Collection

The Mysterious Adzebill

New Zealand was once home to many flightless birds. Some, like the moa, are well-known, but others, like our flightless ducks, geese, and owlet-nightjar, are familiar mostly to palaeontologists. One bird that deserves to be better known is the mysterious adzebill.

1. Adzebill Martinson

A North Island adzebill (Aptornis otidiformis) eyes up a tuatara in a 2005 painting by Paul Martinson.
Photo: Te Papa / CC-BY-NC-ND

There were two species of adzebills, Aptornis otidiformis in the North Island and Aptornis defossor in the South. Both were huge. When their bones were first discovered, they were mistaken for a small moa. Fully-grown birds would have weighed perhaps 20 kg, larger than a swan or pelican.

Adzebills had massive heads with heavy down-curved beaks. The beaks tapered to a point, and Dr Richard Holdaway, who coined the name “adzebill”, once confessed to me that “pick-bill” would have been more accurate. The robust vertebrae in their neck would have anchored strong muscles and allowed them to deliver a powerful blow.

These birds also had massive feet, with strong tendons, that would have made them good at digging. For some time biologists debated what they ate. Did they dig up roots, pluck leaves or break apart rotten logs? Their beak wasn’t hooked like a bird of prey.

A technique called stable isotope analysis which lets us analyse animals from the composition of bone – you are what you eat – revealed that adzebills were carnivores. We can imagine them tearing open trees for huhu grubs, plucking lizards or baby birds off the forest floor, digging up giant earthworms, and excavating tuatara, or even nesting seabirds, out of their burrows.

A second mystery was what adzebills were, exactly. They didn’t resemble rails like the weka or takahē, and for some time were put in their very own family. Some ornithologists thought their closest relative was the flightless kagu of New Caledonia. Others thought it belonged with chicken-like South American birds called trumpeters. The debate continued fruitlessly for decades.

Alex Boast is a PhD candidate at the University of Auckland, working on ancient DNA. Improved techniques now allow us to recover and examine fragments of DNA from bones and eggshell of extinct birds, not enough for Jurassic Park cloning, but enough to construct a family tree and determine their nearest relatives. Alex analysed adzebill DNA and compared them to numerous other birds, and the results suggest that adzebills are not kagus, or trumpeters. They are flufftails.

2. Flufftail Keugelmans

The white-spotted flufftail (Sarothrura pulchra), painted by John Keulemans in 1894. This delicate little bird seems to be the adzebill’s closest living relative.
Ref: Wikimedia Commons

Flufftails (nine species in the genus Sarothrura) are secretive ground-dwelling birds about the size of a starling, rusty brown and spotted. They do indeed have fluffy tails. What’s unusual is that flufftails are all found in Africa, and on the island of Madagascar, nowhere near New Zealand.

Africa and New Zealand were once connected as part of the supercontinent Gondwana of course, and fossils tell us that adzebills have been here for millions of years, plenty of time for their ancestors to get here and evolve into a giant flightless predator. Intriguingly, the kiwi seems to have done the same thing. Its closest relative is another African species, the elephant bird of Madagascar. The difference is, while one flightless bird survived the arrival of human beings and became the symbol of New Zealand, the other was wiped out. The not-so-mysterious adzebill is now mostly forgotten.

 

Dr Mike Dickison is curator of natural history at the Whanganui Regional Museum.

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Wanganui Swankers’ Club

1. Swankers photo

Members of the Wanganui Swankers’ Club dressed in full Swanker regalia while engaged in a public fund-raising event. With them is a woman dressed in a Red Cross Nurse’s uniform and a bulldog, presumably a mascot. This dates to World War I when the Swankers focused on supporting the Red Cross and its nurses.  Ref: 1988.67.10

The Wanganui Swankers’ Club was formed during World War I to raise funds for patriotic purposes, supporting in particular the Red Cross and Red Cross Nurses; hence, the red cross is part of the Wanganui Swankers’ Club badge. The Club ran from 1915 to 1929, in its later years raising funds for a wider range of charities. Concerts, Mardi Gras and other functions were held where all members appeared in top hat and tails. Among its well-known members in Whanganui were Bert Fry, A Trelord and F Donaldson Senior. One member used to ride a horse to its functions but he still wore the official uniform of top hat and tails.

Swankers, as members were called, had a light-hearted approach to a serious purpose.The word swanker means a dashing, smartly-dressed or stylish man. Swankers wore a distinctive garb of top hat and tails, usually teamed with formal striped trousers and spats.

2. Swankers certificate

Swankers’ Club membership certificate accepting George Goldsack as a member, 1926. Ref: 1972.68.4

And anything for a laugh! For example, a Swankers’ Club membership certificate in the Museum collection has a comic drawing of a man in top hat and tails standing beneath the Swankers’ Club logo. Made out to George Goldsack, the certificate reads “This is to Certify that Mr G Goldsack has been duly accepted and admitted a member of the Swankers’ Club, he being a fully qualified, inveterate and accomplished Swanker”.  It is signed by “Ikan Kiddem, Swanker scribe”.

The Dominion newspaper edition of 15 November 1916 provides a brief, and facetious, history of the Swankers. Originating in London, the Swankers’ Club “found its way to Wanganui, where it was taken up by a number of good sports, who are really only waiting for avenues of usefulness outside the Avenue that divides the city into two halves.” It goes on to describe members as those who are too old or infirm to fight but who wish sincerely to support the war effort. They have no ties or obligations to the London Swankers; the allegiance they hold is to “… the Empire, and they mean to hang together until smiling peace glorifies the world once more”.

At this stage, in 1916, there were about 200 Wanganui members who had already raised over £1,000 for the Red Cross.

After the war, the Swankers were very active during the Influenza Epidemic of 1918-19. Members continued to raise money for the Red Cross and to establish and maintain the Wanganui-Waitotara Patriotic Society and support other charities. Swankers did themselves proud while raising funds as is evident in a menu designed to feed the dancers at a Charity Ball in 1922. Laid out in seven courses, the menu had several luxury dishes in each, including whitebait, oyster patties, sardine eclairs and Charlotte Russe. Soup was served as the guests departed.

3. Swankers badge

This nine carat gold badge was designed for the Wanganui Swankers’ Club. Five small imitation rubies are set within a cross flanked by two fern fronds, reflecting the Wanganui Swankers’ allegiance to the International Red Cross.  Ref: 2005.67

The Swankers’ fund raising events were very successful. In 1923, for example, their “Help the Blind” appeal raised £1,217, a considerable sum at that time. And in 1925 they assisted the annual YMCA street appeal, raising £121 2s 6d, which was equally divided between the Swankers’ Club and the YMCA. The Wanganui Swankers Club closed in 1929.

 

Libby Sharpe is Senior Curator at the Whanganui Regional Museum.

A sampling of samplers

The term “sampler” comes from the Latin word exemplum, meaning an example to be followed, a pattern or a model. Pictorial samplers began life as plain samples of different stitches worked onto a single piece of fabric. A girl would add to it as she learned different needle work techniques, a standard part of her education.

By the mid 17th century, decorative samplers with borders were considered to be a mark of refinement. They were worked with horizontal bands of stitching, featuring letters, numbers and traditional motifs, such as the dove of peace. Later, poetry or religious quotations were added, and ornate borders became common.

The stitching of samplers was believed to be a sign of virtue, achievement and industry, and girls were taught the art from a young age. Samplers are still stitched today and are often worked to celebrate a joyous occasion, such as a birth or baptism.

1. Hanner Passell

In 1806 Hanner Passell stitched a sampler of fine coloured wool threads on linen.  This sampler is very fragile and damaged, but you can still see her mistakes – she has not allowed enough room for the word “away” in the third line of the verse. The verse has a dire warning about wasting time:

Exonerate your mind of worldly cares

Spend each Lords Day in Spiritual Affairs

Such wretched souls as squander that aw[ay]

Repent it sorely at their dying Day

And in very faded thread at the bottom we can read: “Hanner Passell Made this in the 11th year of her age”. Hanner is an unusual spelling for the name Hannah. It could be a family name, but it might be that Hanner was a poor speller. Genealogy records show that a Hannah Passell was born in Sussex in 1795 – that might fit.

2. Grace Combe

 

 

While Grace Combe’s sampler is faded, you can still see the skill and charm of her work. Silk threads on fine linen demonstrate cross, feather, herringbone and satin stitches. Sample sewing of the alphabet, homilies and designs of flowers, crowns and geometric motifs all feature. And only just visible under a strong magnifying glass at the lower edge is “Grace Combe March 24 1724.”

 

3. E Gregory

 

E Gregory’s sampler was made in England in 1820 and comprises images of grand buildings and floral motifs, all delicately hand stitched in cotton thread. While we don’t know who E Gregory was, or if and when she came to New Zealand, it is an excellent example of the sampler craft. For new arrivals to New Zealand, samplers were a reminder of family left behind and a way of making a new house more comfortable. A few home comforts transported across the world helped mitigate the hardships of settling in.

 

4. Caroline Hopwood

 

Young Caroline Octavia Hopwood made a simple sampler of wool thread on fine canvas in cross stitch. Lines of the alphabet are repeated in different colours; there is also a line of numbers and small motifs comprising a bunch of grapes, two dragons, a flowering plant in a basket and a deer. The whole is surrounded by a vine with geometric leaves attached. Caroline has stitched her name and age, a mere eight years, at the bottom of the sampler. You can see why it is simple – she is just learning.

 

5. Hannah Hopwood

The very old sampler on fine, natural-coloured linen was completed by Hannah Hopkins in 1729. The deep flower and leaf border is stitched with two strands of twisted silk thread in satin stitch, French knots and cross stitch. The centre panel spells out the great Psalm XXVII, proclaiming absolute faith. It is easy to recognise what sort of beliefs Hannah’s family had:

The Lord is my Light and my salvation. Whom shall I fear, the Lord is the strength of my life of Whom shall I be afraid.

The eccentric punctuation of the lettering is matched by the eccentric switch from rose red to yellow thread, which is very faded and hard to read. Perhaps Hannah ran out of the red and only had yellow left to match the rest of the sampler.

 

Libby Sharpe is the Curator at the Whanganui Regional Museum.

Fashion in the Sixties and Seventies

Fashion is influenced by many factors but often reflects what is happening in society at the time. The textile collection at the Museum includes garments that reflect these changes.  An exciting time of change was the 1960s and 1970s when the way people dressed was an obvious sign of shifting attitudes.

1. Merle Higgie dress

 Mrs Merle Higgie wore this evening dress of orange chiffon with stitched orange flowers on the sleeves in the 1970s. It was created by Camette, a New Zealand design company based in Auckland.
Ref: 1995.60.2

In the early 1960s, Western economies and populations were booming. Young peoples’ income was the highest it had been since the end of World War II. This increased economic independence for youth, fuelled a new sense of identity and the need to express it. The dramatic changes started largely in the USA and Europe with styles influenced by the youth sub-cultures of the Beatniks (who rejected the mainstream in favour of artistic self-expression) and the Mods (because they listened to modern jazz music). The Mods in particular helped focus the tastes of young people everywhere, and inspired the look of bands like The Who and The Beatles. The fashion industry quickly responded by replicating their styles, creating designs for the young fans to imitate their heroes. This decade was the first era when young peoples’ clothes were different from those worn by their parents.

New Zealand was usually several years behind the world in terms of fashion, but with the advent of television, young Kiwis were immediately able to copy what was happening overseas. In 1962 there were only 23,000 television licence holders nationwide, but this increased to more than half a million by 1968. Television shrank the world, and by the mid-1960s, New Zealand young folk were wearing the same styles as their contemporaries overseas.

This decade saw traditional dress codes broken with women wearing trousers and showing more and more leg. The mini-skirt, popularised by English designer, Mary Quant, quickly earned its place as the decade’s most iconic look. Others chose to bare very little by choosing the maxi skirt. By the 1970s skirt length had become the midi; mid length, around the knee.

It was not just the hem line that changed. Colour in clothing also went to extremes. What had been a muted or pastel colour pallet until the late 1950s became bright and bold, and many people were wearing combinations of colours and patterns that intensified their startling effects.

The late 1960s saw the beginnings of the hippie movement when bellbottom pants first came into fashion, becoming even more popular during the 1970s. The styles from the later 1960s tended to be more androgynous and quite free flowing. They mimicked the social mind-sets of the era and were inspired by eastern cultures and political activities, such as the Vietnam War.

The 1960s also saw a move to incorporate the new man-made materials developed during World War II and for the space programme. Perspex, PVC, polyester, acrylic, nylon, rayon, Spandex, vinyl and others were fabrics of choice for new young designers wanting to create easy-care outfits that were eye-catching and fun.

Whanganui produced some of its own designers who became influential, on the world stage, as well as nationally. Whanganui-born Philip Shortt entered the Benson and Hedges Fashion Design Awards, New Zealand’s major competitive fashion event that ran for 34 years between 1964-1998, three times, from 1969 to 1971, all with success; he received merit awards in 1969 and 1970 and won the Supreme Award in 1971. Shortt studied at the Fashion School, Royal College of Arts in London. As he established his career he went on to dress Margaret Thatcher and designed the women’s uniform for the British Constabulary.

Rosalie Gwilliam, also from Whanganui, entered the Benson and Hedges Award competitions throughout the 1960s and 1970s, with considerable success. She is well represented, with 26 examples of her work, in the Eden Hoar collection of New Zealand fashion; this was developed by a farmer from Nasby and was the largest private collection of New Zealand fashion in existence.

2. Annette Main dress

 This black crepe and gold thread cocktail gown was created by Michael Mattar of Taumarunui, and was purchased and worn by former Mayor of Whanganui, Annette Main, in the 1960s.
Ref: 2013.9.2

The fashion industry of the 1960s not only changed what was worn, but how clothing was purchased. Old-style department stores were abandoned for boutique experiences. At the same time, there was more mass production, which made keeping fashionable more affordable. Whanganui businesses catered specifically for the new youth market with two new shops called Teen Scene and La Boutique, both in Victoria Avenue. Taumarunui could also boast a top-class fashion store, that of Michael Mattar’s Haut Couture boutique. At the height of his fame in the 1960s, women would travel from Auckland and Wellington to purchase his exquisite cocktail gowns.

 

By Trish Nugent-Lyne, Collection Manager at Whanganui Regional Museum.

Cycling Ladies

The development of new technology often brings about the greatest changes in fashion. In the 1890s, the introduction of the bicycle led to significant changes in women’s fashion. Prior to this decade, women had always worn skirts or dresses whose design followed strict rules regarding appropriateness and modesty, and which were often very heavy and restricting.

Many women wanted to ride bicycles but this was considered unsuitable. While it was acceptable for women to ride side-saddle on a horse, riding a bicycle was deemed almost indecent, certainly shocking!

3. Lady on bike

Illustration of a woman cyclist wearing a tailored jacket and split skirt, 1894.  Ladies Standard Magazine, April 1894.

The first women to ride bicycles in New Zealand were twins Bertha and Blanche Thompson who in 1892, along with several other young adventurous women, formed the Atlanta Cycling Club, especially for women, in Christchurch. Suffrage leader Kate Sheppard, then in her forties, became a member and she and Bertha also served on the ACC committee. Christchurch did not view the ACC with approval; at times, the twins’ older brothers had to accompany the women cyclists to ward off stone-throwing spectators.

Women in the late nineteenth and early twentieth centuries wore very long skirts, which were not only difficult, but dangerous to wear while cycling. Many early lady cyclists had bad accidents when the hems of their skirts caught in the bicycle chain. A solution had to be found. Since decency, at that time, dictated that a woman’s legs had to be covered, many cyclists adopted a split-skirt. This was an adaptation of a garment designed by Mrs Amelia Bloomer, one of the pioneers of the Dress Reform Movement, in the mid nineteenth century. Mrs Bloomer was ridiculed when she and other women attempted to introduce healthier and more practical styles of clothing for women such as knickerbockers, or bloomers, for women engaged in active pastimes.

2. Split skirt

Split skirt from the cycling costume.  Ref: 1973.88b

The split skirt gradually became acceptable as a cycling garment because it was designed to look like a regular skirt. The split skirt was further adapted over time. Later versions began to resemble trousers, never worn by European women before.

1. Cycling costume

Lady’s cycling costume, 1890s. Ref: 1973.88

The Museum has in its collection a wonderful woman’s cycling costume, made in the 1890s. It is a smart and practical outfit for the new activity of cycling. The costume comprises a tailored jacket and divided cycling skirt, both made of dark charcoal wool twill, fully lined with heavy black silk. The costume was professionally fitted and sewn; there is no maker’s mark in either the jacket or the skirt. It’s in excellent condition; perhaps it wasn’t used very much.

 

By Libby Sharpe, Senior Curator at Whanganui Regional Museum.

Dandelion Coffee

Dandelion coffee is actually an infused tea, but it is used as a coffee substitute, having the appearance and, to a degree, the taste of coffee. It is made from the dried, roasted and ground root of the dandelion plant. It is important that the right dandelion roots are used, from the Taraxacum species, distinguishing it from other weed plants that look like yellow daisies. The roots of large healthy dandelions plants are harvested and processed into coffee. It has become a popular health or tonic drink, sometimes as an alternative to true coffee, especially in the USA.

Dried dandelion root coffee was being produced commercially at Ūpokongaro in the nineteenth century by farmer William Caines. In 1853 Caines had acquired 105 acres of land on what is now the Kaiwhaiki Road. He cleared the heavy bush gradually and ran sheep and cattle. He used a punt and waka for transportation between his farm and Whanganui.

1. Dandelion Coffee Tin

A tin of Taraxacum, Dandelion Coffee, made by William Caines of Upokongaro 1880-1890 (ref: 1951.41.3)

Finding ways of ensuring a cash flow was important for settler farmers in the district. Brick-making was another source of income for Caines. His bricks were made of clay from his property and rammed by hand into wooden moulds. He also made white-pine roofing shingles, and later tōtara shingles, sold for 12/- per thousand, delivered.

And the coffee seemed very promising. Caines grew the dandelions in rows in his garden, just like any other crop. After the plants had flowered they were dug and the roots dried. They were then ground in a hand-operated wheat mill, said to have been brought to New Zealand by one of the British Army regiments stationed in the district. A large iron flywheel was attached to give momentum to the actual grinder on the main shaft, the raw material being fed through the funnel as the grounds dropped from the mill chute. The machine could be operated by one person at the crank-handle.

The mill is in the Museum collection, as are two one pound tins of the coffee, which is a deep brown colour and has still has a distinct “coffee” aroma. Tins of “Pure Dandelion Coffee” were produced from 1880 to about 1890, sold for the most part in the Ūpokongaro area. Although there is no record of the amount produced, it appears that there was a reasonable demand for it.

2. Dandelion Coffee Label

An unused Taraxacum label (ref: 1802.1110.2)

The coffee product was named “Taraxacum”, Taraxacum officinale being the botanical name of the dandelion. The label, printed locally by A D Willis Printers of Wanganui, states that the product was grown and prepared by “William Caines, Pikopiko, Upokongaro, Wanganui.” The label also declares that the dandelion coffee as prepared by Mr. William Caines, “Contains all the medicinal virtues pertaining to the plant, which are of an opening and cleansing quality and therefore very effectual for obstructions of the Liver, Gall and Spleen, and Diseases that arise therefrom. It is also beneficial in cases of the Urinary Organs, being powerful in cleansing imposthumes and inward ulcers in the urinary passage and, by its drying and temperate quality, heals them. In Progressing Consumption, the use of the Pure Dandelion Coffee will give the sufferer great relief.”

 

Libby Sharpe is Senior Curator at Whanganui Regional Museum.

The Williams Barrel Organ

The Williams Organ was manufactured in 1829 by a church and organ-builder, Mr A Buckingham, of London. The organ was sent from England by Reverend E G Marsh in November 1829 as a gift to his nephews, the Reverends Henry and William Williams who were stationed at the Church Missionary Society Māori Mission at Paihia. Arriving in New Zealand in August 1830, it was the first barrel organ brought into the country. Apparently it caused some powerful reactions in listeners, with Reverend Henry Williams’ wife Marianne writing in September 1830, “All the females as well as the males met in the chapel to hear the new organ the first week it arrived, and I was glad the overpowering sensations which its full and melodious sounds produce and all the recollections it aroused were a little moderated before the Sabbath”.

1. Williams Barrel Organ

The Williams Barrel Organ (Whanganui Regional Museum collection reference:1898.156)

Barrel organs are mechanical instruments constructed using a system of bellows and one or more layers of pipes, housed in a decorative wooden case. Unlike a traditional pipe organ they are not played by an organist. Instead, the barrel organ is performed by a person turning a crank. The pieces of music are encoded onto wooden barrels, which cause notes to sound as would a keyboard in a regular pipe organ.

In 1898 the organ was given to Edward’s son, the Reverend Alfred O Williams, who was at that time visiting the Bay of Islands with Samuel Drew, the Wanganui Public Museum’s founder. Together they brought the organ back to Whanganui. The Reverend Alfred Williams was later a member of the Museum Board of Trustees.

During this time the organ had become damaged so Drew repaired it, and he was known to crank it regularly at the Museum. Its first playing at the Museum after being repaired was in the dead of the night on Good Friday 1898, with Drew stating “… the tunes seemed ghostlike and weird. It seemed as tho’ the organ had died years ago and yet was speaking its music to me, and me alone…”. Some of the older residents in Whanganui may remember paying an extra penny to hear the organ being played when the Museum was still at what is now the Savage Club building.

In 1937 further renovations were carried out on the organ and for five years after that a recital was held at the Museum each Good Friday.

2. Detail of a barrel organ

Detail of inner workings of a barrel organ in Pisek during town celebration “Dotkni se Písku” in 2011, Czech Republic (Photographer: Petr Brož)

In 1995 after the barrel organ’s condition was assessed it was discovered that necessary repairs to the case and mechanism would cost in the region of $12,000. A fundraising campaign began, which many Museum supporters contributed to. A concert series was held and a grant of $10,000 was obtained from the Turanga Trust (a Williams family trust) in Napier.

The barrel organ was most recently played as part of the Museum’s closing weekend gala on Saturday 3 and Sunday 4 September 2016.

Riah King-Wall is the Programmes Officer at the Whanganui Regional Museum.

Christmas Cake

Christmas. A time for family, gifts, religious observation, and of course food. And what would be better to complete the feast than a Christmas cake?

The traditional Christmas cake, as we know it today, began life as a plum porridge. Porridge was traditionally eaten on Christmas Eve as a way to line the stomach after a day of fasting in preparation for the Christmas feast. Porridge isn’t the most exciting of foods, unadorned as it is, and certainly not a celebratory meal. Soon it was smartened up with the addition of spices, representing the exotic gifts from the Three Wise Men, honey and plums or dried fruit. This mixture was then wrapped in a cloth and boiled, and hence the Christmas pudding was born.

1-sunripe-cake-fruit

Packet of fruit cake mix like this are very popular in the lead-up to Christmas (TH.3669)

This was the base recipe for an Easter dish as well, with a few additions. In the 16th century people would prepare a Christmas pudding mix, but also add wheat flour and eggs to a portion of the base to create a cake for consumption at Easter time. Over time, the oatmeal was removed from the recipe, as was the meat that was often included, and more butter, eggs, and wheat flour were added. This helped the mixture to hold together much better than the sloppy gruel and dense puddings previously experienced. Wealthy families that could afford an oven baked their mixture which produced a different consistency again, resulting in a firmer cake, which over time was dropped from the Easter menu but has remained a Christmas favourite.

The addition of marzipan and royal icing came later when Oliver Cromwell and his Puritan followers, concerned with excess, banned feasting on 5 January, observed as the last day of the Christmas celebrations. Instead, people made a special Twelfth Night Christmas cake which was laden with almonds and covered in marzipan, and feasted on that instead.

Christmas cakes are traditionally made on “stir-up Sunday”, the last Sunday before Advent; this year it was Sunday 20 November. The cake is then kept upside down and “fed” with brandy or whiskey every week before being eaten at Christmas. The alcohol and sugar act as preservatives and give the spices a chance to develop and fully infuse the cake with festive flavours.

2-edmonds-cake-recipe

Edmonds encouraged people to make Christmas cakes and provided a recipe, as per this advertisement from the Wanganui Chronicle on 5 December 1952 (2003.39.123)

Christmas cakes come in a wide a variety as presents; large, small, heavy, light, rich, meagre, soft, firm, wrapped or unwrapped. There are regional and local variations all over the world for this festive treat. The Scots make a Christmas Dundee cake which is light and crumbly, full of dried fruit, and of course, whiskey. A Japanese Christmas cake is a sponge with icing, decorated with chocolate and strawberries or other fruit. Philippine people use either a traditional English cake or a yellow pound cake with added nuts, which is then soaked in brandy and palm sugar syrup. Those in Yorkshire often don’t ice their Christmas cake, preferring to eat it with Wensleydale or cheddar cheese.

If you feel like getting back to basics, here is a 1701 recipe for a Christmas pottage:

Take of Beef-soup made of Legs of Beef, 12 Quarts; if you wish it to be particularly good, add a couple of Tongues to be boil’d therein. Put fine Bread, slic’d, soak’d, and crumbled; Raisins of the Sun, Currants and Pruants two Lbs. of each; Lemons, Nutmegs, Mace and Cleaves are to be boil’d with it in a muslin Bag; add a Quart of Red Wine and let this be follow’d, after half an Hour’s boyling, by a Pint of Sack.  Put it into a cool Place and it will keep through.

 

Sandi Black is the Archivist at Whanganui Regional Museum.

How many men does it take to move a sunfish?

No, it’s not a bad joke, but a real question we recently faced.

In preparation for the earthquake strengthening schedule to start early in the new year, we have been working at emptying the exhibition spaces and taking everything down off display, including the giant sunfish that has been hanging on the wall since the museum was built in 1928 (minus a few breaks here and there for conservation or rehanging).

The sunfish, or Mola mola, was caught in 1895 and purchased for the collection.  It took Museum founder Samuel Drew and three assistants three days to skin the 360cm-long fish, after which it was treated and mounted for later exhibition in the gallery space.

And now it has been temporarily removed and placed in storage while the museum building gets strengthened.  A big and rather delicate project.

So, how many men does it take to move a sunfish?  Take a look and see for yourself…

 

First Encounter of War – SMS Emden

About 8,000 men and 4,000 horses, which made up the Main Body and 1st Reinforcements of the New Zealand Expeditionary Force, embarked from Wellington in October 1914, sailing in a convoy via Australia to Europe to join the war. Ten troopships had been requisitioned by the NZ government from shipping companies to accommodate men and horses on this momentous voyage. The NZEF anchored in Hobart, Tasmania, for two days and the men went ashore for marching exercises. They re-embarked and sailed to Albany, Western Australia, on 28 October where they were joined by 28 Australian troopships and escort vessels and about 22,000 men and 3,500 horses.

The combined ANZAC fleet of 38 troopships and escorts, carrying 30,000 soldiers and 7,500 horses left Albany on 1 November 1915. Their destination was no longer Europe.

Turkey had declared war against the Allies only the day before, and the Expeditionary Force was diverted to Egypt. On that leg of the voyage, the convoy encountered war for the first time when sailing to Colombo in Ceylon, now Sri Lanka. While the convoy was at sea, the Imperial German navy cruiser, SMS Emden, captained by Karl von Müller, had raided the Cocos Islands, also known as the Keeling Islands, in the Indian Ocean, in order to destroy British operations that were stationed there.

2-sms-emden

Emden, beached on North Keeling Island, November 1914. (SLV, Public Domain)

The Emden was pursued and attacked by the Australian cruiser HMAS Sydney. She was badly damaged and run aground by von Müller to avoid sinking with all hands aboard. More than a third of her crew was killed and most of her surviving crewmen were taken prisoner. Captain von Müller escaped with a small crew in a commandeered schooner and managed to sail back to Germany.

The wounded German prisoners were sent to Australia while the uninjured were taken on board HMAS Sydney to Colombo and transferred to ships in the convoy. The prisoners were interned in Malta after their voyage north and finally repatriated to Germany in 1920.

The ship’s ensign somehow found its way into the hands of New Zealand soldiers. A series of holes in the linen, apparently made by shrapnel, are visible. The simple cotton ensign is composed of a white field with a red cross and a yellow crown at the centre of the cross. It was donated to the Whanganui Regional Museum in 1957.

1-emden-ensign

The ensign of the SMS Emden (WRM ref:1957.15)

Also in the Museum collection is a badly stained and dog-eared mimeographed issue of The Arrower, the newspaper of the NZEF aboard HMNZ Transport No.10 Arawa. The magazine records the Emden event in great detail alongside current events, the voyage schedule and poetry. Apparently, this copy of the Arrower was later sunk in a submarine and rescued and acquired by Captain Morgan of the first NZ Expeditionary Force, who donated it to the Museum in 1935. “A.H.W.” puts the Emden event into verse.

Sydney and Emden

Here’s to the Sydney cruiser,

That put the Emden out,

She beat the German bruiser,

With a good Australian clout,

No more the German pirate,

Will sink our helpless ships,

She took the count for the full amount,

When the Sydney came to grips.

 

The Germans wanted something soft,

So to the Cocos went,

The wireless saw him from aloft,

So “S.O.S.” was sent,

The Sydney quickly took the hint,

And turned her nose about,

In an hour or two the news came through,

The Emden’s down and out.

 

Libby Sharpe is the Senior Curator at Whanganui Regional Museum.