A white water lily with a yellow centre being held close to the camera against s grey-blue background.

Water-lilies and Wetlands

Water-lilies and Wetlands

Close up on several low-growing pitcher plants, one of which is consuming a fly.

Wetland plants are the least commonly collected and photographed plants in Manitoba for good reasons. For starters they’re protected by the most vicious gangs of thugs you can imagine: bloodthirsty mosquitoes and black flies. I’ve taken many blurry photographs in my day because I was too busy swatting mosquitoes to focus properly. No matter how good the bug jacket is, the pests always seem to find a way in. Wetland work can be utterly exhausting: walking in a bog is like taking a stair climbing class taught by Satan! I got heatstroke from doing bog work once. Further, unless you’ve got a magical inflatable boat that shrinks to the size of a wallet, collecting wetland plants often means one thing: getting wet and muddy, and, if you’re in a bog, potentially sinking to your doom!

 

Image: Mosquito-eating Pitcherplants (Sarracenia purpurea) and Sundews (Drosera spp.) are a welcome sight (note the fly in the lower pitcher).

There are only two occasions where I thoroughly enjoyed botanizing in wetlands. One was during my field work to find a new species of water-lily (Lori’s Water-lily or Nymphaea loriana) in northern Manitoba. Manitoba Hydro offered to fly my companion John Wiersema and I up to Jenpeg, and to have a few locals take us out on a motorboat to look for it. The great thing about being on a boat is that it is windy enough on the open water to keep the bugs down. On that trip we collected plant specimens for DNA analysis which eventually led to my recent publication in the Canadian Field Naturalist (Read more here).

The other day of enjoyable wetland botanizing happened just last month at the brand new Brokenhead Wetland Interpretive Trail (Find more details here). This gorgeous 1.83 km trail (less than an hour north of the city) runs parallel to the Brokenhead Wetlands Ecological Reserve. If you’ve ever wanted to see rare orchids or carnivorous plants, this is the best way to do it. Almost the entire trail is boardwalk so your feet never get wet and you don’t have to worry about sinking and turning into a bog mummy!

View out across a wetland from on the water. On the banks grow greenery and trees.

Boreal wetlands are best visited by boat.

View down a wooden boardwalk flanked by wetland greenery and water, with trees growing further to the side.

The boardwalk through the fen at the Brokenhead Wetlands Interpretive Trail.

The trail first passes through a fragrant white cedar (Thuja occidentalis) swamp before reaching the more open fen habitat. I was easily able to see four species of carnivorous plants: pitcherplants (Sarracenia purpurea), round-leaved and oblong-leaved sundews (Drosera rotundifolia and D. anglica), and common bladderwort (Utricularia vulgaris). Although it was lovely to see Dragon’s-mouth orchid (Arethusa bulbosa), grass-pink (Calopogon tuberosus), spotted coralroot (Corallorrhiza maculata), and several species of bog-orchids (Platanthera spp.), the bell of the ball was definitely the spectacular showy lady’s-slipper (Cypripedium reginae). One was growing right next to the trail facilitating a perfect photograph!

Close up on a Showy Lady's-slipper flower - a flower with three white upper petals and a larger, pinkish, cup-like lower petal.

This Showy Lady’s-slipper (Cypripedium reginae) was growing right next to the trail.

Close-up on Grass Pink orchid, a small pink-purple flower with triangular-shaped leaves.

The lovely Grass Pink orchid (Calopogon tuberosus).

I love how the trail was interpreted with a First Nations perspective that included information about traditional Ojibway uses of local plants. It was lovely to be able to visit a wetland where I could appreciate the plants up close. This trail is a must see for nature lovers as it lets you experience a world that you may never see.

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

Ancient pottery making described in new Anishinaabemowin translation

By Maureen Matthews, past Curator of Anthropology

 

Jacob Owen of Pauingassi was always cheerfully willing to explain the complexities of Ojibwe history and philosophy with stories from his own life. Margaret Simmons, who conducted this interview, was the Director of Education in Pauingassi at the time. She is a warm and open person with a positive genius for respectfully conversing with old people and her unique talent made my visits to Pauingassi and over 300 hours of Anishinaabe language recordings possible. The equally brilliant and even more patient Anishinaabe linguist, Roger Roulette, has been gradually transcribing and translating the Pauingassi recordings. He just finished this one today and it contains a remarkable discussion in Anishinaabemowin about the old Anishinaabe and their skill at making pots out of clay.

A black and white portrait of a seated older man from the side, smiling and laughing behind his hand.

Jacob was over 90 at the time of the interview, the oldest man in the community. He spoke very little English and had lived his whole life in Pauingassi. He most definitely had not read scholarly reports about archaeological discoveries of 500 year old clay pots made by his ancestors and yet, here he is, talking about how incredibly skillful his ancestors were at making these beautifully decorated pots. The conversation veers off after this, in part because Margaret, a very good modern speaker, doesn’t know the word for “clay, waabigan” but this short quote from Jacob’s conversation is an indication of the extent to which one can rely on First Nations oral historical accounts for the truth about the distant past. By the way, Roger says that the verb to fire a pot is zakizo (va) to burn an animate thing. The idea of a kiln is expressed in the verb boodawaash (ca) which means to superheat something animate.

 

Image: Jacob Owen, Pauingassi Manitoba. 1996.

Original (Anishinaabemowin)Translation (English)
JO: Daabishkoo, gigikendaan ina ‘iwe gaa-ijigaadeg, aadizookaanag gaa-ijigaadeg?JO: It’s like…you know what they mean by that, what they mean by aadizookaanag (legendary heroes)?
MS: Eya’.MS: Yes.
JO: Daabishkoo mii gaa-inendaagoziwaad igiweniwag Anishinaabeg nishtam gaa-gii-bimi-ayaawaad. Bigo gegoon gaye ogii-ozhitoonaawaa’. Wiinawaa bigo.JO: The first Anishinaabeg that existed, this is what they’re comparable to (the legendary heroes). Also, they were able to make anything. They, themselves.
Nashke aya’aa, akik. Waabigan gaa-onji-ayaawaad. I’iya’aawan nda gii-onizhishiwag. Eji-, eji debakamig gidaa-ikid e-gii-mookaakizowaad. Ndawaaj gii-onizhishiwag.For instance, a pot (vessel) (noun animate). They made them from clay. My, they were beautiful. You would have said they were incredible. The visible images (on the pots), undoubtedly, they were beautiful.
MS: Aaniin dino akikwag? Asiniiwi-akikwag?MS: What kind of vessel? Stone vessels?
JO: Bibagiziwag. Gii-bibagiziwag. Waabigan daabishkoo. I’iwe dash waakaa-aya’ii gii-mazine’aawaad gaye, ndawaaj gii-onizhishiwag.JO: They’re thin. They were thin. It was the nature of clay. However, they had images/patterns around (the pot). My, but they were beautiful.
Zhigwa ayi’ii naanaagadawendamaan, awegodogwen gaa-omookomaaniwaad nishtam?Well, when I think about it, I wonder what they used for a knife (to incise the designs) at that time, at the outset?

200 Years Later: The Battle of Seven Oaks

Yesterday (June 19th) marked the 200th anniversary of the Battle of Seven Oaks, the boiling point of years of conflict (not always violent) between the Hudson’s Bay Company and North West Company in the Red River settlement region.

Like any historic event, isolating the details of June 19th, 1816 is a disservice to both parties involved, so I strongly encourage readers to take a look at the resources listed at the end of this post to get the context, and garner multiple perspectives on what happened.

Many scholars have debated what to call this event: battle; massacre; incident; skirmish. Joe Martin’s article on the Manitoba Historical Society’s website weighs in on this semantic discussion here. I noticed that popular media, like recent CBC articles, seem to use ‘battle’ so that’s what I’ve stuck with here.

I searched through the HBC Museum Collection to find an artifact connected to this event. The only thing related to it is this calendar print, produced by the HBC as a marketing tool to promote their retail activities and highlight the Company’s history. You can read up on the history of the HBC calendars on the HBC Heritage Services website.

A calendar page for January 1914. At the top is a painting of the Battle of Seven Oaks, showing two sides of the fight charging and shooting at one another. Below that is a monument and two flags - the Hudson's Bay Company flag and the North West Company flag.

The 1914 HBC Calendar shows the Battle of Seven Oaks, painted by Charles William Jefferys.

Close-up on a painting of the Battle of Seven Oaks, showing two sides of the fight charging and shooting at one another. Below that is a monument and two flags - the Hudson's Bay Company flag and the North West Company flag.

A closer look.

This painting, like all calendar paintings, was commissioned by the HBC. What’s depicted here is likely not how things played out at the time, but is a representation of how people (specifically the HBC) felt about the event nearly 100 years later. It’s interesting to compare this image to how we think about it today, 200 years later.

Online Resources

Canadian Encyclopedia: The Battle of Seven Oaks

Canada’s History: Selkirk Settlers, Cuthbert Grant & the Battle of Seven Oaks

Coutts, Robert and Stuart, Richard (eds.) The Forks and the Battle of Seven Oaks in Manitoba History, Manitoba Historical Society (1994).

Dick, Lyle (1991) “The Seven Oaks Incident and the Construction of a Historical Tradition, 1816 to 1970”, Journal of the Canadian Historical Association 2(1):91-113.  PDF available here.

Print Resources

Barkwell, Lawrence J. (2010) The Battle of Seven Oaks : a Métis perspective. Winnipeg : Louis Riel Institute.

Bumsted, J.M. (2008)  Lord Selkirk: a life. University of Manitoba Press.

Bumstead, J.M. (2003) Fur Trade Wars: The Founding of Western Canada.  Great Plains Publications.

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

Dirty Little Secrets

Whenever someone walks into the Conservation lab, they are usually awed at all the scientific equipment. Large wall cabinets filled with chemicals, adhesives, paints, glass beakers and flasks. There is safety equipment, such as fume hoods and spiralling exhaust vents hanging from the ceilings to ensure proper precautions are taken. With this complex system, it looks like conservators are risking their lives every day to preserve and protect cultural heritage. However, I am about to share with you one of our dirtiest cleaning secrets that we keep hidden behind these lab walls.

SALIVA. Yes, that is correct. At some point you’ve probably heard of the saying when cleaning something to give it the old “spit shine.” Although we don’t actually spit on our artifacts, nor do we lick anything, conservators do use their own saliva as one method to clean a number of different types of artifacts. The technique is relatively simple in that a cotton swab is hand rolled onto a wooden probe and lightly dampened by placing the swab into our mouth (generally pre-lunch).  The swab is then rolled onto the surface that we are cleaning to remove the desired residue. Tests are always done prior to a full cleaning to make sure that other soluble materials that we want to stay on the artifact don’t get swept away.

Now why this technique is used and how well does it really work? Human saliva is composed of amylase, which is a type of enzyme. Enzymes are used to break down particles depending on their make-up, so in the instance of amylase it helps humans to break down food particles. For conservators, amylase is also very useful in removing built-up grime and dirt that are found on artifacts. The benefit of using “enzymatic cleaning” (a more professional term for those completely grossed out) is that it is readily available, free, and does not require us to use large safety equipment such as fume hoods.

As mentioned, a range of artifacts can be cleaned using this technique, including leather, beading, oil paintings, and wooden surfaces. Now, I probably wouldn’t recommend trying this at home, as there may be an instance that something gets removed from your precious heirloom that you didn’t want to remove, but you are always welcome to contact a conservator here at the Manitoba Museum, who can advise you on the process first. In the images below, you will see a before and after picture of an oil painting that was recently cleaned using saliva. Happy cleaning!

 

Fort Garry, 1869
Signed L.-S (likely Lionel Stephenson)
Oil painting on artist’s board
H9-11-603

A painting with grime and wear across it. A winter scene showing an individual and several objects obscured by dirt in the snow in front of a stone fort.

Oil painting before treatment. © Manitoba Museum

An oil painting that shows some signs of age around the edges but is clean. A winter scene where an individual stands with a dog sled team in the snow in front of a large stone fort.

Oil painting after treatment using saliva cleaning technique. © Manitoba Museum

Carolyn Sirett

Carolyn Sirett

Conservator

Carolyn Sirett received her B.A. in Anthropology from the University of Manitoba, Diploma in Cultural Resource Management from the University of Victoria, and Diploma in Collections Conservation and Management…
Meet Carolyn Sirett

Gettin’ down at Yellow Quill Prairie

View out over the prairie landscape, with a light fence and sign in the lower right foreground.

Last week I started my field season by getting down on my hands and knees to collect plants and pollinators at the Yellow Quill Prairie Preserve, which is owned and managed by the Nature Conservancy of Canada. While that may not sound particularly appealing to you, it is something that I love about my job. After a long winter stuck inside, it is marvelous to spend some time out in nature appreciating the absence of city noise. When I arrived at the prairie, I was greeted by a sound that I absolutely adore: the call of a Western Meadowlark (hear it in this video). Nothing says “prairie” like a meadowlark!

 

Image: It was cool and rainy when I got to the Nature Conservancy’s Yellow Quill Prairie Preserve.

Unfortunately I was also greeted by something not so pleasant: rain and wind. Those two things in combination result in the dreaded sideways rain; you know the rain that hits you right in the face rather than landing on your hat. “Oh well,” I thought, “all I have to do on the first day is select my plots and I can do that in a bit of rain”. A little rain actually makes an interesting prairie organism come to life: star jelly (Nostoc commune). This organism looks like a tiny piece of crispy black poop when it’s dry but a greenish, gelatinous blob when wet. It’s actually a colonial cyanobacteria that lives on the prairies and adds much-needed nitrogen to the soil. I also saw a well disguised grasshopper blending in with the lichens and star jellies.

Star jellies, low to the grow in a field. Dark green, gelatinous blobs among the grass.

Star jellies (Nostoc commune) puff up and turn green when it rains.

A brown grasshopper blending in with the dried grass on the ground.

The colour pattern of this grasshopper helps it blend in with the vegetation.

The next day was my first day of pollinator surveys and though it wasn’t raining, it was so cool and windy that I saw virtually no insects. Luck was with me the next day though as I encountered perfect pollinator weather: warm, sunny, and with only a gentle breeze. Plus there were no ticks or mosquitoes! That rarely happens in Manitoba and was nice break from the last few years when I was constantly picking ticks off my pants. In addition, to seeing some nice big bumblebees, sweat bees, and a really cool beefly, there were several butterflies about as well. One of them was not so lucky as it got captured by a crab spider hiding on a groundsel (Senecio spp.) flower; a sad ending to a beautiful creature but spiders need to live too!

A butterfly capturing by a Yellow crab spider hiding on a yellow groundsel flower.

Yellow crab spiders blend in with the groundsel (Senecio sp.) flowers, making it easier for them to catch and eat pollinators like this butterfly.

A bumble bee on yellow leafy spurge.

Bumblebees (Bombus spp.) were visiting the invasive leafy spurge (Euphorbia esula) plants at the preserve.

When I first started working at the Museum 12 years ago I decided to study plant-pollinator relationships in Tall-grass Prairie because it was an ecosystem that I had not visited before. Two years ago I switched to Fescue Prairie and now, to complete my understanding of prairie pollination, I need some data on Mixed Grass Prairie as well. My research will help us better understand how these prairies differ from each other and which plant species are most important for pollinators. I will be visiting Yellow Quill Prairie every two weeks until mid September and will keep you updated on the wonderful things that I see throughout the summer.

 

This research is made possible by funding from the Nature Conservancy of Canada and the Manitoba Museum Foundation.

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

Transit of Mercury – Monday, May 9th, 2016

This Monday, Manitobans can witness a rare astronomical event that at once demonstrates some of the most important principles of the Universe. All you need is clear skies… and a special telescope. Luckily, the Planetarium has you covered on that second one! (More on that later.)

As the planets orbit the Sun, their position in our sky changes. Right now (in May 2016), Jupiter is visible in the evening, with Mars and Saturn both rising later in the night. There are two planets that orbit closer to the Sun than our planet Earth, and so they never appear late at night – from our point of view, they always appear close to the sun in the Sky. These two planets, Mercury and Venus, are usually visible soon after sunset or just before sunrise, depending on their location in their orbit. Venus is the bright “evening star” or “morning star” that most people have seen (if not identified), but Mercury is more elusive. Being closer to the sun, it is often very low in the sky, and only visible for a couple of weeks before its orbit carries it too close to the sun to be seen.

However, this orbital geometry that works against us has one big benefit: every so often, Mercury or Venus will be seen actually silhouetted against the sun’s blinding surface. This event, called a transit, only happens a few times a century for Mercury and even less often for Venus. This Monday, it’s Mercury’s turn to transit the Sun. Here’s how to watch.

FIRST: NEVER LOOK AT THE SUN WITHOUT PROPER EYE PROTECTION. “Proper” means a special solar filter purchased especially for solar viewing – eclipse glasses or a specialized telescope filter. NOT SAFE: sunglasses; CDs/DVDs; smoked glass; or any of that stuff. If you don’t have a special solar filter you spent at least $100 on, it’s probably not safe. Do not risk your eyesight when there are easier ways to see this event without risk.

Mercury is too small to see crossing the sun without some level of magnification, so those cardboard eclipse glasses won’t be much help for this event. (But save them – there’s a solar eclipse in August 2017 you’ll need them for!) This means, you need a telescope or pair of binoculars, which means you also need a specialized solar filter, or use an indirect method.

HERE is how to turn your ordinary household binoculars into a safe transit viewer.  NOTE: Make sure you follow the safety warnings on the video – watch right to the end. This clip was produced for the transit of Venus, but it works for this event and for general viewing of sunspots as well.

If you don’t have your own way to view the transit, there’s still hope. You can join us at the Museum – the Galleries, Planetarium and Science Gallery are closed Mondays, but our staff will be outside behind the Museum (weather permitting) near the corner of Lily Street and James Avenue to view the transit, and you’re welcome to join us. You can also watch the event online from various sites around the world: search for “mercury transit live webcast” for several options.

Watching the transit of Mercury lets you witness the clockwork of the solar system first-hand. Over the course of the day, Mercury’s tiny disk will cross the Sun, carried by its orbital motion. From this simple observation, you can see that Mercury orbits the Sun and is closer to the Sun that we are. Over time, astronomers also noticed that timings of the transit of Mercury were off slightly by what we would expect just based on classical gravitation effects; it would remain for Albert Einstein and his theory of General Relativity to explain the discrepancy. The transit you are seeing this Monday is one of the strongest and most reliable proofs that Einstein’s view of the Universe is correct.

All that from watching  a little black dot on the sun today!

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.

Terry Fox Exhibit: A Call for Artifacts

A plaster bust of Terry Fox by Leo Mol in a glass display case next to a pop up banner for the Terry Fox exhibit at the Manitoba Museum. Text on the banner reads, "Relive 5,373 km of heroism."

The Manitoba Museum is hosting the Canadian Museum of History national travelling exhibit “Terry Fox: Running to the Heart of Canada” exhibit, opening July 14, 2016. The exhibit features the incredible story of Terry Fox as he embarked on the Marathon of Hope in 1980 to raise funds for cancer research. The marathon, which so many Canadians remember through annual Terry Fox Runs, is memorialized by personal artifacts collected by Terry’s mother.

We’re asking Manitobans to help us find artifacts and memorabilia that may be tucked away around the province. If you have anything related to the early days of Terry Fox’s Marathon of Hope, or if you have something from a Terry Fox Run that you think is special, please contact Roland Sawatzky, Curator of History  at RSawatzky@ManitobaMuseum.ca. We will potentially accept either loans or donations.

 

Image: Plaster bust of Terry Fox by Leo Mol, dated to 1982, has been loaned by the Terry Fox Foundation (Manitoba Office) for the exhibit “Manitobans Remember Terry Fox”.

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

Canada’s Sexiest Plants and Fungi

Compared to colourful birds with elaborate mating rituals and studly male mammals fighting over whom gets to mate with a harem of females, the sex lives of plants and fungi seem downright boring. To counter this perception I am pleased to bring to you my list of Canada’s sexiest plants.

A pine cone on a tree branch with a blue sky in the background..

Sexiest Name:

Rigid Pine (Pinus rigida)

To understand why Rigid Pine has a sexy name you need to know a few things about how to pronounce its Latin name: Pinus rigida. Technically the correct pronunciation of Pinus  in Latin is PEE-nus, which sounds a heck of a lot like, um, well you know. Saying the correctly pronounced genus name (as many European scientists do) with the species epithet of “rigida” afterwards is enough to get an entire crowd of botanists at a conference tittering like schoolgirls. This is why Canadian scientists prefer to pronounce it incorrectly as PIE-nus. Ah Rigid Pine, your mere name evokes sexual images in us all!

 

Image: A hard, erect cone of Rigid Pine. From Wikimedia Commons

Close up on the top of a plant with fringed white flowers at the top of a tall stem.

Sexiest plant-pollinator relationship:

Western Prairie Fringed Orchid (Platanthera praeclara)

This plant, with its tall flowering stalks and strong fragrance is not trying to attract humans, although it certainly achieves that goal. Instead the object of its affection is the Cherry Sphinx Moth. On moonlit nights the moths, attracted to the intoxicating fragrance of the orchid, hover in front of the delicate petals, slowly unfurl their coiled tongues then gently insert them deep into the spur of the orchid to reach the sweet, sweet nectar that lies within. Whew! Is it just me or did it suddenly get hot in here?

 

Image: The fragrant, sexy flowers of this orchid attract graceful moths for a moonlight rendezvous.  The Manitoba Museum.

Close up on two white water lily flowers among a cluster of green lily pads on the water's surface.

Sexiest fragrance:

Fragrant Water-lily (Nymphaea odorata)

This captivating water-lily is so popular that humans regularly grow it in backyard ponds to appreciate its gorgeous perfume. The alluring fragrance captivates more than humans: insects like beetles and bumblebees brave long journeys over water where they could easily drown to partake of the rich succulent pollen that is being offered by the plant. The scientific name alludes to the captivating beauty of these plants, referring to the water nymphs described in Greek and Roman mythology.

 

Image: Popular for their sexy fragrance, humans like to grow these water-lilies in ponds. The Manitoba Museum

A phallic shaped mushroom with a thick cream-coloured stem and dark hooded tip growing from a bulbous brown base on a ground covered with dead leaves.

Sexiest fungus:

Stinkhorn (Phallus spp.)

My first impression of the discipline of mycology was that it was the least sexy subject you could take in biology, fungi being the main organisms involved in decay. Stinkhorns however, completely changed my mind. Stinkhorns are smelly fungi that look very similar to a certain organ on a man’s body, consisting of a round cup-like base, a long shaft and a cap at the end with a little hole at the tip that emits spores. The scientist that named this genus, Carolus Linneaus, rather boldly named it Phallus. The most common species in Canada is Phallus impudicus, which roughly translates to “shameless erect penis fungus”. I’ll never forget the first time I encountered a species of Phallus  in the wild. I was really excited to finally see one of them in the “flesh” but, I have to admit I was disappointed that it was so small.

 

Image: Stinkhorns are a fungus that looks like a small, you know what. From Wikimedia Commons

An orchid with its lower sac-like petal coloured black and yellow in a very similar manner to a bee's stripes.

Sexiest international plant:

Bee orchids (Ophrys spp.)

The sexiest plants outside of Canada have to be the European Bee Orchids. These orchids are so sexy that males of a completely different species want to have sex with them! The orchid flowers look and smell like females bees. Eager young male bees land on these little orchids and try to copulate with them. As they do this, the pollen sacs (pollinia) of the orchid rub off onto to the heads (or sometimes the bums) of the bees. The next orchid those amorous bees visit will receive the pollen sacs and be fertilized.

 

Image: Bee orchids are so sexy that bees want to mate with it! From Wikimedia Commons

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

So, once something is named, isn’t that it?

By Kathy Nanowin, past Manager of Conservation

Close up on the identification data of a herbarium specimen in the Museum Collection. It is for a Polygonus elenode Michx collected in July 1979.Recently, my husband asked me what I was working on, and when I told him I was updating the nomenclature for specimens in the Family Polygonaceae, he looked at me funny. I realized that as a non-biology person, my response was not that informative to him. It did not tell him that I was working on updating the official names of plant specimens, or even which plants they were, and it also did not make sense as to why their names would even change.

A black and borwn dog with a bushy tail stands on a wooden platforms in front of a railing before a wooden area. The dog is looking back towards the camera an a small text box near its head reads, "Je suis un chein. Wouf, wouf!"When a living organism is recognized as being unique and different from other organisms, it is assigned a scientific name. This is the name that is used in the Museum’s database. A common name may be also included, but common names are not as useful or informative. This is because common names are different in each language. For example, the domestic dog is “perro” in Spanish, “chien” in French, “sobaka” in Russian, “gŏu” in Mandarin, “hund” in Danish, and “cane” in Italian. However, the scientific name for dog is Canis familiaris, and this is the same everywhere in the world.

Even in the same language, it is not unusual for a common name to vary from country to country or region to region. A common ditch plant in Manitoba is seen below. Its scientific name is Tragopogon dubius. In Manitoba, this plant’s common name is most often Goat’s Beard, but in Europe it is known as Salsify, and in the southern United States it is called the Wild Oyster Plant.

So, each different type of organism is assigned a scientific name to be sure scientists know what organism they are talking about. Scientific names have two parts to them, the genus (Tragopogon) and the specific epithet (dubius), and these are latinized words. The scientific name is therefore a binomial, that is, it has two parts to the name. The genus is always capitalized, and the specific epithet is not. To show that this is the official scientific name of an organism, the two words are either underlined (usually done when handwritten) or italicized (usually used when typed).

A pressed Goat's Beard, or Tragopogon dubius, specimen with Museum Herbarium Collection indentification information in the lower right corner of the page.

CLose up on a Tragopogon dubius herbarium specimen identification note. The name Tragopogon dubius is underlined.

There are strict rules for naming organisms. In biology, the sub-discipline of naming organisms is called taxonomy. There are international conferences and conventions where scientists meet to discuss and agree upon the rules for taxonomy, and this may mean that names changes.

There are various reasons for names to change:

1. Sometimes a specimen is reclassified, and the name has to change to reflect this.

2. Sometimes a specimen was incorrectly identified. In the lower left photograph, the original name was actually correct. Someone changed it in 1997, and then in 2014 it was changed back to its original, correct name.

3. Sometimes it is discovered that specimens with different names are actually the same thing, and so one name is adopted over the other.

4. And sometimes, if you wait long enough, an older name resurfaces (as in the lower right photograph).This is usually because of a reorganization of the naming system.

Herbarium identification label for a 'Rumex triangulivalis' specimen showing that as the originally identified name, which was then incorrectly corrected in 1997, and recorrected in 2014.

Pressed plant herbarium specimen accompanied by an identification data panel labeling it as 'Bistorta vivpara'.

So the next time you wonder what is that tree, insect or bird, try to find out its scientific name!

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.