Pieces of a plesiosaur

We’ve just opened a brand new, permanent display called Out of the Deep, featuring two beautifully preserved plesiosaur skeletons. Remarkably, both of these marine reptile fossils have skulls, which is more unusual than you might think. Dr Hilary Ketchum, collections manager in the Museum’s Earth Collections and curator of Out of the Deep, describes how the skull of the long-necked plesiosaur made it safely from a quarry to a museum display.

At the bottom of a clay pit in 2014, palaeontologists from the Oxford Clay Working Group discovered a 165-million-year-old fossil plesiosaur skeleton, and they knew they had found something special. Plesiosaur bones are fairly common in the quarry, but skeletons are rare. Skeletons with skulls are rarer still. Fantastically, at the end of their newly-found plesiosaur’s neck was a skull. Barely visible underneath the clay, only the tip of the snout and a few teeth were exposed.

Can you see the skull? Fossil hunting in the quarry takes time, patience and a good eye to distinguish between bones and clay. Image: Mark Wildman, Oxford Clay Working Group.

Plesiosaur skulls are usually made up of around 33 bones, not including the tiny bones from inside the eye sockets, called the sclerotic ring. The skull bones are among the smallest and most fragile in the entire skeleton. This means they are much less likely to be preserved, and less likely to be discovered, than the larger and more robust backbones and limb bones.

A plaster jacket was made around the skull while still in the quarry.
Image: Mark Wildman, Oxford Clay Working Group.

When the plesiosaur skeleton arrived in the Museum in 2015, the skull and some of the surrounding clay was encased in its protective plaster field jacket. As tempting as it was, instead of cracking open the jacket straight away, we decided on a more technological approach. Professor Roger Benson and Dr James Neenan took the specimen to the Royal Veterinary College to use their enormous CT scanner, normally used for scanning horses and other large animals, and took thousands of X-rays of the jacket. This allowed them to build up a 3D model of the fossil inside – our first tantalising glimpse of the whole skull!

The CT scan of the plaster jacket (left) revealed the location of the skull inside the jacket (middle). The jacket was then digitally removed (right) to reveal a 3D image of the skull.

Having the CT scan of the skull was like having a picture on a puzzle box
Juliet Hay, Earth Collections conservator and preparator

Although the CT scan was incredibly useful, we still had to proceed with the preparation with caution. It was possible that not all of the bones had not been detected by the scanner, especially the incredibly thin bones of the palate.

After opening the plaster jacket, Juliet began to carefully remove the clay from around the fossil bone.

Slowly and carefully, Juliet and I removed the soft clay from around the skull. The weight of clay pressing on top of the skull for millions of years had crushed it, breaking some of the bones into a lot of smaller pieces. In order to keep track of them we attached a number to each piece of bone and photographed it from several different angles before removing it from the jacket.

Each individual bone was mapped using a numbering system. The numbers were attached with the conservation adhesive Paraloid B72 in acetone, so that they could be easily removed later.
The plesiosaur’s pointed teeth being revealed.

When all the bones had finally been removed from the clay, we had over 250 pieces. Next came the challenge of the three-dimensional jigsaw!

With knowledge about plesiosaur skulls from my PhD, and some extra expert help from Roger Benson and Dr Mark Evans, Curator of Natural Science and Archaeology, New Walk Museum and Art Gallery, I was able to build up the skull, piece by piece, until it was nearly whole again.

After many months of painstaking work, the beautifully preserved skull of this long-necked plesiosaur can finally be seen in the Out of the Deep display.

Amazingly, the skull is even more complete and more beautifully preserved than we could tell from the CT scan. The sutures between the individual bones can be seen in exquisite detail, and even though I work with fossils every day, I still find it amazing that it is 165 million years old.

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With special thanks to:

Oxford Clay Working Group: Mark Wildman, Carl Harrington, Shona Tranter, Cliff Nicklin, Heather Middleton, and Mark Graham, who uncovered and excavated the long-necked plesiosaur.

Forterra, for generously donating the plesiosaur skeleton to the Museum, after it was discovered in a Forterra quarry. 

How to build a plesiosaur, in 836 easy steps

By Rachel Parle, Public Engagement Manager

Fitting together the remains of long-dead sea creatures is no easy job. A brand new permanent display, Out of the Deep, has brought together two Jurassic marine reptiles in the largest new display in the Museum for decades. But getting them out on show was a long, delicate process that took hundreds of careful steps.

The specimens are rare and remarkably complete, and on full display for the first time. The short-necked plesiosaur, known as a pliosaur, was discovered by a former Museum curator in the 1990s in Yarnton, Oxfordshire, just a few miles from the Museum.

The larger long-necked plesiosaur was found in a quarry in Cambridgeshire in 2014 by the Oxford Clay Working Group, and donated to the Museum’s collections by the quarry’s owner Forterra. You might remember this fossil from our excited article when the specimen first arrived at the Museum, back in 2016.

Model of the long-necked plesiosaur, made by Crawley Creatures

Before the fossils could take centre stage, their set had to be built, in the shape of two enormous display cases, designed and constructed to house these special specimens. Every day, for two weeks, the team from showcase specialists Click Netherfield pieced together slabs of glass, built walls, installed lights and fitted portholes. Yes, portholes!

A young visitor peers at the plesiosaur through a porthole

The display is positioned in the south aisle of the Museum – if you know the building, this is on the right as you come in, alongside large dinosaur skeletons. We’d measured and planned the space again and again, with our designers Calum Storrie and Pat O’Leary, but couldn’t quite picture this huge display sitting alongside the other cases. Each specimen is almost five metres in length, so the cases really are whoppers. Once the pieces started to come together, we could see that this was going to a really dramatic addition to the Museum. We chose a clean, contemporary look, with lots of glass and powder-coated steel. The colour of the metal case was carefully chosen to stand out (no oak-effect), but sit well in amongst the warm tones of the stone and brick work – RAL 7032 if you’re interested!

Here’s a time-lapse video to show you how the cases were built, piece by piece over two weeks.

Once the enormous cases were in place, we could start installing the stars of the show – the two plesiosaur skeletons. Museum staff had worked closely with Richard Rogers Conservation to build an intricate web of steel that would hold each fragment of the skeleton in place, showing it off to its full potential. This mount was screwed into place on the acrylic base board then the individual bones were gently slotted into place.

Richard Rogers slots a vertebra into place on the carefully-crafted mount
Richard Rogers and James Dawson position plesiosaur ribs

Here’s a glimpse of the installation process in a handy time-lapse film:

After countless of hours of excavation, preparation, planning, measuring (measuring again) and installing, Out of the Deep is ready! It’s open now in the Museum and the specimens are accompanied by specially commissioned digital reconstructions (more about that soon), videos that share the stories behind the specimens’ discovery and even a touchable 3D print of a plesiosaur flipper. Come along and meet the Jurassic beasts that deserved all this care and attention.

The finished Out of the Deep display is open now

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The project has been generously supported by grants from the DCMS/Wolfson Museums and Galleries Improvement Fund, and WREN’s FCC Community Action Fund.

From pin to paper

Katherine Child, image technician in the Museum’s Life collections, doesn’t just use photography to capture the beauty of specimens. She is also an artist and has been trying out innovative techniques for her paintings. You may remember her amazing moth illustrations created with deposits of verdigris on pinned insects and she’s now using that technique to explore Museum staff’s favourite insect specimens.

Verdigris is a green corrosion often found on old pins within entomology collections (as well as elsewhere, on things like statues and copper pipes). Last year, after learning that the substance was once used as a pigment, I decided to try and make my own paint.

A clearwing moth before conservation, showing verdigris spreading where metal reacts with insect fats, or lipids.

Verdigris forms when copper or a copper alloy reacts with water, oxygen, carbon dioxide or sulphur. While a beautiful shade of green, the substance is damaging in natural history collections, where it can actually develop inside specimens and if left, split them irreversibly. So as part of the conservation of the Hope Entomological Collections, verdigris is removed.

I started to collect up the substance as it was cleaned from specimens and after about three years (you only get a little bit per pin) I was ready to make my paint! After my first moth project, the only question was, what to paint next…?

Attelabid_small
Byctiscus populi or ‘The Attelabid that changed my life’, chosen by Zoë (collections manager) who said ‘I saw a pink version of this species in the Natural History Museum in London and that’s when I decided I wanted to study entomology’.

With an estimated 6 million insects and arachnids in the entomology collections, it’s very easy to feel overwhelmed. You can pull open any one of thousands of draws and find astonishing specimens. While I have favourites, my first inclinations as to what to paint still felt a little arbitrary. After mulling over various possibilities, I decided to get help!

Chosen by DPhil student Leonidas, Agalmatium bilobum is a little bug which lays its eggs on tree bark, then covers them with mud to protect them.

I asked my co-workers what their favourite insects were, then opened the question out to regular volunteers and visitors of the Life collections. I loved finding out why people chose the things they did. Answers varied from ‘It was the first spider I ever looked at under a microscope aged 12’ to ‘Because they’re cool’ to ‘Because they have an ingenious way of manipulating spiders!’

Nuctenea_small
One of arachnologist Russell’s favourite spiders: Nuctenea umbratica. Though common in the UK, umbratica is Latin for “living in the shadows”, and it often hides away during the day. The slight transparency of the paint lends itself to a spider’s glittering eyes.

 

Painting this live African Mantis Sphodromantis lineola (chosen by conservator Jackie) was made slightly more challenging by the fact that the subject thought Katherine’s pencil might be tasty.

Most of the subjects I painted were based on specimens from the Museum’s collections or specimens individuals had brought in from their own collections, but one favourite was a live African Mantis, housed in the department to help with education and outreach. When I began to draw her she was intrigued by the movement of my pencil and came to the front of the tank, to follow every mark I made with her intimidating gaze.

A detail from the final painting
Attelabid that...
Katherine’s fabulous finished painting, which will be framed and displayed in the Life collections department.

Though time consuming, the painting was loads of fun to research and do. It’s fantastic to be surrounded not only by extremely knowledgeable people, but also by people with a genuine passion for what they do and a love for the insects (and spiders) they study.

Why do we need pinned insect specimens?

Since we posted about ten-year-old Sarah’s amazing beetle discovery, we’ve had lots of queries as to why the insect needed to be caught and pinned. It’s a question we’re often asked, so here’s Darren Mann, Head of Life Collections at the Museum, to explain the value of ‘voucher specimens’.

The Museum’s collection houses over five million insect specimens, amassed over the past 300 years. This collection is, in effect, a biodiversity database, but unlike virtual databases, each data point has an associated ‘voucher specimen’ that was caught, pinned and labelled.

Although technical advances in digital macro-photography do reduce the need for some collecting, it is impossible to dissect an image to confirm an identification. So for many groups, even the best photograph in the world is inadequate for identification purposes.

Shingle CrawlerD18 (Psammoporus insularis Pittino, 2006) one of our few endemic insects.

Unlike plants and birds, many insects can only be identified with the aid of a microscope, to study tiny features that distinguish closely-related species. Some groups even require the dissection of minuscule genitalia to really tell them apart.

Entomologists take voucher specimens to enable this correct identification and these are later deposited in museum collections, making them available for further study in years to come. From an entomologist’s point of view, we believe we need to know what a species is, where it occurs and as much about it as possible, so we can inform biodiversity conservation.

The conservation assessment of UK insects by Natural England in their Species Status Reviews has only been possible with the data provided by entomologists, generated from collecting and identifying voucher specimens.

Entomologists follow a Code of Conduct for responsible collecting, which ensures they don’t remove too many species or damage the environment during their work .

There are numerous examples of the value and use of insect collections in contemporary science, including the discovery of previously unknown species in the UK and population genetics for butterfly conservation. Recently a species believed extinct in the UK was rediscovered. This was only made possible by checking the identification of several thousand museum specimens.

Museum collections also contain numerous examples of species now considered extinct in the UK. Without voucher specimens much of this research would be impossible and our understanding of insect distribution patterns, ecology and conservation would be significantly diminished.

Large Tortoiseshell butterflies, now considered to be extinct in the UK. The voucher specimens act as record in time of its occurrence in the UK.

What is rare?
Sarah’s False Darkling Beetle (Anisoxya fuscula) has been described as ‘rare’, but what does that mean in reality? For most invertebrates when we talk about a rare species we are not talking about a tiny number of individuals. This conservation status is based on their known distribution and the level of threat they face. A species can be rare if it is only found at one or two locations, but at those locations there may be many thousands of individuals.

The greatest threats to biodiversity are well known and include habitat loss, fragmentation and degradation and pollution, such as pesticides and light. Taking a small number of voucher specimens to confirm the identification of species has negligible impact on its population. But if we don’t know it’s there because we couldn’t identify it, then a housing development destroys its entire habitat… well you get the picture!

Further Reading
Ask an Entomologist
Entomological Collections
Natural England Species Status Reviews
To Kill or Not to Kill That is the Question Part 1
To Kill or Not to Kill That is the Question Part 2
To Kill or Not to Kill That is the Question Part 3
– Austin, J. J., & Melville, J. (2006). Incorporating historical museum specimens into molecular systematic and conservation genetics research. Molecular Ecology Notes, 6(4), 1089-1092.
– Colla, S.R., Gadallah, F., Richardson, L., Wagner, D., & Gall, L. (2012). Assessing declines of North American bumble bees (Bombus spp.) using museum specimens. Biodiversity and Conservation, 21(14), 3585-3595.
– Short, A. E. Z., Dikow, T., & Moreau, C. S. (2018). Entomological collections in the age of big data. Annual review of entomology, 63, 513-530.
– Suarez, A.V., & Tsutsui, N.D. (2004). The value of museum collections for research and society. AIBS Bulletin, 54(1), 66-74. Abstract available here
– Wandeler, P., Paquita, Hoeck, E.A. & Keller, L.F. (2007). Back to the future: museum specimens in population genetics. Trends in Ecology & Evolution 22.12, 634-642.

One in a million find

By Rachel Parle, Public Engagement Manager

The Museum’s collection of British insects already houses over a million specimens, and now it boasts one more special insect.

Ten-year-old Sarah Thomas of Abbey Woods Academy in Berinsfield, Oxfordshire discovered a rare beetle in her school grounds while taking part in a Museum outreach session. To Sarah’s excitement, the beetle is so important that it has now become part of the collections here at the Museum – and it is the first beetle of its kind to be added to the historically important British Insect Collection since the 1950s.

Sarah Thomas examines her beetle under the microscope with Darren Mann, entomologist and Head of Life Collections at the Museum

Sarah’s class took part in a HOPE Discovery Day, where they were visited by a professional entomologist, learnt about insect anatomy and how to identify and classify specimens, and went on the hunt for insects in the school grounds. HOPE – Heritage, Outreach and Preservation of Entomology – is reaching out to students in state primary schools across Oxfordshire, using the Museum’s British Insect Collection to spark curiosity and foster a love of natural history. It’s all part of a bigger project at the Museum, supported by the Heritage Lottery Fund, to safeguard this important Collection for the future and engage people with natural heritage.

Sarah brought her family to the Museum to see her beetle in the British Insect Collection.

After some searching, Sarah spotted a 5mm insect lurking under a leaf. To the untrained eye it looked rather like any other tiny shiny beetle, but luckily Darren Mann, Head of the Museum’s Life Collections, was visiting as part of the HOPE team. Darren spotted it as something unusually and took it back to the Museum to get a closer look under the microscope. He was then able to identify it as a False Darkling Beetle.

It’s Anisoxya fuscula, which is rated as Nationally Scarce in Great Britain. We seldom see these outside old forest habitats and this is the first beetle of its kind to be added to the collections for around 70 years.

– Darren Mann, Head of Life Collections

The False Darkling Beetle under the microscope and labelled in the Museum’s British Insect Collection as found by Sarah Thomas

The tiny beetle has been labelled with Sarah’s name and the location of her find, and added to the British Insect Collection. Though she’s very excited to have her specimen in the collections, Sarah admits that she hasn’t always been a big fan of insects:

Before Project Insect I didn’t really like insects, but now I really do.

– Sarah Thomas

Everyone at the Museum is really pleased with Sarah’s fantastic find and we hope it spreads the word to inspire others to become budding young entomologists too.

The beetle Sarah discovered will be stored in this drawer in the British Insect Collection.

Digging in the archives

by Danielle Czerkaszyn, Senior Archive and Library Assistant

Working day in, day out in the Museum of Natural History’s archive, we like to think we know a lot about our collections. The truth is, with the sheer number of items in our archive and the many nooks and crannies which exist in a historical building, we sometimes need some help rediscovering items in our collections. One such item is the engraved trowel used to set the Museum’s foundation stone.

The Earl of Derby lays the foundation stone at the 1855 ceremony. Engraving from Illustrated London News.

The story began when we received an enquiry from a museum enthusiast in America. He had read an article from an 1855 edition of the Illustrated London News, about the foundation stone ceremony. This was the moment that construction began on the Oxford University Museum, as it was then known. It seems that a small trowel was used as part of this ceremony. The article describes the trowel as follows:

The trowel, which is of silver and bronze, is highly finished, and novel in form. It is enriched by an engraved Gothic pattern on the upper, or silver, side. It was made by Skidmore, of Coventry, who has contracted for the foliated wrought-iron work which will decorate the quadrangle of the building. The trowel bears the following inscription-

Oxford University Museum. Chief Stone laid 20th June, 1855, by the Right Hon. Edward Geoffrey Earl of Derby, Chancellor; Thomas Deane, Knt; Thomas N. Deane, and Benjamin Woodward, Architects.

Look carefully at the engraving from Ilustrated London News and you’ll see that children were also involved in the ceremony. They were likely to be Sarah and William Acland, the two eldest children of Dr. Henry Acland, who was instrumental in the founding of the Museum:

The trowel, borne on a cushion by two interesting children (the son and daughter of Dr. Acland), was then handed to the Earl.

The article does not say what happened to the trowel so our enquirer wanted to know; did the trowel end up in our archival collection or does it sit in the void under the stone?

Details from the Museum’s wrought iron roof decoration. Both the metalwork and the trowel were designed by Francis Skidmore.

As far as any of the Museum staff were aware, there was no trowel in our collections. With little to go on, we momentarily put the enquiry to one side and hoped for some good luck. The rediscovery came by accident just one week later, as we were rearranging boxes in the archive to make additional room for art storage. The trowel was spotted at the top of a box of items that had yet to be sorted and catalogued. With the recent enquiry on our minds, we recognised the trowel from its description and instantly knew what a special find this was.

Danielle Czerkaszyn holds the newly-discovered trowel. Her next challenge is to track down the missing silver handle.

Our enquirer was pleased to hear of the trowel’s rediscovery and thrilled to know the part that his enquiry played. Without his curious question, we might not have recognised the trowel for what it was. The trowel is now undergoing conservation treatment and cataloguing, and as an important part in the history of the Museum, it will hopefully be on display in the near future.

The Museum archive and library is open by appointment to anyone who would like to visit, and we welcome enquiries at library@oum.ox.ac.uk.