: Collections & Research

Hi! I’m Sophie, a Biological Science student at Cardiff University. Currently, I’m undertaking a Profession Training Year within the Mollusca section in the Natural Sciences Department at Amgueddfa Cymru under the supervision of curator Anna Holmes. My passion for zoology has inspired me to pursue opportunities that deepen my understanding of the animal kingdom. I love learning about different species and their unique roles within ecosystems. While Malacology is a new field for me, I am eager to explore the world of molluscs and broaden my zoological knowledge.  

During my placement year I will be working with Anna to research a non-native species of bivalve, Potamocorbula amurensis known commonly as the Amur River clam. Specimens recently collected from the Outer Thames Estuary have come to us for identification confirmation and, if correct, it will mark the first record of P. amurensis in the UK. Native to China, Japan and Korea, Potamocorbula amurensis has been previously recorded in San Francisco Bay, where it spread rapidly, and more recently in Belgium. One of the most common ways bivalves are introduced to new environments is through ballast water from ships. Ships take in water in one area, along with small organisms, and then release it in another, leading to the introduction of non-native species. 

Over the past two months at Amgueddfa Cymru, I have been engaged in a variety of tasks that have allowed me to gain valuable experience and knowledge in malacology. In preparation for our report, I have been researching previous studies on Potamocorbula amurensis, particularly focusing on its invasions in San Francisco and Belgium. I have been using a light microscope and Helicon Focus software to photograph bivalves from the museum’s collections, some of which are over 100 years old. Specifically, I have been imaging the specimens of possible Potamocorbula amurensis from the Thames, as well as specimens of that species and similar species that were already in the museum’s collection, taken from their native habitat of Asia. I am comparing them with the Thames specimens to provide a positive identification. 

Additionally, I have been imaging other species from the same family, Corbulidae, also known as the basket clams, to examine the differences between similar species. In the UK, the only native species of Corbulidae is Varicorbula gibba, and it’s usually found burrowed in coastal mudflats or estuaries, hiding just below the surface. These shells are very small and must be imaged carefully, from several angles, ensuring the lighting emphasises the specific features that aid in identification. The right valve is notably larger than the left, earning it the nickname “overbite clam”. Each valve features a tooth, an important characteristic for identifying bivalves. 

Recently, ethanol preserved samples of Potamocorbula amurensis have been collected from the Thames. In the next few weeks, I will be analysing the DNA of these specimens, with the hope of discovering if the UK population came from the San Francisco introduction or the native population in China.   

 Understanding the presence and spread of non-native species like Potamocorbula amurensis can have significant ecological and economic implications. Invasive species often disrupt local ecosystems, outcompeting native species, altering habitats, and affecting biodiversity. Some non-native species (around 10-15% of them) can become invasive and by identifying the pathways of introduction and tracking the spread of Potamocorbula amurensis, we can better inform conservation strategies and management practices to mitigate its impact on local environments. 

In addition to my research project, I’ve also been given the opportunity to gain hands-on experience in curating shell collections.  I have been sorting through the CCW – Lloyd James shell collection, cataloguing it into the museum’s Mollusca database. This process involves carefully organising and documenting the specimens, ensuring accurate records for future reference and research. Working with this collection has given me the chance to appreciate the incredible diversity of British molluscs and observe firsthand how intricate and beautiful their shells can be. One standout for me has been Palliolum striatum a stunning scallop species with vibrant colouring and beautifully ridged patterns. 

My time at Amgueddfa Cymru so far has been nothing short of wonderful. The staff in both Mollusca and Natural Sciences as a whole have been incredibly welcoming and supportive. They have generously shared their expertise with me, not only expanding my knowledge, but also deepening my appreciation for all the great work the museum does. I’m truly grateful for this opportunity and excited for what the rest of my placement will bring. I look forward to continuing my work here and learning even more from the incredible team. 

The Urban Meadow at National Museum Cardiff is a little haven for pollinators in the city centre. On a summer’s day it is teeming with bees, hoverflies, grasshoppers, ladybirds and craneflies. 

Monitoring the meadow, and managing it for wildlife, is vital to make sure it continues to provide an environment where these creatures can thrive. Mowing too frequently, or not removing ‘problem plants’ like brambles and trees, could damage the harmonious interplay between different types of plant.

This year, with help from Greening Cathays and support from the National Heritage Lottery Innovation Fund, we’ve been trialling new methods of surveying the plant life so that Volunteers and non-specialist Museum staff can help us keep track of the meadow biodiversity. This will help us to manage the meadow in the future.

As well as contributing to our understanding of the meadow, our staff and volunteers have reported the well-being benefits of working outdoors:

“If I could, I would stay out here all day, it’s such a nice environment to be in”.

“I feel like I’m doing work – but it doesn’t have the stress of work. It’s the perfect balance”.

Staff and volunteers have also felt more motivated or confident to get involved outside of work:

“I have patch of grass at home, I’m now on a mission to rewild it. I really want to know how to do that, I feel more motivated now I’ve seen what can be there”.

"It’s quite empowering feeling you've recorded data that will be used, makes me want to get involved in more things like this".

What did we find?

On the Urban Meadow plants such as Common Bird’s-foot-trefoil (Lotus corniculatus), Oxeye Daisy (Leucanthemum vulgare), Lady’s Bedstraw (Galium verum) and Red Clover (Trifolium pratense) add colour to this part of the city every summer. The appearance of the meadow changes subtly throughout the season, depending on which plants are in flower.

Several native grasses, including Meadow foxtail (Alopecurus pratensis), Cock’s-foot (Dactylis glomerata) and Timothy (Phleum pratense) grow on the meadow.  However, we do not want the grasses to outcompete other species.

The vegetation surveys demonstrated that, although the meadow is relatively small, there is a mosaic of plant communities, reflecting small-scale differences in environmental factors.  For example, we found that one corner of the meadow is damper than the other three corners and a charmingly named grass called Yorkshire-fog (Holcus lanatus) has dominated here. 

To let other flowering plants, which attract insects for pollination, have some space to grow we are going to invite staff to help with sowing seeds of Yellow-rattle (Rhinanthus minor) this autumn. 

This annual plant is a parasite on grasses (Poaceae) meaning it gets nutrients by penetrating the roots of the grass, and restricting the its growth. Many meadows may need an application of Yellow-rattle seed this autumn because the grasses have coped better with the hot weather than the smaller brightly coloured plants. The Yellow-rattle seeds are sown in the autumn because they need to sit in the soil during the winter and experience the cold to germinate. The yellow flowers appear in spring, followed by seed pods which ‘rattle’.

We will also create training opportunities for staff and volunteers to help with scything the meadow to get the ground ready for the next year.

The Urban Meadow hasn’t just been an opportunity to increase biodiversity at National Museum Cardiff, it has helped people too. Cultivating a wildflower meadow takes years but is a testament to the resilience and ever-changing charm of the natural world. We hope to continue working with staff and volunteers to care for our meadow, for the benefit of people and plants.

We're busy getting ready for the redevelopment project at the National Slate Museum, which is due to start November 2024! We want to give volunteers the opportunity to be a part of this phase of the project by helping us clean, catalogue and pack our collection in the Pattern Loft. 

To ensure our wonderful industrial collection is protected whilst essential conservation and renovation work is done on the Gilfach Ddu, the collection will be moving. Or at least some of it! Our Collections & Cataloguing Assistants, Osian and Mathew, have been busy labelling and cataloguing items of the collection that haven't before been looked at in such detail. They will be cleaning them, and packing them safely in crates with tissue paper. 

This is a unique opportunity to welcome volunteers and involve them in new ways. We want to make the most of this opportunity to provide experiences, skills development and help improve people's wellbeing through volunteering. 

Sound interesting? Want to Take Part? Take a look at the full Collection Volunteer role description on the website.  You will be able to volunteer on Tuesdays or Thursdays, 10:00-1:00. We can be flexible to suit public transport. This project will run from 24 September to 31 October, but further collections volunteering opportunities will become available in the new year. Any questions? Get in touch with Chloe Ward, Volunteering & Engagement Coordinator on chloe.ward@museumwales.ac.uk. 

Perspective(s): Decolonising Heritage 
Perspective(s) is a decolonisation project commissioned by Amgueddfa Cymru in partnership with Arts Council Wales. As the lead artist at St Fagans National History Museum, I have been collaborating with Ways of Working, a socially conscious arts organisation,  to reimagine the museum as a space where narratives of power can both be upheld and dismantled.

Decolonising the Museum: Confronting Complex Legacies 
We began our project by asking a fundamental question: can a museum, an institution so deeply rooted in colonial histories, ever truly be decolonised? Audre Lorde famously said, ‘The master’s tools will never dismantle the master’s house.’  This insight highlights both the complexity and urgency of decolonial work. It requires us to examine whose stories are present, whose voices are heard, and whose legacies are acknowledged within these spaces.  
Decoloniality, within an institution, manifests in many forms—visibility, inclusivity, and the decentring of dominant narratives, all while holding space for empathy.

These critical discussions were enriched by the insights of Professor Corrine Fowler an expert in the legacies of colonialism and Nusrat Ahmed, Head Curator of the South Asian Gallery at Manchester Museum. Their expertise guided us as we engaged with the complexities of decolonising St Fagans.

Creating Visibility at St Fagans 
St Fagans National History Museum tells the stories of the people of Wales. Yet as I walked through its halls, I struggled to see reflections of my heritage. This absence became central to our work. We asked: Who is represented here? Whose stories are told, and whose are missing?

In response, we invited the Aurora Trinity Collective—a grassroots group led by women of colour who create textile and embroidery art—to join us. The collective held textile workshops in the museum’s atrium, showcasing their artwork Ncheta, which explores remembrance, language, and the cultural significance of textiles. Through their presence, we reclaimed a space that had previously overlooked their contributions.

Unveiling Colonial Legacies at St Fagans Castle

Much of my art practice is research-led, often intersecting with my academic work. During my research, I uncovered a direct link between St Fagans Castle and Clive of India. Through the marriage of Clive’s grandson, Robert Clive, to Harriet Windsor, the wealth accumulated from colonial exploits flowed into the Windsor-Clive family. This wealth funded significant renovations to St Fagans Castle, embedding a colonial legacy within its very walls.

To further explore this history, we invited Bethan Scorey, whose doctoral project focuses on the architectural and garden history of St Fagans Castle to share her research.   
Armed with this broad spectrum of information, we set out to expose the colonial roots that continue to shape the narrative of the castle.

Our creative interventions focused on these legacies, particularly those tied to Robert Clive, also known as ‘Clive of India.’ The project brought to light Wales’ often overlooked connection to British imperialism, a history still hidden in plain sight.

Engaging Visitors: Interactive Installations 
Our first intervention is prominently placed in the museum’s atrium, where we invite visitors to engage directly with the uncomfortable truths of colonialism. Posing questions like, ‘The British Empire was...?; and ‘What is the museum’s job within society?’ we encourage the public to reflect on power, history, and the evolving role of museums. This interactive installation—featuring Post-it notes where visitors share their thoughts—sparked meaningful conversations and further ensures that colonialism remains a central topic as they explore the museum.

A Colonial Legacy in the Living Room 
Our second installation recreated a British South Asian living room, a personal memory from my childhood in the 1980s. For many diasporic families, the living room was a haven, a place of community, celebration, and respite from the hostility of the outside world. At the heart of this familiar setting, we placed an eighteenth-century giltwood sofa once owned by Clive of India. Acquired by the National Museum of Wales in the 1950s, its colonial significance had been largely overlooked for decades. By positioning this artefact in a domestic scene, surrounded by family photos and personal objects, we reclaimed the narrative, prompting conversations about colonialism, memory, and how history is remembered and forgotten.

Reimagining Tipu Sultan’s Dream Palace 
Our third installation, Khawaab Mahal (Dream Palace), reimagines Tipu Sultan’s tent, which was looted by Clive’s son, Edward Clive, after Tipu died in battle. This beautiful tent, now housed at Powis Castle, became a symbol of British domination, often used for garden parties—an insult to its original purpose. We created a reinterpretation, using digital images of the original tent, printed on fabric. Also printed inside the tent, are extracts from Tipu’s dream journal. His dreams were dominated by the desire to defeat the British and through this installation, I engaged in a personal dialogue with him. Visitors are invited to immerse themselves in Tipu’s world, surrounded by soundscapes and dreams, reclaiming a space once taken through force.

Absent Presence: Reclaiming Space Through Film 
The fourth installation, Absent Presence, is a site-specific film shot within the grounds of St Fagans Castle. Featuring the dancer Sanea Singh, the film reflects on the castle’s colonial past. Sanea’s fluid movements engaged with the castle’s architecture and gardens, reclaiming the space as her own. The film speaks to the themes of plunder, rebellion, and the silenced stories of South Asia, drawing a connection between the past and present.

Reclaiming Histories and Rewriting Narratives 
Through these installations, we aimed to dismantle the dominant narratives surrounding St Fagans Castle and reclaim the stories that have been erased. For me and Ways of Working, Perspective(s) is more than just a project; it is a reclamation of history, a dialogue across centuries, and a call to recognise the enduring legacies of colonialism that remain embedded in our institutions today. By confronting these legacies, we can begin to reshape how we remember and who gets to tell the stories of our shared history. 
 

Written by Lindsey Sartin, MA Conservation Practice student, Durham University on Placement at National Museum Cardiff.

The Dodo bird was first documented in 1598 on the island of Mauritius in the East Indies, but unfortunately, it became extinct by 1700—before modern taxidermy processes were discovered and used for the preservation of animal specimens. However, some replica taxidermy models exist. One of these is at Amgueddfa Cymru –Museum Wales. The museum purchased it in 1915 from Rowland Ward Ltd. for 15 GBP (roughly the equivalent of 1288 GBP today). 

The Amgueddfa Dodo—named Dudley by the conservation team—contains information about the discovery, distinction, and documentation of the extinct Raphus cucullatus species, centuries of speculation and research about what the species looked like, the development and cultural fascination with taxidermy, and artistic model-making processes.

Before conservation, little was known about Dudley and how it was made. X-radiographs revealed the internal structure of the model, and Fourier Transform Infrared Spectrometry (FTIR) was used to understand the composition of Dudley's feet, face, and dressing (the external parts of taxidermy specimens, including the feathers and skin). X-ray fluorescence (XRF) and scanning electron microscopy with elemental analysis indicated arsenic had been used as a preservative for the skin to prevent pests from consuming it, so extra safety precautions had to be taken when handling Dudley. 

The analysis results were then compared with Rowland Ward's methods of mounting specimens, described in a book written by Rowland Ward in 1880. Letters between William Hoyle, the Museum Director at the time, and Rowland Ward Ltd also revealed that Dudley had a tail when he first arrived at the museum, but it had since been lost. An image of Dudley dated to circa 1938 also showed it had a tail in the past. 

All the investigations showed that iron rods make up the skeletal frame in the legs, extend through a wood base made of two boards held together with glue and dowels and are attached to a thin board cut to the shape of Dudley's body. The neck is probably circular and made from a separate board from the body. Dudley's head and feet are plaster, and tempera and oil paints were used to add colour to both parts. A piece of canvas connects the head to the body. The body is stuffed with wool, and the dressing includes real, natural bird skin and feathers (down, contour, and flight feathers). Polyvinyl acetate (PVA) between some toenails indicates that Dudley was conserved sometime after 1930. When the model first arrived at the museum, it should have had a tail with feathers that curved away from the head.

Condition Before Conservation

Being over 100 years old, Dudley's skin had become dry and brittle, and many feathers had fallen out particularly around the head, neck and legs. The plaster in the feet was crumbling. A claw was missing from one of the talons, feathers were missing from one of the wings, and the tail was missing. There was also a layer of dust on the entire model. 

Conservation Treatment

First, dust was removed from Dudley with a soft, sable brush towards a low suction museum vacuum. The vacuum nozzle was covered with a fine mesh to ensure no feathers or skin were collected into the vacuum. 

Then, the plaster on his feet was consolidated with a polyvinyl butyral resin (Buvtar 98) in ethanol. A replacement claw was made with Thibra thermoplastic painted black and adhered with an ethyl methacrylate and methyl acrylate copolymer resin (Paraloid B72). 

Feathers that had fallen off Dudley in the past were stuck back on with Paraloid B72. 

New feathers had to be purchased to replace the ones missing from the wing and tail, but the new feathers were bright white and did not match the appearance of the rest. So, acrylic paints were diluted with isopropyl alcohol and airbrushed onto the new feathers. Once dry, the tail feather was curled to the proper shape with steam. All the new feathers were then placed in their proper positions with entomology pins. 

With an improved appearance and stability, Dudley is now ready to meet the public! Dudley's visit to the conservation lab also allowed the conservation team to learn more about how the model was constructed, which will allow the museum to better preserve it for current and future generations to enjoy.