: Casgliadau ac Ymchwil

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.

'Da ni wrthi'n paratoi ar gyfer y project ailddatblygu yn Amgueddfa Lechi Cymru, sydd ar ddechrau ym mis Tachwedd 2024! Ac eisiau rhoi cyfle i wirfoddolwyr fod yn rhan o'r project drwy helpu ni glanhau, catalogio a phacio'r casgliad o batrymau yn y Llofft Batrwm.

Er mwyn sicrhau bod ein casgliadau diwydiannol pwysig yn cael eu gwarchod tra bod gwaith cadwraeth ac adnewyddu hanfodol yn cael ei wneud i’r Gilfach Ddu, mae’r casgliad yn symud. Wel... rhan ohono! Mae ein Cynorthwywyr Casgliadau a Chatalogio, Mathew ac Osian, eisoes wedi bod yn brysur yn atodi labeli ac yn catalogio eitemau o’r casgliad sydd heb eu cofnodi'n mor fanwl o’r blaen. Byddant yn eu glanhau a'u pacio'n ddiogel gan ddefnyddio papur sidan.

Mae hon yn gyfle gwych i ni fel amgueddfa groesawu gwirfoddolwyr mewn ffyrdd newydd. Hoffwn fanteisio ar y cyfle a rhoi cyfleoedd i bobl leol cael profiadau, datblygu sgiliau a chael gwella eu hiechyd meddwl trwy wirfoddoli.

Swnio'n ddiddorol? Eisiau Cymryd Rhan? Beth am edrych ar ddisgrifiad rôl Gwirfoddolwr Casgliadau sydd ar ein wefan. Bydd modd gwirfoddoli ar ddyddiau Mawrth neu Iau, 10:00-1:00 er gallwn fod yn hyblyg i siwtio trafnidiaeth cyhoeddus. Bydd y project yma'n rhedeg rhwng 24 Medi a 31 Hydref, ond bydd projectau gwahanol gyda'r casgliadau yn cychwyn yn y flwyddyn newydd. Unrhyw gwestiynau? Cysylltwch â Chloe Ward, ein Cydlynydd Gwirfoddoli ac Ymgysylltu ar chloe.ward@amgueddfacymru.ac.uk.

Safbwynt(iau): Dadwladychu Treftadaeth 
Project dadwladychu a gomisiynwyd gan Amgueddfa Cymru mewn partneriaeth â Chyngor Celfyddydau Cymru yw Safbwynt(iau). A minnau'n brif artist yn Sain Ffagan Amgueddfa Werin Cymru, rydw i wedi bod yn cydweithio â Ways of Working, corff celfyddydol sy'n gymdeithasol ymwybodol, er mwyn ail-ddychmygu’r amgueddfa yn ofod lle gellid cynnal a datgymalu naratifau grym.

⁠Dadwladychu'r Amgueddfa: Wynebu Gwaddol Cymhleth 
Dechreuwyd ein project trwy ofyn cwestiwn sylfaenol: a all amgueddfa, sefydliad sydd â'i gwreiddiau'n ddwfn yn hanes gwladychu, fyth gael ei ddadwladychu mewn gwirionedd? Yng ngeiriau enwog Audre Lorde, 'Ni fydd offer y meistr fyth yn datgymalu tŷ'r meistr.' Dyma ddangos cymhlethdod dadwladychu a'r angen brys sydd i'r gwaith. Rhaid i ni edrych ar y straeon a adroddir a dirnad straeon pwy ydynt, lleisiau pwy sy'n cael eu clywed a gwaddol pwy sy'n cael eu cydnabod o fewn y gofodau hyn. O fewn sefydliad, gall dadwladychu ddigwydd mewn nifer o ffyrdd – o greu gweladwyedd a chynhwysedd i ddatganoli naratifau sydd wedi cael lle amlwg – a gellir ei wneud mewn ffordd sy'n cadw digon o le i empathi hefyd.

Cafodd y sgyrsiau hanfodol hyn eu cyfoethogi gan fewnbwn yr Athro Corrine Fowler, arbenigwr yng ngwaddol gwladychiaeth a Nusrat Ahmed, Prif Guradur Oriel De Asia yn Amgueddfa Manceinion. Roedd eu harbenigedd yn ein tywys wrth i ni ymrafael â chymhlethdod dadwladychu yn Sain Ffagan.

Creu Gweladwyedd yn Sain Ffagan 
⁠Mae Sain Ffagan Amgueddfa Werin Cymru yn adrodd hanes pobl Cymru. Ond wrth i mi gerdded trwy'r neuaddau, nid oeddwn yn gallu gweld olion fy nhreftadaeth innau. ⁠Daeth yr absenoldeb hwn yn rhan ganolog o'n gwaith. Gofynnon ni hyn: pwy sy'n cael eu cynrychioli yma? Straeon pwy sydd yma, a straeon pwy sydd ar goll?

Gwahoddwyd Cydweithfa Trindod Aurora – grŵp llawr gwlad dan arweiniad menywod lliw sy'n creu celf tecstilau a brodwaith - i ymuno â ni er mwyn ffurfio ymateb. Cynhaliodd y grŵp weithdai tecstilau yn neuadd groeso'r Amgueddfa, gan roi llwyfan i'w gwaith Ncheta sy'n archwilio cof, iaith a phwysigrwydd diwylliannol tecstilau.⁠ Trwy eu presenoldeb, roeddem yn adennill gofod a oedd wedi anwybyddu eu cyfraniadau tan nawr.

Dadlennu Gwaddol Gwladychiaeth yng Nghastell Sain Ffagan

Mae llawer o fy ngwaith celf yn deillio o waith ymchwil, ac mae hyn yn aml yn gorgyffwrdd â fy ngwaith academaidd. Wrth ymchwilio, darganfyddais gysylltiad uniongyrchol rhwng Castell Sain Ffagan a Clive o India. Priododd ŵyr Clive, Robert Clive, Harriet Windsor, a daeth y teulu Windsor-Clive yn gyfoethog ar gefn gwladychiaeth. Y cyfoeth hwn dalodd am waith adfer sylweddol yng Nghastell Sain Ffagan, gan selio gwaddol gwladychiaeth ym mêr y muriau.

Er mwyn treiddio'n ddyfnach i'r hanes hwn, gwahoddwyd Bethan Scorey i rannu ei gwaith ymchwil – mae ei phroject doethuriaeth yn canolbwyntio ar hanes gerddi a phensaernïaeth Castell Sain Ffagan. ⁠Gyda'r cyfoeth eang hwn o wybodaeth i'n helpu, aethom ati i ddadlennu'r gwreiddiau gwladychol sy'n parhau i siapio naratif y castell.

Canolbwyntiodd ein hymyriadau creadigol ar y gwaddol hwn, yn enwedig y rheini oedd yn gysylltiedig â Robert Clive, 'Clive o India'. Taflodd y project oleuni ar gysylltiad Cymru ag imperiaelaeth Prydain – cysylltiad sy'n dal i guddio yn yr amlwg ac sy'n aml yn cael ei hepgor.

Ymgysylltu ag Ymwelwyr: Gosodiadau Rhyngweithiol 
Mae ein hymyriad cyntaf mewn lle amlwg yn neuadd groeso'r Amgueddfa, ac rydym yn gwahodd ymwelwyr i ymgysylltu'n uniongyrchol â gwirionedd anghysurus gwladychiaeth. Trwy ofyn cwestiynau fel 'Roedd yr Ymerodraeth Brydeinig yn...?', a 'Beth yw swyddogaeth amgueddfa o fewn cymdeithas?', rydym yn annog y cyhoedd i feddwl am rym, hanes a rôl esblygol amgueddfeydd. Taniodd y gosodiad rhyngweithiol hwn – oedd yn defnyddio nodiadau gludiog fel lle i ymwelwyr rannu eu meddyliau – sgyrsiau ystyrlon ac mae'n sicrhau fod gwladychiaeth yn aros yn eu meddyliau wrth iddyn nhw brofi'r amgueddfa.

⁠Gwaddol Gwladychiaeth yn yr Ystafell Fyw 
Roedd ein hail osodiad yn ail-greu ystafell fyw De Asiaidd Prydeinig, sef atgof personol o fy mhlentyndod yn y 1980au. I lawer o deuluoedd diaspora, roedd yr ystafell fyw yn hafan – yn lle i gymuned ac i ddathlu, ac yn noddfa o atgasedd y byd tu allan. Yn ganolbwynt i'r olygfa gyfarwydd hon, gosodwyd soffa bren euraidd o'r 18fed ganrif o eiddo Clive o India. Cafodd ei gaffael gan Amgueddfa Cymru yn y 1950au, ac mae ei arwyddocâd gwladychol wedi cael ei anwybyddu i raddau helaeth ers degawdau. Trwy roi'r gwrthrych hanesyddol hwn mewn golygfa ddomestig, yng nghanol lluniau teuluol a gwrthrychau personol, rydyn ni wedi hawlio'r naratif yn ôl gan gychwyn sgyrsiau am wladychiaeth, atgof, a sut mae hanes yn cael ei gofio a'i anghofio.

Ail-ddychmygu Palas Breuddwydion Tipu Sultan 
Mae ein trydydd gosodiad, Khawaab Mahal (Palas Breuddwydion) yn ailddychmygu pabell Tipu Sultan a gafodd ei ysbeilio gan fab Clive, Edward Clive, wedi i Tipu gael ei ladd mewn brwydr. ⁠Daeth y babell hardd, sydd nawr yn byw yng Nghastell Powys, yn symbol o ormes Prydain. Byddai'n aml yn cael ei ddefnyddio ar gyfer partion gardd, sy'n sarhad ar ei bwrpas gwreiddiol. Rydym wedi creu ailddehongliad gan ddefnyddio delweddau digidol o'r babell wreiddiol wedi'u hargraffu ar ddefnydd. Mae dyfyniadau o ddyddiadur breuddwydion Tipu hefyd wedi'u hargraffu ar ochr fewn y babell. Roedd ei freuddwydion yn llawn o'i ddymuniad i drechu'r Prydeinwyr, a thrwy'r gosodiad hwn, roeddwn i'n cael sgwrs bersonol yn uniongyrchol ag e. Gwahoddir ymwelwyr i gamu i fyd Tipu, i ganol seinwedd a breuddwydion, gan adennill gofod a ddygwyd trwy drais.

Presenoldeb Absennol: Adennill Gofod trwy Ffilm 
Ffilm benodol i'r safle yw'r pedwerydd gosodiad, Presenoldeb Absennol, gafodd ei ffilmio ar diroedd Castell Sain Ffagan. ⁠⁠Y ddawnswraig Sanea Singh sy'n serennu ac mae'r ffilm yn myfyrio ar orffennol gwladychol y castell. Mae symudiadau llyfn Sanea yn dod yn rhan o bensaernïaeth a gerddi Sain Ffagan, ac mae hi'n adennill y gofod fel gofod iddi hi. Mae'r ffilm yn trafod themâu ysbail, gwrthryfel a straeon De Asia a gafodd eu celu, gan greu cysylltiad rhwng heddiw a ddoe.

Adennill Hanesion ac Ailysgrifennu'r Naratif 
Trwy'r gosodiadau hyn, rydyn ni'n ceisio datgymalu'r naratifau amlycaf o gwmpas Castell Sain Ffagan ac adennill y straeon sydd wedi'u dileu. I mi, ac i grŵp Ways of Working, mae Safbwynt(iau) yn gymaint mwy na phroject – rydym yn hawlio ein hanes yn ôl, yn cynnal sgwrs ar draws canrifoedd ac yn galw am gydnabod gwaddol parhaus gwladychu sy'n dal wrth wraidd ein sefydliadau heddiw. Trwy wynebu'r gwaddol hwn, gallwn ddechrau ailffurfio sut yr ydyn ni'n cofio a phwy sy'n cael adrodd straeon ein hanes ni oll. 
 

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.