FBI Collection – Origin and Update

Contributed by Marla Taylor and John Bergman-McCool

Every museum is full of stories and story-tellers.  Our recent work in the inventory process has uncovered an old story that always gets my attention (Marla’s).  But, before I begin, I must give credit to Eugene Winter, the Peabody’s late Curator Emeritus, who was a story-teller extraordinaire – I am sharing a shortened version of his memories.  (Another time, I will tell you about the time Gene cooked his lunch in an active volcano or walked on a whale.  The man was full of stories!)

Gene Winter – the best story-teller I knew

In 1986, Gene welcomed a man named George McLaughlin into the Peabody.  McLaughlin claimed to be creating a handbook on archaeology for the local Boy Scouts and was looking to photograph objects in the Peabody’s collection.  As a teacher himself, Gene was happy to encourage this project and made arrangements for McLaughlin to return a couple weeks later to access the collection.

However, McLaughlin instead returned the next day and told the administrative assistant, Betty Steinert, that Gene had authorized him to examine the collection – alone.  Over the next three days, McLaughlin helped himself to an unknown number of objects from the collection.

Less than a week later, Gene received a call from security at Yale’s Peabody Museum of Natural History.  A man matching McLaughlin’s description had stolen artifacts from a grad student’s work area and ran out of the museum before he could be caught.  Because McLaughlin had now crossed state lines, the FBI became involved. 

Gene and Betty remembered that McLaughlin had used the Peabody’s phone to call his wife about being late for dinner.  This crucial piece of information allowed the FBI to locate McLaughlin’s home. Fortunately, McLaughlin was arrested soon after these incidents and all materials in his possession were seized. 

Eagle-Tribune article from 1986 recounts George McLaughlin’s theft of artifacts from the Peabody Museum.

In total, McLaughlin victimized six institutions in New England and stole thousands of artifacts valued at over $800,000 in 1986 ($1.9 million in 2020 dollars).  He intermingled the artifacts based on his own system and systematically removed their catalog numbers (often the best clue to their original home).  By so drastically removing the objects from their context, it was a challenge to return the objects to their appropriate homes.

McLaughlin had kept his own version of a ledger identifying the objects and where they came from.  And fortunately, Gene was able to recognize a dozen or so very specific objects from the Peabody’s collection.  The FBI left it up to the victimized institutions to divide the material in McLaughlin’s collection.  The Peabody ended up with nearly 1600 objects from McLaughlin. 

Ultimately, McLaughlin was sentenced to a three year suspended sentence and four years of probation.  He was also fined $10,000 and ordered to pay a small restitution to each institution.

And therein lays the origin of the Peabody’s FBI collection.

Having come across these materials during our inventory and rehousing project it was time for them to be cataloged by myself (John). One challenge confronted us: McLaughlin had removed any identifying numbers applied by the museums and applied stickers with his own numbers. As the objects were cataloged, a careful inspection was made for remnants of original numbers not completely obliterated during the removal process. There were many with tantalizing hints of legible numbers. In the end though, there were just a few objects with numbers clear enough to associate with our museum’s ledger.

A page of McLaughlin’s inventory

The remaining majority of objects needed new numbers. As mentioned above, McLaughlin had organized the objects and transcribed them into a ledger of sorts. His ledger was too general to make a one-to-one comparison with our own museum’s ledger, but it served as the outline of our numbering system. We added our own prefix, indicating that these objects were stolen and returned by the FBI and followed that with the McLaughlin number. In that way the objects will always carry that part of their strange history.

I (Marla again) do want to note that to our knowledge, McLaughlin is not responsible for the missing artifacts from Etowah and Little Egypt discussed in our blog in 2019.

Diggin’ In: Season 2

Contributed by Lindsay Randall

We are tremendously excited to announce the continuation of Diggin’ In: Digital Conversations with Archaeologist. Co-hosted by the Peabody Institute and the Massachusetts Archaeological Society the lecture series brings leading experts and their work directly to our viewers. All lectures are free and open to the public.

Building on the success of the inaugural season of Diggin’ In, which reached over 1000 individuals, Season 2 promises to continue to be especially robust. Outstanding scholars such as Dr. Whitney Battle-Baptist, Dr. Lindsay Montgomery, and Kimberly Smith will cover fascinating topics ranging from Black feminist archaeology, to Comanche rock art, to the artifact patterning of the Victorian practice of picnicking in cemeteries.

Join us on Wednesday January 27, 2021 for the launch of the new season with Joe Bagley, Boston City Archaeologist for his talk Privy to the Past: The History of (and in) Privies. All lectures begin at 1:30 pm. 

If you want to attend one or all of these lectures, please sign up at rspeabody@andover.edu to get on the ZOOM invitation list.

Each episode will be recorded and uploaded to YouTube afterwards.

The ‘Horned Giants’ of Pennsylvania

Contributed by Emily Hurley

One day while I was working in the basement of the Peabody, plugging away at inventorying drawers, I was listening to a podcast called Astonishing Legends. It was an episode titled “The Tall Ones” exploring the legends and lore surrounding giants around the world. It came as a surprise when I heard the hosts say the name W.K. Moorehead! My ears instantly pricked up.

The podcast hosts went on to cite a New York Times article written on July 14, 1916 under the headline “Find Horned Men’s Skulls: Remarkable Discovery by Archaeologists in the Susquehanna Valley”. The short article stated that Professor A.B. Skinner of the American Indian Museum, Rev. George Donehoo, Pennsylvania State Historian, and Professor W.K. Moorehead of the Phillips Andover Academy uncovered a burial mound at the Murray Farm site while conducting research at Tioga Point in the Susquehanna Valley. In the mound, they uncovered the remains of sixty-eight men, believed to have been buried around the year 1200 AD. According to the article, the average height of these men was seven feet, with many being even taller. Also found with the remains were very large stone celts and axes, further evidence of the men’s gigantic size. Perhaps most interesting of all, some of the skulls had two inch bone protuberances on their foreheads. Well, this was something to explore!

Workers at the Murray Farm excavation. Photograph taken by Rev. George Donehoo, 1916.

Looking through historical texts and documents, it is clear that giants have been a topic of interest for centuries. Not only are they mentioned in the Biblical story of David and Goliath, but in fairy tales such as Jack and the Beanstalk, and the legend of Paul Bunyan. One pervasive theory about giants is that they are actually Nephilim (also from the Bible), the offspring of an angel and a human. Even some historical figures such as Gilgamesh are thought by some to have been giants.

Many newspaper articles from across the country in the nineteenth and early twentieth centuries claim to have found giant skeletons. Some accounts even call them a lost race of giant people, but many others hypothesize that they were giant Native Americans. An eight foot tall Native American skeleton was said to be found in Towanda, Pennsylvania in 1822. A headline from The World newspaper on October 6, 1895, read “Biggest Giant Ever Known-Nine Feet High and Probably a Prehistoric California Indian.” Some, like the Cardiff Giant, which was actually a buried stone statue, were proven to be hoaxes. Yet the stories still remain popular. Even Captain John Smith, in his account of meeting the Susquehanncocks in 1608, described them as giant-like. But were there really giants roaming this land before us? Or horned giants for that matter?

After some further digging, it was discovered that the “horned giants” found by Moorehead and others at Murray Farm were not horned at all, nor were they giants. Professor Skinner wrote a corrected article for the New York Times but it was not as publicized as the original, so it is harder to find. Apparently while excavating the site, a workman shouted out “There are horns over his head!”, after discovering a bundle burial which had been covered with deer antlers. An excited visitor or reporter at the site heard this and asked another workman, who decided to play a joke and claim that the skeletons had horns growing out of their heads. Another version says that a disgruntled camp cook made up the story.

Workers at the Murray Farm excavation, along with visitors who came to see the exciting finds. Photograph by Rev. George Donehoo, 1916.

This explains the story about the horns, but what about the supposed enormous height of these individuals and the other accounts of giants found nearby? It is thought that these skeletons, as well as accounts of living “giant” Susquehannocks, were not giant at all, but just taller than average. At the time, the average height of most Europeans was about five feet six inches tall, whereas Native Americans were thought to average about six feet tall. While six inches is not that big of a difference, anyone taller than six feet may seem like a giant to the generally shorter Europeans.

Another reason for the discovery of “giant” skeletons is that these bones were often misidentified as human when they actually belonged to extinct animal species. It may seem far-fetched that anyone could misidentify a mammoth bone as that of a human, but other than the skull, human bones actually look very much like animal bones. So to someone not trained in osteology, a very large rib bone may seem like it is from a human skeleton. Many skeletal remains have been innocently misidentified this way, not only as giants, but as monsters or “Titans” as well.

Over time it seems that this giant narrative of Native Americans by Europeans was exaggerated and, coupled with misidentified animal bones, resulted in the discovery of “giant skeletons.” However, these so-called giant skeletons always seem to mysteriously disappear after being excavated, leading many to believe that they either never existed, were misidentified animal bones, or it was actually just a taller than average person.

After hearing the podcast, I did some digging of my own through Moorehead’s records, just in case I could find anything related to the “horned giants”. I found many documents related to the Susquehanna Valley expedition as well as correspondences between Moorehead, Skinner, and Donehoo. None of these documents ever mentioned the “horned giants” or the article written in the New York Times. I did find a picture of Professor Skinner holding a perfectly normal looking skull with no protuberances while at Murray Farm. Moorehead also wrote a short report of the excavation, and again, no mention of giants was found.

Warren K. Moorehead (far right) and others in the Susquehanna Valley. Photograph taken by George Donehoo, 1916.

Even though the horned giants of Pennsylvania turned out to be nothing more than a tall tale (pun intended), it was fun to hear a story about Moorehead on one of my new favorite podcasts! I wonder what interesting stories I’ll uncover next!

P.S. For further reading on giants and other archaeological myths, check out Kenneth Feder’s book titled Frauds, Myths, and Mysteries!

“…and his spirit still lives”

Contributed by Marla Taylor

October is one of my favorite times of the year.  I love the changing leaves here in New England, the crisp air, and seeing all the creative Halloween costumes that people come up with.  This is also a time for sharing spooky stories and strange experiences…

Have you ever noticed this plaque at the Peabody?

This plaque is next to the front door of the Peabody Institute

Warren K. Moorehead (1866-1939) was the first curator and second director of the Peabody Institute (then known as the Department of Archaeology).  If you don’t know anything about him and his relationship with the Peabody, just try searching ‘Moorehead’ on our blog.  I’ll wait. 

Moorehead was definitely a strong personality.  And I, personally, think some part of his spirit does still live at the Peabody. 

Several years ago, there were a series of strange disturbances that were happening at the Peabody.  I don’t have the space to tell you everything, but here are a couple that I personally experienced:

One morning, Lindsay and I were the first staff in the building and let ourselves into the basement office space.  Sprawled across the floor by our kitchen area were paper plates, a glass shelf (an extra for the fridge), and various other little things that had been on top of the microwave.  These things could NOT have fallen like this on their own – it looked like something had swiped its arm and pushed everything onto the floor.  Lindsay and I had been the last ones out and were now the first ones in.  We immediately photographed what we saw (I am so sorry that I can’t find that photo!) and did some follow-up.  No motion alarm had gone off all night and our pest management company found no evidence of an animal.

Another time, a couple years ago, I was talking to work duty students and explaining that Moorehead used to exchange or give away artifacts that I really wish had stayed in our collection.  Just as I was mid-sentence in a rebuke of his cavalier behavior, a photographic portrait of him fell from the wall and smashed its frame.  This portrait had been hanging in the same spot for my entire tenure at the Peabody (at that point, about 10 years) and had never fallen before.  The students and I exchanged shocked looks and I quickly apologized to Moorehead for bad-mouthing him.

Moorehead (he is the one standing) now rests on the floor. Although this was printed for an old exhibition, I can’t quite bring myself to get rid of the photo.

Shortly after these incidents, Ryan wrote a note to Moorehead explaining that we were taking care of the building and the collections and that we respected and appreciated him.  Ryan slid the note behind the plaque by the front door and the strange occurrences stopped.

I am not big believer in the supernatural, but I do think Moorehead’s spirit does reside in the Peabody in some form.  In my opinion, he is a pretty benign ghost who just wants to ensure that the collection and the building are getting their proper respect and care – I strive to meet his standards.

The Making of the Peabody Annual Report

Contributed by Emma Lavoie

To many institutions, the annual report is one of the most important pieces of information. A single document, yet a powerful tool in communicating an institution’s performance during each fiscal year. Each fall the Peabody presents their annual report to the public, highlighting their achievements, overall performance of the past year, as well as their goals and objectives for the coming year. Not only does the annual report provide a snap shot of what a year at the Peabody looks like, it provides transparency of the institution to the public and its local community.

The making of the Peabody annual report includes several staff members who collaborate in the documentation, writing, and gathering of the material across several departments within the Peabody. These include: Administration (Ryan, Director), Education and Outreach (Lindsay, Curator of Education and Outreach and Ryan, Director), Collections (Marla, Curator of Collections), and Peabody Donors and Support (Beth, PA Director for Museums and Educational Outreach). Once the information is gathered and content is written, I take over to design the overall layout of the annual report.

A page from the 2020 Peabody Annual Report

Using the Adobe InDesign software, I create each page spread using the information that staff give me. When designing, it is important to always keep in mind the overall flow of information and that the format/design features are cohesive throughout the document. Something new I incorporated into the report this year were black and white photographs from the Peabody archives. I used these photographs as transitions between specific sections of the report to provide a natural break, while still maintaining the overall flow of the report. I also had a little fun creating a new page dedicated to our collections remote work during Covid-19.

Photograph from the Peabody archives used in the 2020 Peabody Annual Report

I really enjoy designing the annual report and watching all the work Peabody staff put into the year unfold with the design of each page. Not only does it provide an opportunity for each department to feature their success and performance, its where all the Peabody’s work finally comes together.

You can view the 2020 Peabody Annual Report here. Enjoy!

SAA Announces New Peabody Award

Contributed by Ryan Wheeler

In August, the Society for American Archaeology (SAA) announced its newest education award, the Robert S. Peabody Institute of Archaeology Award for Archaeology and Education.

SAA_logo

The Robert S. Peabody Institute of Archaeology Award for Archaeology and Education recognizes the excellence of individuals or institutions in using archaeological methods, theory, and/or data to enliven, enrich, and enhance other disciplines, and to foster the community of archaeology education practitioners. The Peabody Award will spotlight these contributions and promote teaching ideas, exercises, activities, and methods across the educational spectrum, from K-12 through higher education and public education.

Peabody Advisory Committee member and recent chair Dan Sandweiss ’75 proposed the award to the PAC and SAA. Both organizations agreed that it was a great opportunity to honor those involved in archaeology and education, joining the Journal of Archaeology & Education as another important tool for creating community among those engaged in these endeavors.

One important criterion is that nomination documentation must include materials—like activities or lesson plans—that can be shared with the broader community via SAA’s website.

The award description indicates that anyone may submit a nomination and that nominees do not have to be members of the SAA. Both individuals and programs are eligible. The award committee offered this list as examples of activities that might distinguish a nominee, including archaeology service learning programs, popular archaeology writing, adult or youth training programs, lessons or lesson plans for K-12 educators, archaeological outreach programming, oral history projects, lifelong learning classes or programs, archaeology camp experiences, and collaborative work with other educators or institutions around archaeological pedagogy.

The deadline for submitting a nomination is December 1, 2020 and submission information and guidelines are on the SAA website for the Robert S. Peabody Institute of Archaeology Award in Archaeology and Education. Peabody director Ryan Wheeler is serving as the SAA’s Teaching Awards committee chair and can be contacted with questions about the Peabody Award.

Diggin’ In: Digital Speaker Series

Contributed by Lindsay Randall

Part of the missions of both R.S. Peabody Institute and the Massachusetts Archaeological Society is to engage and connect with all who are interested in archaeology. Since we are unable to do this in person, both institutions are excited to announce our joint digital speaker series: Diggin’ In.

This series show cases live presentations with archaeologists from across the United States who will take questions directly from you!

Different topics will be covered during each 30 min episodes, which start live at 1:30 pm (EST) every other Wednesday and then will be posted to YouTube afterwards.

Sign up through the following emails to get on the ZOOM invitation list:

 rspeabody@andover.edu or info@massarchaeology.org 

While we are excited to welcome all our speakers digitally to our campus and community, we are particularly pleased to have Dr. Meg Conkey and Dr. Kristina Douglass join us.

In addition to her work at University of California, Berkeley and in France, Dr. Conkey is also a current member of the R.S. Peabody’s advisory board.

And while Phillips Academy might be unfamiliar to some of our speakers, that is certainly not the case for Dr. Kristina Douglass who graduated from PA in 2002. It will be fun to welcome her “home” even if it is remotely.

Our complete slate of speakers are as follows

Episode 1

Paleolithic Cave Paintings

Dr. Margaret Conkey

Wednesday June 24, 2020

Episode 2

Strawbery Banke Museum

Dr. Alix Martin

Wednesday July 8, 2020

Episode 3

Community and Resilience 

Dr. Kristina Douglass, ‘02

Wednesday July 22, 2020

Episode 4

LiDAR and Archaeology

Dr. Katharine Johnson

Wednesday August 5, 2020

Episode 5

Archaeobotony

Dr. William Farley

Wednesday August 19, 2020

Episode 6

Archaeogeology

Dr. Suanna Selby Crowley 

Wednesday Sept. 9, 2020

Episode 7

 pXRF Studies of Glass

Grace Bello

Wednesday Sept. 23, 2020

Episode 8

National Parks

Dania Jordon

Wednesday Oct. 7, 2020

Episode 9

Underwater Archaeology

David Robinson

Wednesday Oct. 21, 2020

Episode 10

Bull Brook 

Jennifer Ort

Wednesday Nov. 11, 2020

Summer Reading, Archaeology Edition

Contributed by Ryan Wheeler

Earlier in May, members of the Eugene Winter/Northeast Chapter of the Massachusetts Archaeological Society asked me for some summer reading suggestions. I checked online for reading lists of archaeology books that might appeal to the interested public and was surprised to find that most did not include many actual books on archaeology! I quickly typed up the following list. Check out digital copies of almost all of these books after creating a free account in InternetArchive.

1) Books by David Hurst Thomas, including his textbook Archaeology. You might be surprised that a textbook would be at the top of my reading list, but this is a terrific book. In earlier editions, at least, each chapter includes all of these great quotes. This book demonstrated to me as a college senior that archaeology was for smart people. Also, Thomas’s book Skull Wars, on the Kennewick Man (the Ancient One), is a superb look into the complex relationship between Native Americans and archaeologists. Copies of Archaeology on InternetArchive: https://archive.org/search.php?query=david%20hurst%20thomas%20archaeology

Skull Wars: https://archive.org/search.php?query=david%20hurst%20thomas%20kennewick

2) Loren Eiseley’s The Night Country. Eiseley was an archaeologist and paleoanthropologist at the University of Pennsylvania and this is his semi-autobiographical memoir. It is so beautifully written, and funny, and gives some great insights into twentieth century archaeology by a master of the profession. You can borrow the book electronically from InternetArchive: https://archive.org/search.php?query=loren%20eiseley%20the%20night%20country

Ryan Wheeler reading his copy of Loren Eiseley's The Night Country.

3) Encounter with an Angry God by Carobeth Laird. About her life with archaeologist and ethnographer John Peabody Harrington, who was brilliant and maybe more than a little crazy. I found this in the stacks as a grad student and couldn’t put it down. Again, available to borrow on InternetArchive: https://archive.org/details/encounterwithang0000lair

4) In Small Things Forgotten by James Deetz. In many ways, this book defined the field of historical archaeology. This is especially relevant for those of us in New England, but everyone will enjoy learning about pipe stems, gravestones, and other quotidian aspects of daily life that only archaeology can illuminate. Also available to borrow on InternetArchive: https://archive.org/search.php?query=in%20small%20things%20forgotten

5) What This Awl Means by Janet Spector. This is one of the first—and remains one of the most creative and engaging—books in the field of feminist archaeology. Spector uses feminist perspectives to interpret a nineteenth century Native American site near Minneapolis. Storytelling techniques that are rare in archaeological writing figure prominently, making this book fascinating and accessible.

6) The Early Mesoamerican Village by Kent Flannery. The major selling points of this book is that it is well written and highly readable AND that between the chapters there are these fictional interludes featuring The Great Synthesizer, The Skeptical Graduate Student, and The Real Mesoamerican Archaeologist. Archaeological writing at its best! Check it out on InternetArchive: https://archive.org/search.php?query=the%20early%20mesoamerican%20village

7)  The Science of Archaeology? This is Richard “Scotty” MacNeish’s autobiographical musing on the future of archaeology. Scotty was the fifth director of the Robert S. Peabody Institute of Archaeology (then called the Robert S. Peabody Foundation for Archaeology). At our institution he conducted major projects in Mexico and Peru questing for the origins of agriculture and civilization. Happily, you can check it out on InternetArchive: https://archive.org/details/scienceofarchaeo0000macn

8) Frauds, Myths, and Mysteries by Kenneth Feder. All the kooky ideas, from Atlantis to Giants, about North American archaeology and why people believe them. Ken gave our big lecture last fall about his newest book, Archaeological Oddities: A Field Guide to Claims of Lost Civilizations, Ancient Visitors, and other Strange Sites in North America, a site guide to many of the places mentioned in Frauds. Lots of fun, well written, and you can’t help learning along the way. Frauds is available on InternetArchive too: https://archive.org/search.php?query=frauds%20myths%20feder

9) Gods, Graves, and Scholars by C.W. Ceram. This was published in 1949, but tells the stories of many of the great archaeological discoveries up to the mid twentieth century. Heinrich Schliemann at Troy, Howard Carter and King Tut, etc. You have to read this if you are an archaeologist. Again, see InternetArchive for e-copies: https://archive.org/search.php?query=gods%20graves

10) The Bog People by Peter Glob. Iron Age mummies from European bogs. Some crazy preservation that you only get in wetsites (anaerobic conditions). If you read this, you will want more on wetsite archaeology! Copies to borrow on InternetArchive: https://archive.org/search.php?query=the%20bog%20people%20glob If you do get hooked, follow this up with Bryony Coles’s Sweet Track to Glastonbury: The Somerset Levels in Prehistory. The Sweet Track is a Neolithic timber walkway. More great wetsite archaeology!

11) Lucy: the Beginnings of Humankind by Donald Johanson. I carried this book around with me for a year in high school, reading and re-reading it. This sometimes got me in hot water, as I attended a very conservative religious school. Dated now (first published in 1981), with so many new discoveries, but really well written and it gives a sense of the scholarly battles that still rage over human origins. Pair with Lee Berger’s more recent book Almost Human and you get a pretty good sense of the complexities of paleoanthropology. Click here for digital copies on InternetArchive: https://archive.org/search.php?query=lucy%20donald%20johanson

12) Rubbish! The Archaeology of Garbage by Bill Rathje. This is a fun book and recounts the work that Rathje and his University of Arizona students did on modern refuse disposal habits and how this could be applied to archaeological sites. Rathje was a big proponent of Behavioral Archaeology, so you get some of that theory as well. Checkout the copy on InternetArchive: https://archive.org/search.php?query=Rubbish%20rathje

Movie Magic – sort of

Contributed by Marla Taylor

Before COVID-19, the Peabody Institute kept our social media presence to Facebook and Twitter.  But this seemed like the perfect time to expand to Youtube. This is definitely a new medium for me and I was puzzled for a few days as to how I could contribute to this platform.  And then inspiration struck.

Phillips Academy is home to two cultural institutions – the Robert S. Peabody Institute and the Addison Gallery of American Art.  Our friends at the Addison created a delightful short stop-motion video about the work of a registrar and shared it on Facebook.  I thought it was fabulous.  And I also thought, I can do that!

Well, that started a project that took about a week of evening shoots after the kids went to bed, and an additional couple weeks of sound design (maybe I shouldn’t admit that it took that long…).  I wrote a short script and then cannibalized my boys’ Legos to recreate the Peabody staff and create sets.  I regret not taking a picture of the carnage to our play room to share, but I am relieved that it is all cleaned up now.

Framing and filming the stop-motion required a level of patience and detailed focus that was challenging for me at times but necessary to make the film work.  It is hard to remember to account for everyone and everything in the scene, but not to move it too much to ensure it was fluid.  It was pretty fun to hide details in the background too.

Adding the voices and music was a whole separate task.  I fully credit my husband with the patience to become my sound engineer.  He took all the lines, including those contributed by our 5 year old, and music and ensured that everything synced with the video – and made sure we weren’t breaking any copyright laws with the music use…

I think the end result is pretty great.  Viewers learn about what the Peabody does every day, from my perspective, and get to escape for about 3 minutes.

Enjoy Raiders of the Peabody Institute Collections!

Cardboard 3D Slice Model: Megalonyx Femur

*A version of this post appears on the Virtual Curation Lab blog.

Contributed by Ryan Wheeler

I was excited when Bernard Means of the Virtual Curation Lab posted 3D slice models of artifacts and fossils. The models reminded me of the topographic models we made in the Boy Scouts. We cut out and stacked cardboard pieces, replicating the elevation contours of a topographic map. A two dimensional image was transformed into 3D! Lock down means most of us are away from 3D scanners and printers, so the cardboard patterns are a fun way to make 3D models. Plus, I LOVE building stuff out of cardboard, often with my eight-year old son Leo. Leo and I have made a Corinthian helmet, the TARDIS and K-9 from Doctor Who, a wearable sea turtle carapace, a model of our house, and much more.

Choosing a 3D Slice Model

Initially I wanted to build the Virtual Curation Lab 3D slice model of a dire wolf skull. I downloaded the plans and watched the video loop showing a virtual assembly. Ultimately, I opted for the Megalonyx femur. I decided that it was a little simpler, and might make a better first build. Each set of plans includes numbered pieces with registration marks that indicate how all the pieces stack. I like Megalonyx too, since these giant ground sloths existed in my home state, and some Florida rivers occasionally reveal fossilized bones. Megalonyx existed across much of North America for over 10 million years, ultimately becoming extinct around 11,000 years ago!

Image of stacked cardboard pieces on a cutting mat with a computer in the background showing a virtual assembly of the model.
Stacked pieces of the Megalonyx femur with the VCL model playing in the background.

Assembling Materials

I started by downloading and printing a set of the plans from the Virtual Curation Lab. There are five pages with approximately 26 pieces for the Megalonyx femur. I printed two sets of plans, keeping one for reference as I cut each piece out to make patterns. As I worked on creating the patterns for each piece, I assembled my other materials, including:

  • pieces of thick, corrugated cardboard from a shipping box (thin cardboard, like a cereal box, won’t work well),
  • an X-acto knife with a supply of #11 blades,
  • a cutting mat,
  • an envelope to store the paper patterns,
  • adhesive glue,
  • and some black spray paint and some brown and tan acrylic modeling paint.

Image of the bone patterns on plain paper, with the cardboard cutouts, a pencil, and an X-acto knife.
Cutting the cardboard pieces with a #11 X-acto blade.

Creating the Model

As I began making paper patterns for each piece, I noticed that some of the pieces are rather small or have narrow sections when printed on an 8.5 x 11-inch piece of paper. I decided to scale things up by adding about 1/8-inch on each side of each pattern. One could also use a program like Photoshop to scale up the pattern. I traced the patterns onto the cardboard, making sure to keep the long axis of each piece against the “grain” of the cardboard. This produced pieces that showed the honeycomb structure of the corrugate cardboard along their long side. I was a little worried that my cardboard might be too thick (2/8-inch), but the Megalonyx femur is a big, thick, flattish piece of bone, so I decided to keep going. Next time I will use some 1/8-inch corrugated cardboard. Change the X-acto blades with some regularity—they get dull quickly! I also made sure to transfer over the piece number and registration marks as I went. I saved all the pattern pieces in an envelope for future use. Once all the cardboard pieces were cut out I made a few test stacks and cleaned up edges as needed. I used some silicon glue left over from another project to adhere all the pieces. This provided for easy cleanup, allowed me to reposition pieces as needed, and made for a nice, solid bond after 35 minutes. White glue should work fine too. Dr. Means suggests on the Virtual Curation Lab blog assembling the models from the center moving outward. This worked well, and I made two large sections of the model that I then joined. I also had the virtual assembly loop playing to make sure the pieces were going together correctly. Following the registration marks is important too!

Image of the partially assembled cardboard bone model on a black cutting mat.
Two large glued-up segments of the cardboard slice model.

Painting and Decorating

When the cardboard was well bonded, I went to the garage to spray paint the model in a well-ventilated space. I used some leftover black spray paint to give a quick base coat. After the paint dried, I added some details with brown and tan acrylic paint. Minerals and tannins have heavily stained fossils from Florida rivers and quarries blackish-brown. Once I achieved the desired effect, I left the Megalonyx model to dry. My son produced a background drawing for display.

Final Thoughts

Building these cardboard 3D slice models is a fun and low-tech way to learn about fossils and artifacts. During each stage of the build, my son and I looked up facts about the Megalonyx. The name Megalonyx is Greek for “large claw,” referring to the large, curved claws used for grabbing branches and foliage, their main food. We learned that our model, measuring about 9-inches long is about one-half scale. Megalonyx femurs measured by paleontologists are as much as 20-inches long! This was an impressive animal, measuring around 10-feet tall and weighing over 2,000 pounds. Their closest living relatives are the three-toed sloths of Central and South America, though these are much, much smaller! There are indications, too, that Native Americans hunted Megalonyx during the late Pleistocene.

Image of the cardboard Megalonyx femur on a blue and green painted background.
The painted Megalonyx femur model on a background created by the author’s son Leo.

I’ve also made a Youtube video illustrating the build.