The Sloth's Tale

The Sloth’s Tale

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

 

Ever since the Museum’s Earth History Gallery opened in the early 1970s, visitors have been struck by the appearance of a giant skeleton near the end of the gallery. Many children (and perhaps more than a few adults) have thought that it is a dinosaur, but it is in fact a mammal from the much more recent past, a replica of the giant ground sloth Megatherium americanum.

Megatherium was a huge ground-dwelling creature, distantly related to the modern tree sloths. Ground sloths were a very successful group, with fossils known from many parts of South and North America (including western Canada), but sadly they disappeared in the Pleistocene megafaunal extinctions, along with other wondrous creatures such as the woolly mammoth and short-faced bear.

Looking down towards a museum gallery where a large skeleton is posed on its hind legs. In the distance is a skeleton of a creature with a very bulbous rounded shell.

The Megatherium (foreground) and glyptodont (background), viewed from the Earth History mezzanine.

Looking up at a large mounted skeleton posed on its rear legs.

Looking directly up from standing under a large skeleton of a creature with its forearms held up.

There are many different ground sloths known, but Megatherium was the largest, described as “weighing up to eight tons, about as much as an African bull elephant.” It walked on all fours (with a gait similar to that of a giant anteater), but could rise on its hind legs, supported by the huge tail, to browse on the trees that apparently formed the main part of its diet. Our sloth is shown in this sort of pose, though it lacks a tree at present. Although ground sloths lived across both American continents, Megatherium itself is known only from South America.

Our plaster cast of a Megatherium skeleton is, of course, much newer than the Pleistocene. But it is very old in human terms, so remarkably old that it could be considered as an artifact of a long-past scientific age. It is far older than our current Museum building, much older than the first Manitoba Museum that was located in the Winnipeg Auditorium, older than the Manitoba Legislative Building; in fact it is nearly the same age as the Province of Manitoba! The Megatherium and its close colleague the armoured glyptodont have been companions for a century or more, and both arrived at our Museum by a circuitous path.

But let me begin the sloth’s tale at its beginning.

Megatherium is among the best known of ground sloths, with dozens of fossils collected in South America and shipped to Europe from the 18th Century onward. Many specimens apparently came from the banks of the Luján River near Buenos Aires, Argentina, and were in collections and on exhibit in cities such as Paris, Madrid, and London. The first formal scientific description was produced by the great French scientist Georges Cuvier, in 1796. In the 1850s, a young American scientist, Henry Augustus Ward, made a detailed study of Megatherium, visiting collections in Paris and London among many other places. After his return to Rochester, New York, he became a professor at the University of Rochester, but also founded Ward’s Natural Science Establishment, a company that sold scientific specimens, replicas, and materials.

Ward got started on the casting and selling of fossil skeletons very early. His company was among the first to produce casts for sale to the many new natural history museums that were then being developed, and the giant Megatherium was one of his “star attractions.” His catalogue advertised that a full skeleton consisting of 124 different casts could be purchased for $250, “packed not painted” but including a replica tree.

A black and white photo of an old museum. On the ground floor are various display cases as well as a large mounted skeleton posed on their hind legs. A second floor balcony encircles the room's perimeter.

The Redpath Museum c. 1893, with the Megatherium prominently exhibited toward the far end of the gallery. (photo: McCord Museum)

A black and white photo of an old museum taken from a second floor balcony surrounding the room. On the ground floor below are various display cases as well as a large mounted skeleton posed on their hind legs, seen from behind.

View of the Megatherium from above, c. 1893 (photo: McCord Museum)

In Montreal, a museum for McGill University was planned from the 1860s onward, to exhibit collections developed by the world-famous Professor William Dawson. This facility, funded by and named for the industrialist Peter Redpath, was opened in 1882. It was primarily to serve as a resource for the university’s faculty and students, but secondarily for the education of the people of Montreal.

Dawson had long corresponded with Ward concerning the acquisition of particular items, so it is not surprising that a description of the original museum includes:

“Entering the Redpath Museum, the visitor saw at the back of the ground floor a handsome lecture theater with seats for 200 students… To the right of the entrance, a staircase … led to the main floor or “Great Museum Hall.” Henry Ward’s imposing cast of the British Museum’s megatherium (a giant sloth)–set up by his partner Howell and a status symbol for new museums–distinguished this floor, which displayed paleontological, mineralogical, and geological specimens.”
A black and white photo of an old museum. On the ground floor are various display cases as well as a large mounted skeleton posed on their hind legs at the far end of the room. In the foreground is a large four legged creature's skeleton with a bulbous, rounded shell. A second floor balcony encircles the room's perimeter.

The Redpath today is a wonderful old-fashioned natural history museum, but it is also rather pocket-sized in comparison with the huge museums of Europe. The Megatherium occupied a considerable proportion of its limited floor space.  Several years later, it was joined by the armoured glyptodont, also apparently supplied by Ward’s. Thus, that museum’s main hall was dominated by replicas of giant extinct mammals.

But how did these fascinating and historic replicas become migrants once again, moving westward from Montreal to Winnipeg? In the 1960s there must have been a push to add other creatures such as a dinosaur to the Redpath’s exhibits, and the only way to do this was to replace the large pieces that filled its space (that part of the Redpath is now occupied by a tyrannosaurid dinosaur, among other exhibits).

 

Image: The Redpath in 1925, showing both the glyptodont and the Megatherium. (photo: McCord Museum)

But how did these fascinating and historic replicas become migrants once again, moving westward from Montreal to Winnipeg? In the 1960s there must have been a push to add other creatures such as a dinosaur to the Redpath’s exhibits, and the only way to do this was to replace the large pieces that filled its space (that part of the Redpath is now occupied by a tyrannosaurid dinosaur, among other exhibits).

According to what my predecessor Dr. George Lammers told me, the Redpath was looking for a home for these enormous casts, and this just happened to come at a time when The Manitoba Museum was constructing its new building, with plenty of square footage that needed to be filled. So the skeleton casts were transferred to our Museum, and they were crated and shipped to Manitoba.

A black and white photo of plaster bones and casts of a large skeleton laid out in pieces in the floor of a mostly empty room.

On arrival at the Museum, the replicas were uncrated and examined. George told me that some repair was required as a result of damage in transit, and apparently the plaster bones were found to be stuffed with Reconstruction Era American newspapers! The Megatherium was re-mounted in a slightly different posture, and sadly lacks the “tree” on which it had appeared to browse for ninety years or so. But at least it had its friend, the glyptodont, nearby, and they seem to have happily settled into their new home, impressing (and sometimes scaring) the millions of children who have visited our Museum in the past forty years.

 

Image: The disassembled Megatherium, after uncrating but prior to assembly in the as-yet unfinished Earth History Gallery space.

On arrival at the Museum, the replicas were uncrated and examined. George told me that some repair was required as a result of damage in transit, and apparently the plaster bones were found to be stuffed with Reconstruction Era American newspapers! The Megatherium was re-mounted in a slightly different posture, and sadly lacks the “tree” on which it had appeared to browse for ninety years or so. But at least it had its friend, the glyptodont, nearby, and they seem to have happily settled into their new home, impressing (and sometimes scaring) the millions of children who have visited our Museum in the past forty years.

The glyptodont (above) and a detail of the bony plates that made up its protective shell (replica, in our example). Although it looks quite turtle-like, this creature was a mammal related to anteaters, sloths, and armadillos!

A mounted skeleton of a four-legged creature, with a bulbous, rounded shell and a thick tail.

The glyptodont. Although it looks quite turtle-like, this creature was a mammal related to anteaters, sloths, and armadillos!

Close up on a bony plate of shell, covered in irregularly shaped circular marks.

Detail of the bony plates that made up its protective shell (replica, in our example).

The name of our sloth is a bit complicated. The note that George left me calls it Megatherium cuvieri. This is what Ward had called it, and it was probably labelled as such when on exhibit at the Redpath. The species name “cuvieri” was, however, apparently based on a misguided attempt in the 1820s to re-brand Cuvier’s perfectly valid Megatherium americanum. Modern rules of taxonomic usage consider cuvieri to be a nomen illegitimum (“illegitimate name”), so we can  safely call it M. americanum.

Looking up into the large ribcage of a mounted Megatherium.

The sloth’s massive ribcage.

A large mounted skeleton posed up on its hind legs viewed from behind, as a long tail reaches down from its spine towards the viewer.

The sloth’s tail (of course!).

Given this cast’s critical role in the history of exhibits at two of Canada’s most important natural history museums, and its place in the story of the development of North American paleontology, what is the future of our sloth? Since we have been progressing with a gradual refurbishment of the Earth History Gallery, I would like to soon plan new interpretive materials that explain the tremendous story and significance of this exhibit. But in the somewhat longer term, wouldn’t it be wonderful if it could be re-mounted and given back its “tree,” perhaps serving a new role as the centrepiece for a larger exhibit of extinct ice age animals?

The Winnipeg Grenadiers and the Battle for Hong Kong, 1941

Part I

In the autumn of 1941 World War Two was raging across Europe, but the battles of the Pacific region were yet to come. Although considered of little strategic importance by Winston Churchill, the island of Hong Kong was considered defensible by some Canadian military leaders. On October 20, 1941 the decision was made to send just over 2,000 Canadian soldiers to help defend Hong Kong from possible Japanese aggression. On December 8 the Japanese attacked…

Close up on the hilt and handle of an old Japanese-style military sword.

In defence of the island, the Canadians fought the battle-hardened, well-trained soldiers of the Japanese forces. One artefact of this battle is a Japanese military sword now at The Manitoba Museum. On December 20th, Lieutenant Leonard B. Corrigan was in action with a small fighting patrol of the Winnipeg Grenadiers when they encountered an enemy patrol and engaged in hand-to-hand combat. According to his citation for the award of a Mention-in-Despatches, Corrigan killed two Japanese soldiers and was attacked by a Japanese officer with the sword. He caught the sword with his left hand (suffering a severe injury) and killed the officer with a flare gun. Despite their victory over the enemy patrol, the Canadians were taken prisoner days later and spent the rest of the war in captivity. Their Prisoner of War experience is told at The Manitoba Museum in the Parklands/Mixed Woods Gallery.

 

Image: Japanese Military Sword (detail of handle) H9-36-184. Unless otherwise noted, the Manitoba Museum holds copyright to the material on this site.

Part Two of this blog will showcase an artefact from their POW experience, when food was in short supply and the days were long.

For more information on the Battle for Hong Kong, visit http://www.hkvca.ca, or for more on the experience of Canadians in the Pacific during the Second World War, visit the exhibit (which will feature some of our artifacts) in Calgary – http://themilitarymuseums.ca/whats-new

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

New Safety Lines Will Allow Staff to Inspect Nonsuch Rigging

Look up, way up… at the dust on the Nonsuch’s rigging and spars. Museum staff have not been able to climb the ship rigging since Manitoba Workplace Safety and Health regulations were amended several years ago. In order to address the stricter requirements, steel safety cables were installed in the Nonsuch Gallery two years ago. However, they turned out to be less usable than we hoped.

As part of a Conservation Assessment, the Nonsuch was examined by a team including conservation consultants and a ship rigger. One of the recommendations from the assessment was to switch to rope safety lines, for reasons relating to ease of use during climbing. Another recommendation was to add more safety lines, at different spots on the gallery ceiling.

A coil of cream rope on a wooden notch. In the front there's a steel safety line.

A view of one of the original steel safety lines.

View up into the ratlines and sails of a wooden sailing vessel in an indoor gallery. In the darkness above, the base of a temporary platform can be seen

Dropping a plumbline from temporary platform at ceiling.

The new locations were confirmed, the anchors installed and new synthetic rope safety lines attached. The last task remaining is to do a Risk Assessment and Job Hazard Analysis. After that, we’ll be able to once again climb in the rigging, to do some much-needed cleaning of the lines and sails. Because it’s been several years, we need to plan how best to attack the dust.

View up into the ratlines and sails of a wooden sailing vessel in an indoor gallery.

From a distance, the safety lines blend in fairly well.

Several coils of rope around notches on a ship's deck. One of the rope's is a more blue-white colour than the others

Close up, they do stand out. I think we’ll move this one somewhere less visible.

The Nonsuch is an unusual thing: a full-sized ship replica, with working rigging, in an indoor setting. There are few other museum ships like it. Although it is an artifact, it is important to keep the rigging at least in working order. Similar to some artifacts in science museums, keeping moving parts static will contribute to their deterioration – ropes will get stiff and develop kinks, making their movement harder and harder, and affecting other parts such as the blocks the lines run through. Keeping the Nonsuch “shipshape” requires regular cleaning and maintenance; soon, one part of that work will be resumed.

Cover Shot

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

 

Around the Museum this morning, people are excited that Justin Bieber and Selena Gomez visited over the weekend, enjoying a private dinner aboard the Nonsuch. I am pleased that they liked the Museum, and that they were particularly interested in Ancient Seas. But there is another piece of external attention that I am just as pleased about, even if it is unlikely to ever attract a story on Entertainment Tonight. In fact, I would have to say that I am “chuffed.”

A couple of weeks back, my colleague Bob Elias and I were contacted by the editors of the paleontological journal Lethaia, who were wondering if we might have photos suitable for their cover. It was time for a change from the ammonoid that had graced the cover for several years, and since there were going to be papers about fossil corals and reefs in a coming issue, they were looking for a suitable image of a Paleozoic coral.

Cover mock-up of a book in blue and grey shades with the title, "Lethaia", on the front. A fossil specimen image is positioned front and centre.

So Bob and I scouted around to see what we had. I had some very good photos of Manitoba specimens, but they were all colour slides shot in pre-digital times and I knew from experience that it is hard to get a really first-rate image from a scanned slide. So I delved into the collection, pulling out some of those same specimens and placing them onto the flatbed scanner. With the scanner the pixel count is virtually infinite, and after a bit of editing I was able to get images that seemed to work. Bob and I selected a variety of photos from what we had, and sent them off to the editors.

Last week we received a message with this cover mock-up:

Close-up on a half oval-shaped fossil specimen with a clean cut along the front side showing numerous fossils in the specimen.

There, snuggled into the standard Lethaia cover, is one of the Ordovician tabulate corals from Garson, Manitoba. This is a coral generally identified as Calapoecia sp. cf. C. anticostiensis Billings; the image is of a colony that had been vertically cut and fine polished. The rock unit in which it occurs is the Upper Ordovician (Katian) Selkirk Member of the Red River Formation. This unit, more commonly known as Tyndall Stone, is quarried at Garson and used as a beautiful building stone all over Canada. The coral specimen actually came from rubble heaps at the stone quarry; what could possibly be more representative of this region?

 

Image: This vertically cut and polished colony of Calapoecia records growth of the coral animals on the ancient tropical seafloor. The horizontal band of sediment to the right of the middle represents an interval in which the animals in part of the colony had died off. This was followed by regeneration as new polyps grew to colonize the “dead” surface (The Manitoba Museum, I-3413).

Maybe this won’t attract hundreds new visitors to the Museum, but it is still nice to have since it will make our existence known to people in very distant places. It is good to see our collections out there; they are so often useful in ways that we have not even thought of!

Colours of Lichens

On October 28 a new natural history exhibit on the Colours in Nature will open in the Museum’s Discovery Room. Organisms and minerals representing all the colours of the rainbow will be on display. Unfortunately no flowering plant specimens will be displayed (only photographs) because, unfortunately, most of the plants in our collection represent only one colour: brown. If the exhibit was on the colour brown in nature, boy would I have a lot stuff to show!

The plants weren’t always brown of course. Before they were collected the leaves were bright green and the flowers hot pink, yellow, orange, and purple. Sadly the drying process almost always results in the loss of at least some colour. Age doesn’t help matters either, the older a plant is, the browner it gets.

Close-up on a cluster of small mushrooms with bulbous, waxy red caps.

British Soldier lichens have distinct red caps.

Textured orange lichen growing alongside smooth silvery lichen on a branch.

Gold-eye lichens are becoming rare because they are sensitive to air pollution.

Patches of green, yellow, and silvery lichen growing on a tree trunk.

The specimens from the Botany collection that ARE on display are fungi, lichens in particular. Lichens are a fascinating group of organisms. They consist of tiny algae or cyanobacteria (the photobiont) living inside the tissue of a fungus (the mycobiont). The relationship is, for the most part, mutually beneficial with the algae photosynthesizing and providing carbohydrates to the fungus and the fungus protecting the algae. This symbiosis enables both organisms to live in harsh environments where they probably couldn’t live independently (like on rock). Some lichens living in really harsh environments (like the Antarctic) are cryptoendoliths, meaning that they live inside the rock, penetrating the tiny spaces in between granite and marble crystals. In fact, some scientists think that if we find life on Mars it may be inside the rocks!

 

Image: Green, yellow and silvery lichens are common on oak trees.

In some lichens the colour of the green algae inside the fungus shows through, especially when wet. If the lichen dries out, it may look grey or brown. Other lichens produce brightly coloured pigments like the brilliant yellow pulvinic acid or the reddish anthraquinones. Why lichens produce these chemicals is still a bit of a mystery but one of the best hypotheses is that they act as algal sunscreen, protecting the sensitive algae from harmful UV radiation in sunny habitats. For this reason, the brightest lichens in Manitoba can be found on the tundra in the far north as well as on rocks in the grasslands.

Vibrant green, low-growing lichen with algae growing inside.

The green colour of the algae inside this Cladonia lichen shows through when wet.

Yellow lichen growing on branches near the ground.

Powdered sunshine lichens were traditionally used as a source of yellow dye.

So if I’ve piqued your curiosity, come on down to the Museum to see our collection of brightly coloured lichens (and minerals and brightly coloured birds and butterflies too).

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

“Paperwork is my life”: Department Staff Offers Collections Management Training for Association of Manitoba Museums

The Manitoba Museum is home to over 2.6 million artifacts and specimens. One role of the Collections and Conservation staff is to maintain records for each item from the time it is offered to the museum, accepted into the collection and then accessed for research and exhibits or loaned to other institutions. While the numbers may be smaller, the same Collections Management practices are used in community museums throughout the province.

Recently, Nancy Anderson, Collections Assistant-Human History, instructed a training course on Collections Management in Shilo, MB. The aim of the course is to give participants the tools to properly manage a museum collection. The course is part of the Association of Manitoba Museum’s Certificate Program in Museum Practice. The thirteen participants represented ten museums throughout the province, including three new museums in Argyle, Brandon, and Richer.

Four individuals sitting around a table in discussion with each other over papers and notebooks.

Participants take on the role of a Collecting Committee at a fictional museum and debate whether a list of objects fits the museum’s Collections Policy.

Three individuals seated around a table in discussion with each other over papers and notebooks.

Following the path of a new artifact through a collections procedures flow chart.

In order to be good stewards of our heritage, museums need to be selective in what they accept into their collection. Participants frequently want to know how to fairly represent the various families, businesses, and organizations within their community without alienating community supporters or overwhelming the museum’s volunteers and resources. In other words, how do you say no? The answer to that question is to develop a Collections Policy that lets people know what you do collect. A strong policy builds on the museum’s Statement of Purpose (why do we exist?) and describes how and what the museum will collect and how the collection will be used.

Sometimes it seems like the motto for Collections Management could be “Paperwork is my life”. The course stressed the importance of establishing procedures for record keeping for museum collections. Good records insure the museums are meeting their legal and professional responsibilities. The accumulated information about an item enhances its value. Proper catalogue records link that item with its story so that the knowledge can be shared with others.

The Birch Bark Canoe Step 2

By Kevin Brownlee, past Curator of Archaeology

 

I woke up at 6:00 am to get a good start on the day. Grant was already up and we decided to get out to the spruce bog early to gather roots. We needed to gather 250 feet of roots to make 500 feet of finished split roots. The estimate was 5 feet of roots for each rib, 40 ribs require 200 feet and the seams to be sewn would require the other 50 feet.

The bog was relatively dry and the moss was like a thick mattress over the spruce roots. Digging spruce roots does not hurt the trees.  The bog where we gathered the roots has been used by Grant for many years and the trees are very healthy. After a few hours we gathered 250 feet of roots and we headed back to Grant and Christy’s place to prepare the roots.

All photographs from this entry are the property of Kevin Brownlee (personal collection)

An individual in the brush and bog at the base of a grove of spruce trees.

Grant digging roots.

 

Three individuals working together to wrap and roll a large bundle of red-brown roots.

Grant Jim and Kevin rolling up 250 feet of roots.

A smiling bearded man wearing a flat cap holding a bushel of wrapped red-brown roots.

Grant with full roll of roots 250 feet in length.

The roots were boiled to speed up the peeling process, once they boiled for an hour Myra and I began to peal and split the roots.

A smiling individual in a baseball cap holding a coil of red-brown roots in a metal tub of steaming water.

Kevin with pot of boiling spruce roots.

Two smiling individuals seated in folding chairs in a clearing surrounded by trees. Both hold coils of roots.

Kevin and Myra pealing spruce roots.

Jim and Grant made the building frame and started to prepare the bark. Only two sheets of birch bark were used to make the canoe. Once the sheets were cut to match each other and the building frame was placed over top weighted down with cinder blocks. The bark was cut from the outer edge to the building frame (called gores) to allow the bark to form fit the canoe shape. The bark was then folded up and held in place by wooden stakes.

Two individuals under an open-sided tent, laying out stretches of birchbark on makeshift tables of plywood across saw horses.

The wooden frame of a canoe laid on a sheet of birch bark beneath and open-sided tent in a wooden area.

Grant with canoe building frame on top of bark.

A group of coiled beige roots in a metal bucket.

Pealed and split spruce roots ready for sewing.

We finished pealing the roots and splitting them before the end of the day and Grant started making the inner gunwales, outer gunwales and gunwale caps. While we made great progress on the canoe in one day of work it was far from looking like a canoe.

When is a Human Like a Bison?

A lot of conservation initiatives around the world involve fencing off areas to “protect” the wild species contained within. Although that strategy can work well in ecosystems that are rarely disturbed, like tropical rainforests, it doesn’t work as well in ecosystems that evolved with natural disturbances. North American prairies used to contain migratory herbivores (e.g. bison, antelope) that consumed large quantities of the vegetation. Bison are unique in that they also engaged in extensive wallowing activities, creating permanent bowl-shaped depressions on the landscape. Old journal entries from some of the first European explorers describe bison herds as taking days to pass and leaving huge swaths of trampled and disturbed soil in their wake. Wild fires following drought and lightning strikes were also common. Native annual plants like ragweed, goosefoot, and bugseeds were likely adapted to colonize these disturbed areas.

A bison among a herd in prairie landscape.

Some human activities mimic those of bison.

Close up of a low-growing patch of buffalograss.

Buffalograss benefits from heavy grazing.

Nowadays certain human-related disturbances mimic those of the bison. Cattle grazing is somewhat similar to bison grazing and is likely responsible for the continued persistent of the rare Buffalograss (Buchloe dactyloides) in the Souris River valley. Without grazing, Buffalograss would likely be outcompeted by taller grasses and exotic weeds.

In sand dune habitats, where I was doing field work last week, I found rare plants like Bugseeds (Corispermum sp.), Hairy Prairie Clover (Dalea villosa), Winged Pigweed (Cycloloma atriplicifolium) and Bearded Nut-sedge (Cyperus squarrosus) growing on the sandy edges of gravel roads, on fire guards, in sand pits, and on beach dunes where the feet of many a bikini-clad pedestrian had trodden. Clearly certain human activities can help provide habitat for these rare annuals, acting if you will as substitutes for wild bison.

 

Image: Trampling by humans may help create habitat for rare bugseed plants at Grand Beach.

Although a moderate amount of disturbance is necessary to create the habitat these rare plants need, too much disturbance is a bad thing. I was unable to relocate some of the historical populations of bugseeds because the areas where they had grown in the past were now heavily impacted by humans and our machinery, being dominated by weeds introduced to Canada from Europe and Asia. Clearly, finding the right balance of disturbance, not too much and not too little, is important for the conservation of certain rare plants.

Sand dunes, edged by trees, next to a gravel road on the lower right corner of the frame.

Dune cutaways along roadsides in sandy areas provide habitat for rare bugseed plants.

A small spikey plant growing in sandy ground.

Bearded nutsedge grows on bare sand.

The observation that disturbances are sometimes beneficial has led many scientists to conclude that both controlled burns and the re-introduction of bison (or the tolerance of cattle grazing) is essential for the conservation of prairie habitats. Sand dunes are in particular need of disturbance as nearly a quarter of the rare species on Canada’s endangered species list are restricted to open or lightly vegetated sand dunes. Less than 1% of the sand dune ecosystems in the prairies consist of open dunes. So ironically, protecting a species may mean tolerating and even facilitating a little bit of what appears to be destruction.

 

Image: Winged pigweed grows on natural sand dunes and on fireguards at CFB Shilo.

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 Latvian Rolling Pin

It’s a simple tool: a rolling pin made from a single piece of wood, fashioned into a two-foot long rod tapered at both ends. Sometimes these are called French rolling pins, but this one was made in Latvia over one hundred years ago and made its way to Winnipeg in 1909. A young woman named Rytze (1885-1962) followed her married sister to Canada, and the rolling pin was part of Rytze’s trousseau (items gathered together for a woman to bring into her household once she was married). And in fact Rytze did marry a man named Schmul Aron in Winnipeg on January 10, 1910. It was an outdoor wedding (strange for January) held in the yard of their Rabbi’s house. Rytze and Schmul knew each other from their childhood in Latvia, where they grew up in neighbouring villages.

A rolling pin made from a single piece of wood, fashioned into a two-foot long rod tapered at both ends.

Schmul (Simon) Aron was avoiding military conscription in Latvia when he decided to leave his homeland in 1909. He travelled through France, Spain, Germany, Argentina and Boston before deciding on Winnipeg as a final destination, where friends and family awaited him. According to family legend, Mr. Aron had earned over $500 tailoring and selling bananas on the ship from Argentina to Boston, but it was all stolen by the captain! By the 1920s, Mr. Aron had set up a tailor shop on Main St. which served the people of Winnipeg for decades.

The Arons’ daughter Sophie Shinewald, who is now 98 years old, donated the rolling pin to the Museum this summer, and with it the memories of her life and her parents. Artifacts, no matter how humble or seemingly commonplace, often act as a touchstone of stories and forgotten journeys. Together, the artifacts at the Manitoba Museum tell our shared history through the charming, strange, and sometimes heartbreaking stories of our ancestors.

A special thanks to Sophie Shinewald for the donation of the rolling pin and her family stories.

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

What’s Growing in Storage?

By Lisa May, past Conservator

 

While perusing the collection in storage Roland Sawatzky, Curator of History, discovered something growing…

Artifacts are donated to The Manitoba Museum from all walks of life. Some may still be in their original packaging, never touched, while others may be very well used. Artifacts, regardless of their overall condition, can be very sensitive to the environments in which they are stored. The museum uses dedicated HVAC units to keep the temperature and humidity of the rooms at conservation standards.

When artifacts arrive at the museum they must acclimatize to their new environment and sometimes this may cause funny things to happen. During Roland’s visit to the storage room he discovered two wooden collar boxes with a strange white substance on them. As he was concerned it was mould growth he brought them immediately to the conservation lab to be assessed.

Close up on white crystals growing on a wooden surface.

Closeup image of crystals on the wood surface.

Close up on a white crystalline substance with sparkly flecks inside it.

Another closeup view. It does look similar to mould, but it’s not.

The substance, found not to be mould, was white coloured crystals growing on the finished areas of the wooden boxes. It appeared to be a component within the finish or varnish which had leached to the surfaces. This most likely occurred while the artifacts adapted to their new environment. In this case, the crystals were cleaned from the objects and luckily caused no harm (i.e.: staining) to their surfaces.

Two wooden collar storage boxes positioned next to three aged-white collars and small baggies with collar studs.

The collar boxes and contents after cleaning.

In the darkness of The Manitoba Museum storage rooms unexpected things can occur in our controlled environmental conditions. Fortunately, with eagle-eyed and talented staff we do our best to resolve issues when they arise so the collection is preserved for future generations to enjoy.