: Collections & Research

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. 

by Sam, Mark, Hannah and Caitlin Amguedfa Cymru-Museum Wales volunteers

We are four volunteers who answered the volunteering opportunity advert on the Amgueddfa Cymru – Museum Wales website, organised by Elizabeth Walker, Principal Curator at the Museum. The opportunity was to help sort through and catalogue a collection of prehistoric stone tools.

The tools are from the substantial collection made by Henry Stopes, a private collector, in the late 19th Century. There are estimated to be between 50,000 to 70,000 artefacts, with half a million years of history, mostly British, but the collection also contains some mysterious overseas objects.

Each Thursday, with Elizabeth, we spend three hours sorting through the boxes, numbering and categorising each item. It is exciting work and is often stopped when someone finds something so unusual, they want to share it with the group. Such as a Neolithic polished axe head, broken and then clearly recycled or even a Neolithic carved ball. Elizabeth will always help us identify and assist with interesting facts about the stone tools. As we work we also hold interesting discussions which have so far ranged from Beyonce to Boer War; Neanderthals to Korean horror films! Who knows what next weeks’ topics will be.

We, as volunteers, feel fortunate to have this opportunity to be involved in this hands-on museum work, to offer our time and to be part of the recording of the Henry Stopes collection which will help with future stone tool research. Not only is this opportunity an interesting way to see how the behind the scenes works at a museum, the knowledge gained is incredibly useful to our future careers in archaeology. The amount we have all learned from just 3 hours a week is much larger than we would have thought.

So far we have sorted, repackaged and documented 4,659 tools and entered 2,265 new entries into the collection database. 

Last year, 77 finds from across Wales, all over 300 years old, were reported as treasure. My favourite treasure cases are the ones that include jewellery, especially rings. Yes, they are beautiful little objects, but they are also very personal items each with a story to tell.

I often wonder how these prized possessions end up in buried in the ground. Perhaps lost on a countryside stroll, the owner only realising with a jolt of panic once they have returned home. An argument between lovers perhaps, resulting in a ring being thrown across fields in a fit of rage. Or the remembering of a loved one with the private placing of the ring at a shared special place.

Love, in one form or another, is the common theme here, so to celebrate Valentine’s Day let’s take a closer look at some of the rings recently declared treasure in Wales.

A gold posy-ring dating from the late 1600s to early 1700s (treasure case 21.26 from Esclusham Community, Wrexham). The inscription inside reads ‘Gods providence is our inheritance’.

Posy rings were used to communicate secret messages of love, faith and friendship between the giver and the recipient. The wearing of hidden words against the skin offering a poignant, intimate connection.

A medieval gold fede or betrothal ring, decorated with engraved leaves and flower heads (treasure case 21.14 from Bronington Community, Wrexham).

The inscription on the outer surface reads ‘de bon cuer’ which means ‘of good heart’. The ring forms part of a hoard of coins and finger-rings dating to the Wars of the Roses during the later 15th century.

A gold finger ring, dated 1712, (treasure case 19.41 from Llanbradach and Pwll y Pant Community, Caerphilly).

The initials A. D. and E. P. are inscribed either side of two joined hearts, representing the names of the couple betrothed or married.

Remember to keep an eye on our social channels for new treasure declarations and please do check out our website to find out more.

https://museum.wales/treasure/ 

I’ll finish with a few FAQs about Treasure - everyone has heard of it, but what does it mean?

How is Amgueddfa Cymru – Museum Wales involved in Treasure declarations? 
Curators based at Amgueddfa Cymru provide expert advice and make recommendations to Coroners on cases of reported treasure from Wales. They compare finds with the legal definition of treasure, as set out in the Treasure Act 1996 and the Treasure Act 1996: Code of Practice (3rd Revision) of 2023. We also have Portable Antiquities Scheme Finds Officers based at our museums, who work with finders, often metal-detectorists, who show their treasure and non-treasure archaeological finds, enabling them to be recorded and reported.

Why does a Coroner make the decision on Treasure cases? 
The role of Coroners in treasure cases arose from the Medieval duty of the Coroner as a protector of the property of the Crown belonging to the king or queen of the day. In Middle English, the word ‘coroner’ referred to an officer of the Crown, derived from the Latin corona, meaning ‘crown’.

What happens to ‘Treasure’? 
When treasure finds are declared treasure by Coroners, they legally become the property of the Crown. Finders and landowners are entitled to rewards, usually each receiving 50% of the independent commercial value placed on the treasure find. The Treasure Valuation Committee, an appointed group of experts representing the antiquities trade, museums and finder groups, commissions and agrees the values placed on treasure. Interested accredited museums may acquire treasure for their collections and for wider public benefit, by paying the agreed valuation sum placed on a find.  
 

There is often some competition from people interested in archaeology to participate in Amgueddfa Cymru – Museum Wales’ student work placements, and I was delighted to secure a placement to help the museum assess and catalogue human remains. 

Joining a small group of individuals on placement, some of whom are students from Cardiff’s Archaeological Science course, we worked alongside the Curator to assess skeletons from the early medieval cemetery at Llandough, near Cardiff.  The excavations in the early 1990s produced in excess of a thousand skeletons, which have remained in Amgueddfa Cymru’s archive awaiting full examination. 

We learnt how the skeletons must be stored and handled in accordance with ethical standards for dealing with human remains.  Each skeleton is individually assessed for completeness, and sometimes it is possible to identify the sex and observe evidence of age and disease.  This information is recorded for entry into the Amgueddfa Cymru catalogue and will be useful in future research of human remains and the Llandough site, and contribute to the study of medieval archaeology more generally. 

Examining human remains provokes reflection on the lives of medieval people and, whilst it may not be for everyone, it does bring us closer to the past in a special way.  The work placement was an excellent learning experience.  The Curator, Adelle was very patient with all the questions raised by the student placements and generous in sharing her knowledge and skills.  It is a great way for Amgueddfa Cymru to engage with the public, and I am grateful for the opportunity to see behind the scenes and contribute to the work of the museum.  I hope Amgueddfa Cymru will continue to offer such opportunities for those who would like to get involved.

For more information on work placements for students, visit the 'Get Involved' pages of the website. It is possible to sign up to a mailing list to hear about any placements when they are advertised.