.

Buy a copy from the Manitoba Museum Gift Shop.

 

The second publication is an academic journal article on quartz characterization which examines artifacts from the Manitoba Museum collection in relation to quartz quarries documented in northern Manitoba. The article was published in the prestigious journal Archaeometry vol 56, issue 6 pages 913-926 (December 2014). The results indicate quartz from quarries on Granville Lake were transported up to 200km away. The lead author is a brilliant young PhD, Rachel ten Bruggencate who worked on the Granville Lake Social Science and Humanities Research Council Project that was run through the Museum. Read the abstract online.

The last publication was an online resource put together by the Centre for Research in Young People’s Texts and Cultures the authors on the guide were Margaret Dumas and Deborah Schnitzer. The teachers guide was for the book Pīsim Finds Her Miskanow and written for the Grade 5 Manitoba Curriculum. Find the guide here.

Public Archaeology – What Should have been in The News

By Kevin Brownlee
Past Curator of Archaeology 

Open pages of the book Pīsim Finds her Miskanow showing text with diagrams, and artistic illustrations.

Today’s post is a bit of a stretch for the theme public archaeology in the news, since media did not pick up on our recent work. The project most deserving of media attention would be the teaching resources recently released for the book Pīsim Finds her Miskanow. 

Educational resources now available for Pīsim Finds her Miskanow, a nationally awarded publication. The centre for research in young people’s texts and cultures (CRYTC) at the University of Winnipeg has released an 80 page teachers guide available for download on their website. The guide is written for Grade 5 in the Manitoba curriculum. You can also listen to two of the songs from the book, the Paddling Song and the Lullaby. 

Image: Highly illustrated book brings Rocky Cree history to life, now easier to use in the classroom.

Noteworthy Public Archaeology

By Kevin Brownlee
Past Curator of Archaeology 

Open pages of the book Pīsim Finds her Miskanow showing text with diagrams, and artistic illustrations.A number of events have occurred this past year that are noteworthy. The book Pīsim finds her Misknaow won a public communications award from the Canadian Archaeological Association in May 2014. This national award recognizes archaeology publications that engage the general public. 

Two display cases were produced for the Sagkeeng First Nation Heritage Centre. The exhibits were unveiled at the Heritage Centre on May 12, 2014.

Looking into a blue display case shadow box with photographs and illustrations of artifacts as well as descriptive text.

Two Eagles Cache Education Exhibit showcases replica artifacts found with a 4,000 year old ancestor.

Looking into a green display case shadow box with photographs and illustrations of artifacts as well as descriptive text.

Rivermouth Cache Education Exhibit showcases replica artifacts found with two ancestors dating to 450 years ago.

Tracking Down Canada’s Last Passenger Pigeon 

September 1st of 2014 marked the grim anniversary of the death of the last passenger pigeon on Earth. It’s extinction is probably the only one for which an exact hour of demise is recorded; the last individual was a captive bird, named Martha, that expired at 2pm local time at the Cincinatti Zoo. The disappearance of this species is almost impossible to comprehend, as it was once the commonest bird in North America, perhaps even the world, with population estimates of between 3 and 5 billion – yes, that’s billion – in the mid-1800s. 

But the capacity of humans to destroy knows no bounds. The awe-inspiring flocks that were described as darkening the sky from horizon to horizon, and the massive breeding colonies that numbered in the tens of millions were slaughtered by market hunters and shamefully wasted by hungry locals alike. Unfettered exploitation along with changes in environment due to deforestation resulted in the shocking disappearance of passenger pigeons from the wild by about 1900. 

Old newspaper clipping reading, “Pigeons. – This morning pigeons passed over the town in immense numbers, and afforded rare sport to the disciples of Nimrod. / Wild pigeons roosted on sundry roofs in the city last night, and some of them only awakened when the felt they No 6 shot coming in.”

Local reports of passenger pigeons from Winnipeg newspapers, the upper from the Manitoba News-Letter of May 31, 1871 and the lower from the Manitoba Free Press of September 19, 1874. 

Although Manitoba never hosted massive colonies, large flocks provided food for First Nations peoples and hungry homesteaders, and were important enough to frontier life to merit frequent mention in local newspapers as “wild pigeon” or merely “pigeons.” Passenger pigeons bred in small groups in the south of the province and were seen as far north as Hudson Bay. 

A passenger pigeon specimen posed on a low tree branch in a mini stand-alone diorama.

A relatively recent addition to the Museum’s passenger pigeon collection, a beautiful mount of a female generously donated by the Delta Waterfowl Foundation in 2013. Note the female lacks the orange breast and bluish back of the male, and is slightly smaller, about 37 cm. MM 1.2-5437 

In contrast to their abundance in the 19th century, there are relatively few specimens of passenger pigeons in natural history museums and even fewer of those that have information on when and where they were collected. This is in part because systematic museum and research collecting in North America was still relatively new, and because passenger pigeons were so common; who carefully collects crows or starlings today? The Manitoba Museum has five taxidermied specimens of passenger pigeon.  

Black and white photograph of a glass display case containing many bird specimens. Three birds are digitally outline in red.

Some of the old bird cases as they were in the Civic Auditorium in the mid-1930s. The passenger pigeons are marked within the red lines. These three mounts are still in the Museum collection today. 

Until recently, all of the Museum’s passenger pigeons were of unknown locality – we weren’t even certain that our birds were actually from Manitoba! Record-keeping was not always thorough in the 1930s when some of them came into the possession of the original Manitoba Museum, and the others were in private collections where their exact histories have been lost. However, while examining some photographs of the exhibits in the old Civic Auditorium from the 1930s, I noticed that some were of the bird cases. One of these had three of our pigeon specimens on display! And another photo showed that one mount had very specific data on its label just below it tacked to the back of the case: 

Close-up of a museum label reading, “Passenger Pigeon. / (Ectopistes m. oris). / Now Extinct. / This specimen taken at Winnipegosis in 1898”.
Close-up of the old museum label from the mid-1930s as it appeared in the case.

Did the Museum still have this particular specimen? Comparing our present collection with the photographs, I was able to determine that one of the five birds we have is an exact match for the Winnipegosis specimen that had been on display in the 1930s. This is especially important because detailed information on this bird was published by G.E. Atkinson in 1904, a taxidermist and naturalist from Portage la Prairie. He prepared this specimen and noted its date of collection as April 10th of 1898 – the last specimen ever collected in Canada! 

Two photographs side-by side. Top, a black and white photo of a passenger pigeon specimen on a small tree branch. Underneath is a colour phtoograph of the same specimen on a different small branch mount.

Comparison of the 1898 Winnipegosis specimen as it appeared in the Civic Auditorium in the mid-1930s (top) with a photo of one of our specimens (MM 1.2-2391) today (bottom). Arrows show the unmistakable features (tuft of feathers at base of bill, ‘ruff-like’ neck feathers, foot shape, leg feathering) that indicate that these are the same specimens. The pattern of black spots on the back are also distinctive. 

So the specimen has come full circle in its history with the Manitoba Museum. It was first on display in the mid-1930s in the Civic Auditorium, was in our collections storage for decades, and is now on exhibit again 90 years later at Rupert and Main. It remains, after all that time, still able to perform the unfortunate, but important function as a flag-bearer representing all extinct species and as a warning of where careless attitudes to our environment can lead us. 

Aldo Leopold, the famous Wisconsin environmentalist, said in memory of the passenger pigeon in 1947: 

“There will always be pigeons in books and in museums, but these are effigies and images, dead to all hardships and to all delights. Book-pigeons cannot dive out of a cloud to make the deer run for cover, nor clap their wings in thunderous applause of mast-laden woods. They know no urge of seasons; they feel no kiss of sun, no lash of wind and weather; they live forever by not living at all.”

And indeed, the Museum’s passenger pigeons will not, unfortunately, repopulate our skies. But they will always be here, for that is the value of museum collections – archives of natural history and silent witness to changes in our world. Our collections provide opportunity to study, marvel, contemplate, and learn. And although there are no more passenger pigeons in the wild, they can still be found in museums. I invite you to the Manitoba Museum and the new Prairies Gallery (2021) to see the last passenger pigeon ever collected in Canada, along with one other, and to reflect on their fate as well as our own place in the world. 

If you have any further information on these specimens or others, please contact the Museum. 

 

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

Prairie Pollination

Get to know your wild neighbours!

Two-thirds of our crop species worldwide depend on wild pollinators to some degree! Those pollinators need more than just crop plants to survive – they need wild plants too.

Staff at the Manitoba Museum have been quietly studying pollinators for over fifteen years. The Museum’s Curator of Botany, Dr. Diana Bizecki Robson notes that “we really don’t know much about how wild plants and pollinators interact with each other or whether their populations are declining. One of the interesting things I’ve discovered during my field work is that pollinators of crop plants like canola and sunflower also need to feed on prairie wildflowers to survive.”

Unfortunately, many of the Manitoba Museum’s plant and insect specimens are difficult to display in regular gallery exhibits and can only been seen during special behind-the-scenes tours or in temporary exhibits. But now thanks to a virtual exhibit you can learn more about these amazing creatures. The exhibit is called Prairie Pollination and can be found at www.PrairiePollination.ca.

Dark butterfly with yellow, orange, and blue spots on it's wings perching on a small fluffy purple flower.

Beautiful photographs of endangered and common prairie plants, and their insect and bird pollinators, are shown in this exhibit. Watercolour illustrations of wild plants from the Museum’s famous Norman Criddle collection, and virtual tours of wild prairies with pollination scientists add depth and context to the specimens. “The great thing about the Prairie Pollination exhibit is that people can find out exactly which plants are attractive to the different kinds of pollinators. This information will be of great use to nature lovers, gardeners, farmers, students and beekeepers” says Dr. Bizecki Robson.

The Manitoba Museum gratefully acknowledges our project sponsors:

The Virtual Museum of Canada (VMC), an initiative of the Department of Canadian Heritage, was established in partnership with over 1,300 Canadian Heritage Institutions.