Marvellous Molluscs

Marvellous Molluscs

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

 

This has been a year rich in exhibit work, and we are finishing off with a bit of a bang. About a week ago we finished installation of our latest Discovery Room exhibit, a collaboration between Zoology and Paleontology entitled The World is Their Oyster: Marvellous Molluscs. As with the other D-Room exhibits we have produced (such as Jaws and Teeth and Colours in Nature), this was a collaborative effort. It was a pleasure to again work with Randy Mooi on selecting suitable specimens and preparing copy, and to collaborate with our superb collections and exhibit staff to produce the finished exhibit.

Photograph taken with a fisheye lens looking into an exhibit case featuring a number of shells and mollusc specimens.

Photo by Hans Thater

Contents of an exhibit case displaying rows of Gastropod specimens.

Gastropods (snails and their relatives) are the most diverse molluscs, so it seemed appropriate that the gastropod case should hold the greatest variety of specimens!

The idea for this exhibit was quite straightforward: to select suitable specimens from our permanent collection, which would depict the wonderful diversity and variability of molluscs. We also wished to give visitors a bit of information about the long fossil record of molluscs, their evolution, and a few “case studies” of particular molluscs or features.

This seemed like a simple sort of thing to do, but of course the view on the ground is never the same as that from 30,000 feet. Most of our issues were associated with the sheer number of mollusc specimens housed in our collections. We knew that there would be many excellent examples to choose from, but we did not appreciate quite how difficult this would be. There were so many to consider that, whenever we chose one beautiful snail for the gastropod case, it seemed there were at least 10 other good ones that could not be included.

Two mollusc soecimens, one of which is round and flatter with a textured surfance, the other is smoother and a more conical shape with dark and light stripes.

Specimens in the mollusc diversity case.

Two squid specimens preserved in a jar through wet preserving.

Northern shortfin squid (Ilex illecebrosus), Atlantic Ocean.

The other issue was that molluscs are just so darned interesting, weird, and complicated in their life stories, dietary habits, and evolution. We kept discovering unusual things that we had not been aware of (or at least, I did; I suspect that Randy already knew some of these things). As a result, more and more new ideas came forward, and it was very hard to decide what we could include in the modest panel copy that accompanies the specimens. We were grateful that Stephanie Whitehouse, the designer, was so clear in telling us exactly how much space we had!

As issues and problems go, these were obviously good ones to have. And as these photos show, we were able to share a great variety of beautiful and appealing mollusc material. You will just have to imagine what the cases might have looked like if we had been able to include every single specimen we considered worthy of exhibit!

Contents of an exhibit case displaying rows of cephalopod specimens.

The cephalopod case.

A display case with six abalones specimens. The back two, an opalescent one and an orange one, are both very large.

A variety of abalones.

Close up of several specimens in a display case including a white Busycon specimen to the centre left.

One of our primary objectives was to exhibit modern and fossil examples of closely related creatures. This photo shows a fossil lightning whelk (Busycon sp.) from Pliocene deposits in South Carolina (about 2.6-5 million years old) beside one of its modern relatives.

View through a circular magnifier focused on a fossil specimen in a section of rock.

The view through a magnifier shows the fossil Conocardium from Ordovician rocks at Garson, Manitoba (a member of the extinct class Rostroconchia; about 450 million years old).

Close-up on a King's crown conch shell with orange and white stripes, and spikes around it at either end.

King’s crown conch (Melongena corona), Atlantic Ocean.

Close-up on a vaguely circular shell with punctures and gashes in the exterior shell.

This fossil scallop Chesapecten jeffersonius, from Pliocene deposits in Virginia (about 5 million years old) is pierced by borings, and has been encrusted by corals and barnacles.

Nine smooth, cone-shaped shells of varying colours.

An array of beautiful cone shells (Conus species).

Twenty small pellet-shaped shells laid out in two concentric circles.

Baetic dwarf olive (Olivella baetica), Pacific Ocean.

Beaded Metis Buffalo Hunter’s Saddle

By Maureen Matthews, past Curator of Anthropology

 

Mr. Rick Cuthbertson recently donated to The Manitoba Museum a beaded Métis pad saddle. His maternal grandfather, Constable Joseph Alexander Blackburn, bought the saddle when he was in what is now Saskatchewan at the time of the Riel Rebellion. He was stationed at Maple Creek and Medicine Hat from May of 1885 to April 1890 and was among the officers who formed the guard for the Riel trial.

The saddle is typical of those used by members of the Métis buffalo brigades and illustrated in the paintings of Paul Kane. The beading is the work of an expert artist. The beads are small and sewn with very fine sinew rather than linen or cotton thread and although it impossible to say for sure, it was probably made in the early 1800s.

A black and white photo of an individual on horseback in front of a wooded area.

Photo courtesy of Rick Cuthbertson family. Used with permission.

A leather padded saddle with beaded floral detailing on the four corners and clasps at either end of the centre.

H4-2-199. The Manitoba Museum. Photo M. Matthews.

Afghanistan Memorial Fragment

A plaque featuring a fragment of the marble base of the Memorial of the Fallen in Afghanistan was presented to The Manitoba Museum in April by the Commanding Officer of the Winnipeg Infantry Tactical Grouping (Royal Winnipeg Rifles and Queen’s Own Cameron Highlanders). It will be on display in the museum’s foyer from November 9 to November 30.

A roughly rectangular fragment of dark marble on a plaque base with the inscription, "Presented to Ms. Claudette Leclerc, CEO, The Manitoba Museum / Presented by LCol Brett Takeuchi, Commanding Officer Royal Winnipeg Rifles and The Queen's Own Cameron Highlanders".

Memorial Plaque, Photograph by Hans Thater.

Soldiers in khaki uniforms standing at attention in front of a memorial.

Memorial of the Fallen, Kandahar Airfield

The original memorial was erected at Kandahar Airfield, Afghanistan in 2006 and grew in symbolic importance over time as it evolved with the pace of operations. At the end of the Canadian combat operations, in June 2011, it contained plaques honouring all of the fallen in the Afghan theatre of Operations, including:

  • Canadian soldiers;
  • Allied soldiers serving under Canadian Command;
  • Members of the Canadian Government; and
  • One member of the Canadian Press Corps.

It was a living memorial that changed and expanded, and when families of the fallen started to visit Kandahar Airfield in 2009 for Remembrance Day, this cenotaph was a focal point of the ceremonies.

The Memorial of the Fallen has attained national significance, and in early December, 2011, it was repatriated to Canada. It is scheduled to be unveiled in its new permanent home in Ottawa in 2014.

Lieutenant Colonel B.W. Takeuchi wrote in a letter to the museum, “This simple piece [of the cenotaph] represents the essence of Canada’s effort and sacrifice in maintaining world peace and helping the citizens of Afghanistan.”

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

Botanist Blown Away

This September I was thrilled to be able to go on a tour of southern Manitoba with my colleagues here at the Museum. Our mission: to learn more about the people, places and wildlife that calls this part of the province home to generate ideas for new gallery exhibits.

One of the most memorable things about our trip was neither a person, nor a place, nor an organism. In fact, it wasn’t even an animate object – it was a force: the wind. For anyone who has spent time on the treeless prairies you know what I mean when I say that the wind has an almost tangible physical presence. Standing on the Assiniboine River valley slope on a lovely patch of mixed grass prairie near Minota, I almost felt that I would get blown away along with the Dotted Blazingstar and Hairy Golden Aster seeds. On a windy day such as that, it was easy to understand why so many prairie plants evolved wind-dispersed seeds. Plants in the Aster family are particularly adept at becoming windborne due to the extreme modification of their sepals.

View looking out over a wild growing field of prairie.

Fruiting Dotted Blazingstar in the prairie near Miniota.

Close up on a small fluffy white flower.

Hawk’s-beard in fruit.

Close up looking down at a small plant with spiny fruits on it.

Cocklebur has animal-dispersed fruits.

In most plants, the sepals are tiny leaves that simply dry up as the fruit develops.  But plants in the Aster family have sepals that are highly modified into special structures called pappi.  In some species, like beggarticks, the pappus consists of spines that help the fruits catch onto the fur of passing animals; cocklebur fruits have hooked prickles to achieve the same goal.  In most of the prairie Asters however, the pappus is a ring or puff of feathery hairs that act like a parachute.  Under very windy conditions, Aster fruits can travel many kilometres away from the parent plant.  This adaptation enables plants with wind dispersed fruits to more readily colonize bare areas of soil and maintain greater genetic variability.

 

Image: Goat’s beard has the largest wind-dispersed seeds in Manitoba.

Most of us have picked a dandelion and blown the fruits away but we rarely examine them closely or truly appreciate their beauty and functionality. Next time you see a dandelion look a little closer before you blow and admire one of the innovations of nature.

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 Mineral Exhibit 2: Installation

By Dr. Graham Young, Curator Emeritus of Geology and Paleontology

 

The past week we have been very busy installing our temporary exhibit on molluscs (The World is Their Oyster: Marvellous Molluscs), which will open in a few days. While thinking about this exhibit process, I remembered that there are some splendid photos of the installation of our mineral exhibit, courtesy of our designer, Stephanie Whitehouse. So as a follow-up to the post about that exhibit a few months back, here are a few images of the complicated process of assembling specimens and cases!

Four individuals stand to the side holding up a large pane of glass in front of an open exhibit case. Another individual reaches into the case, doing final installation touches.

With the front glass ready to install, Bert Valentin does some final work inside the big case.

Close-up on a person wearing a white lab coat and light blue rubber gloves gingerly adjusts a specimen in an open exhibit case.

Janis Klapecki aligns one of the pyrite specimens from the Snow Lake area.

Six individuals group around a loading hoist that is lifting a steel platform with a large wrapped rock on it.

The amethyst, with a weight of about one-half tonne, was somewhat problematic to install! Using the loading dock hoist, it had been placed on a purpose-built steel platform. Now, Marc Hebert and Bob Peacock make sure it stays straight, while Bert Valentin cranks the modified engine hoist that will lift it to case level. The rest of us serve as ballast on the hoist.

Seven people grouped around a hoist lifting a steel platform with a large wrapped rock on it. A case base has been moved under the lifted piece.

The raised amethyst is gently lowered into place in the case. VERY gently.

Two individuals stand next to a large amethyst in a case. One is holding a hand-held vacuum, cleaning the amethyst, as the other holds up a work light.

I vacuum the amethyst before the case is moved into place. Hans Thater holds a light so that every bit of lint can be seen.

Three individuals work together to move a display case containing a large amethyst into place in the Earth History Gallery.

Marc and Bert connect the lighting power, while Bob waits to roll the amethyst case into final position.

The Cold Road

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

 

It is 7 am, somewhere on the curves near Woodlands, Manitoba, and the sky is still completely dark. The rain is coming down harder now and approaching headlights are blurred by the slicked windshield. I usually love the open road, but this driving is far from fun.

We are well past Lundar before the late dawn. The traffic has diminished now and the rain has eased a bit, but the wind is rising. At the Ashern Petro-Can we stop for fuel: unleaded for the Jeep and junk food for the humans. Ed takes over the wheel for the next monotonous stretch.

Today we plan to go to William Lake, well north of Grand Rapids, then back to Winnipeg before the evening has progressed too far: a drive of 1000 kilometres or so. Why are we subjecting ourselves to this, in this unpleasant wet weather?

A photo from inside of a vehicle of a passing greyhound bus on the other side of a wet road, rain splashing under its tires.

Trees on the road side, some bare and some with remnants of autumn colours. The sky is grey and the road wet with rain.

Tamaracks and spruce south of Grand Rapids.

Two large slabs of rock on rocky ground. Both contain fossils.

Last summer, in the beautiful warmth of August, we found a greater quantity of interesting rock than we could safely haul back to Winnipeg at the time. In particular, two splendid specimens we discovered on the last day had to be left lying on the outcrop. These were very large slabs, both of which remarkably preserve portions of what appears to be a channel on an ancient tidal flat, filled with fossilized jellyfish! They are the sorts of unusual pieces that the Museum really needs, because they would be very useful for both exhibits and research, and I was determined that we would get them back to Winnipeg before winter.

Then the autumn got busy, very busy, and the trip to retrieve these pieces was placed on the back burner. I began anxiously scanning the calendar and weather forecasts, and determined that October 18th would be the ideal day to make this trip, assuming that it didn’t snow first! Field paleontology is very much a climate-dependent occupation, and we have done this trip north so many times that we know when winter is likely to close our window of opportunity.

Image: The slabs as they appeared when we found them last summer. Both show portions of a large channel that is filled with fossil jellyfish.

A forward stretching smooth road, slick with rain. Construction markers stand periodically on the road shoulder. Further ahead, on the right side of the road, is a large, yellow excavator.

So now Ed and I are in a rented Jeep, heading north past the black spruce,  yellow tamaracks and bare-branched aspen. At Fairford there is a tremendous flow of water past the bridge, and the summer’s pelicans are nowhere to be seen. Over the lip of the St. Martin impact crater the road is empty and desolate. Much of it has been repaved recently and is beautifully smooth, but toward the Pas Moraine we hit a rutted stretch and Ed has to slow down to avoid hydroplaning on the long pond under our right-hand tires.

At the old burn south of Grand Rapids, I recall the exact place where we saw a lynx last autumn.  All self-respecting lynxes are clearly hiding out in the dense brush on this nasty wet day!

We stop again at Grand Rapids for fuel. There is more than a half-tank remaining, but it will be a long drive before we are back here again and it is best not to take chances. Fortunately there is someone on duty at the Pelican Landing gas station, because it really wouldn’t be pleasant to “self serve” in the pouring rain.

I am driving now, up the curves and past the beautiful lakes of the Grand Rapids Uplands. We arrive at William Lake just a bit after noon. Now there is snow blasting in on a north wind, and the thermometer is reading a balmy +1 C.   Navigating slowly across the scree, I can see the two large slabs lying right where we left them. After six hours of driving, we now have 15 minutes of physical work: fold down the seat, spread the tarp, slip on gloves, and manhandle the rock into the back. We pause for a few photos, and are grateful that the outdoor work is so brief, because our hands are already frozen and numb.

Dr Graham Young, wearing a blue jacket and a baseball cap stands at the open trunk of a car holding a large stone slab with a fossil embedded in it.

I move the smaller slab (photo by Ed Dobrzanski)…

A man wearing a coat and hood, with one hand in his pocket and the other holding a camera, stands on a rocky wet surface next to the open trunk of an SUV.

… while Ed freezes his fingers taking photos.

Two large slabs of rock lying on tarps in the back of a vehicle.

Seeing these slabs in the Jeep, it is pretty clear why we couldn’t fit them in with the other fossils and gear during the summer!

Our hands thaw as the Jeep crawls back toward the highway. At the Grand Rapids bridge a solitary pelican flies past; perhaps this one was asleep and missed its flight south? Now we a bit of time for lunch at the Pelican Landing restaurant: smoked meat sandwiches, cream of celery soup, and coffee have never been more welcome. We say hello to a few familiar faces; I guess we are becoming “fixtures” here, but I am not sure when we will manage to get back again. It is an appropriate day for this sort of sombre thought.

Bright orange trees growing on the roadside on a rainy day.

Light snow on the ground and fallen branches of some trees.

Now it is time to confront the long road home. As it turns out, the weather for the drive back will be slightly more pleasant, and we cruise smoothly into Winnipeg just as darkness is setting in. It has been a lot of driving to pick up a couple of rocks, but very worthwhile: within a week it will be winter in the Uplands, and if the pieces had been left until spring they would have been heavily weathered and damaged by the winter’s extreme frost and ice.

Botanical Curator Blues

One of the problems with being a botanist working at a museum is that most of the botanical specimens cannot be displayed in an exhibit. The bulk of the collection consists of herbarium specimens (dried, pressed plants mounted on paper) that are very fragile and light sensitive. As a result they usually can’t be displayed for long (or at all) without being damaged. Further, a pressed plant is only a two-dimensional representation of a three-dimensional organism and can’t really convey the true beauty of the species. As a result, I need to be innovative when creating exhibits in ways that my colleagues with their fancy artifacts, skeletons, and fossils don’t have to be.

One of the ways that we represent plants in our galleries is by creating models of what the plant looks like when it’s alive. Our artists will go into the field, photograph a plant and then collect a specimen of it. Back at the Museum they take colour notes, do drawings, and take more photographs, to get as much information as they can. They then dissect the plant, make molds of each part, and later those parts are re-created out of a variety of materials, like waxes and resins. After painting all the plant parts, each of the pieces is then put together like a giant three-dimensional puzzle. The Western Prairie Fringed Orchid (Platanthera praeclara) model, our most complicated one, consists of 300 parts!

A pressed herbarium specimen on a sheet of paper with specimen data on the bottom right corner.

A herbarium specimen of the Western Prairie Fringed Orchid.

A model of the top of a plant with small white flowers at the top.

A model of the Western Prairie Fringed Orchid.

Close up on the top of a plant with small, fringed white flowers.

An actual Western Prairie Fringed Orchid in the wild.

Another way that people will be able to appreciate the Museum’s botanical collection, as well as another hard-to-exhibit group of organisms-pollinating insects-is via our upcoming Prairie Pollination virtual exhibit. With funds from the Virtual Museum of Canada, the Heritage Grants Program of the Manitoba Government and The Manitoba Museum Foundation, this exhibit will feature over 200 specimens of prairie plants and pollinating insects. Visitors will be able to see photographs of the Museum’s specimens, photographs of the organisms in the field and interpretive information on how plants and pollinators interact with each other. Video tours of native prairie and The Manitoba Museum’s collection vault, learning resources for teachers and a variety of games and activities will help visitors learn more about these organisms and why they are important. Full and temporary staff (including me, of course) are busy preparing the content for this new exhibit, which will open in October of 2013. Prairie Pollination will be an innovative way for people to access information on recent Museum research and collections in an interesting and user-friendly way.

To help The Manitoba Museum obtain additional funds to create a mobile phone application that will link our collections with restored and remnant prairies where these organisms live (a virtual biocache) please consider voting for the “Click, Text and Pollinate” project at the Aviva Community Fund website, click here.

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

Department Staff Ramp up Gallery Work

By Kathy Nanowin, past Manager of Conservation

 

The Collections and Conservation Department conducts ongoing maintenance and inventory activities in the Museum Galleries. Most of this work is done during our winter season, when the Museum is closed on Mondays. Recently, we changed our procedures, amalgamating tasks that formerly were done separately.

Now, when working on an exhibit area, all collections management and conservation tasks are completed at the same time: condition checks, cleaning, photography, cataloguing, and inventory checks. This involves preparatory work: searching the collections database to determine whether any new cataloguing or condition reports are needed; assigning catalogue numbers to objects which previously had none; ensuring that any loan objects have up to date paperwork.

Once in the galleries, the actual cleaning, photographing, and application of catalogue numbers takes place.

Three staff members standing around a work bench on wheels, checking on artifacts.

Department staff checking and cleaning objects in Urban Gallery.

A shadow box set up on a table with a strip of light purple-grey cloth draped along the base and backside. Beside it on the table sits an old fashioned sewing machine.

A box is set up on a work table to photograph artifacts.

An individual wearing a red backpack vacuum cleaning artifacts and the space in the Winnipeg 1920 Cityscape.

Vacuuming in the Garment Factory Sewing Room, Urban Gallery

As with other aspects of collections management, sometimes the bulk of the work happens after what you see us do. In the case of gallery work, more time is often spent in the entry of new catalogue records, entry or update of condition reports, review and saving of digital images, edits or updates of location records.

Our department is focusing on ensuring we have accurate up to date database records for artifacts and specimens in the galleries. It is becoming more urgent as The Manitoba Museum plans for significant gallery changes in the next few years. Any object moves should go smoothly if our records are all perfect. But it is daunting, as we have nine permanent galleries with over 4000 artifacts and specimens on exhibit. We have just begun implementing our new process, and will continue to work at adding to, updating, and perfecting our collection records, concentrating on objects in the galleries.

Architecture of the Grasslands

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

In a recent tour of South-western Manitoba, I was struck by the number of lively towns such as Virden, Melita, and Boissevain, and how these stand in stark contrast to more remote areas where rural depopulation over the second half of the 20th Century has left its mark. The different architectural styles found in the southwest remind us not only of the boom times for newcomers a century ago, but of the variety of people there, made up of Anglo-Ontarians, Scottish and Irish, Franco-Manitobans, First Nations, Mennonites, and others. They all attempted to pursue a decent livelihood while living in community, and many of their descendants continue to call the grasslands their home.

 

Image: Brockinton House, 1880s, made with stone from the Assiniboine River valley.

An abandoned and overgrown house with windows lining the front of the lower level.

Abandoned house, Lauder, Manitoba. Constructed 1900-1915.

A now abandoned multi storey building with old signage identifying it as "Kim's General / Solo Store / Lucky Dollar Store". To the left of the building is a large turkey statue.

La Riviere General Store (ca. 1900 – 1920). Notice giant turkey to the left of the building: “La Riviere – Home of the Wild Turkey!”

Exterior of a red brick building with a sign across the top reading, "The Wawanesa Mutual Insurance Co". Below it, to the right of the entrance is another sign reading, "Sipiweske Museum".

Wawanesa Insurance building, late 1890s, now the Sipiweske Museum. Wawanesa, Manitoba.

A two-storey reddish-brown brick building along a road. Above the entrance to the right is a sign reading "The Aud". Four individuals stand near each other by the door.

“The Aud”, 1911, Virden, Manitoba. The Virden Auditorium is a functioning and fully restored 467 seat opera house which hosts local and travelling concerts and theatre productions throughout the year.

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

How to Disassemble an Artifact

Recently, conservator Lisa May worked with the Museum’s Operational Services staff to smoothly disassemble an artifact so it could be moved out of a basement storage area. The artifact is a display case that came from a prominent Winnipeg business, Winnipeg Music Supply, which closed in 1984, at which time the display case was donated to the Manitoba Museum.

It was stored for many years at the Museum’s storage building on Lily St., in a basement room. In 2010, a pipe break and subsequent water infiltration led to the decision to remove all artifacts stored at basement level, due to concerns of a major mould outbreak (See blog post “Lily St. Storage Move”, Sept. 3, 2010). Every other artifact was removed from the basement, but this display case was too big and heavy to take out as it was. Finally, last month it was taken apart; and last week, it was hoisted up onto the main floor of the storage building.

Taking the case apart was no simple operation. Lisa and carpenter Marc Hébert spent considerable time examining the case to see how it was put together. Lisa drew a diagram indicating which areas should be worked on first, noting things to check as they went along.

First of all, the drawers and all separate pieces were removed. Then the interior display surface was removed, and next the marble trim from the bottom. The pieces were all numbered for ease of reassembly. Then the back was taken off, and the case lowered onto its back side. The top was carefully pulled off. After that, the sides came apart quite easily, and finally the two halves were separated from the centre column.

A large display case with drawers along the bottom portion and two large openings on the top.

Display case before beginning disassembly.

The drawer cavities of a large display case with the drawers removed..

The marble trim was labeled for identification.

A large display case with its top being removed from the side posts.

The top, all one piece, was carefully pulled off.

Five individuals standing around the frame of a large display case laying on its side on the ground.

Removing the centre column.

The pieces were lifted to the main level of the building using a hoist, and now sit waiting, with all the other artifacts, for the time when they will be moved into a different storage facility – for this building will be demolished to make way for a much-needed multilevel parkade.

Although a relatively small project, it required careful planning and many hands (and backs!) to accomplish without damaging the artifact. Our Operational Services staff are professional and experienced, but not conservators, so Lisa’s input and guidance was required. Everything went well, and we look forward to the day (coming soon, we think) when this case will be moved into an improved storage environment.