Blue John – New Partnerships

In this post Derbyshire Museums Manager, Ros Westwood, introduces a new partnership with Treak Cliff Cavern and Buxton Artclubs Artbox, supporting Made in Derbyshire.

In one of my earliest conversations with my mother-in-law she told me how much she loved Blue John, the unique blue, purple, yellow and white stone from just two mines above Castleton in the Hope Valley.  So she is very envious that I look after the Buxton Museum collection. The ornaments which bring ‘oohs!’ and ‘aahs!’ from visitors, include the silver mounted milk pail – surely a sugar bowl? –  dated 1803, and the narrow window attributed to John Tym from the middle of the 19th century, as well as unworked specimens, some huge boulders and many small hand specimens (not all of which are pretty!)


Silver-mounted ‘milk pail’, made from Blue John, dated 1803

So if anything is ‘Made in Derbyshire’ it must be Blue John. Formed within the limestone, Blue John is a fluorite. It is not very hard (only 4 on Moh’s Scale of hardness).  The cubic crystals grow in veins through which the distinctive purple and blue layers alternate with white and yellow, providing zig- zag stripes of various intensities. This colour combination makes it attractive for ornaments and jewellery despite being quite a fragile material. There are many ideas of how the colour comes into the stone, whether this is impurities within the fluid, the introduction of hydrocarbons or the occurrence of radioactivity. None really satisfy the mineralogists, yet!

A piece of unworked Blue John from the museum collections

A piece of unworked Blue John from the museum collections

Recently, the museum was offered the opportunity to commission an artwork as part of the Made in Derbyshire campaign. What better suggestion then to explore a commission of worked Blue John to be included in the museum’s new displays.  I invited Vicky Harrison of Treak Cliff Cavern with Gary Ridley and Jack Mosley to discuss the possibilities while looking at the museum’s collection, particularly the unworked Blue John, and then artist Caroline Chouler -Tissier and I went over to Treak Cliff Cavern. It was one of those amazing autumn days and the view as we walked up to the cavern of the Hope Valley was spectacular, in the warm October sunshine.

The view from Treak Cliff Cavern

The view from Treak Cliff Cavern

The view from the workshop was equally captivating, but soon we were deeply interested in learning how Blue John is worked, taking a friable material and making it into artefacts as thin as glass.

In the workshop

In the workshop

Caroline and I were taken through the Cavern, and chanced to see the amazing Witch that flies through it as well as the newly discovered Ridley vein of Blue John, named for Gary Ridley. Meanwhile we discussed our ideas and plans.

To celebrate several events – Made in Derbyshire; Collections in the Landscape and even as an advance 125th birthday present for Buxton Museum (in 2018), the museum is commissioning two exciting new pieces of worked Blue John for the collections.  Importantly, much of the work will be made by people under 25, a chance to learn about geology, engineering, art, and something unique to Derbyshire, all at one time.

Jack has been asked to turn a new chalice for the museum, made from the Ridley vein.  Jack has been working Blue John for three years, and this exciting commission will mean his work will be in the museum collections for all to see. We hope to film him making of it.

Jack at work

Jack at work

Meanwhile we will work with members of Buxton Artbox Artclubs to make the first Blue John window for over 100 years, following in the creative imagination of John Tym.  The Artbox members will visit the cavern and help in the workshop to select material for slicing and polishing. Supported by their artist-in-residence, Caroline, they will suggest ideas of what the finished window may look like. Here at the museum we will look in the vaults at some of the specimens which outwardly look very dull which may find a new life in the window

This will be an exciting creative programme with lively input from many young people. Its early days yet, and everyone is very excited to get things on their way. We will keep you updated through the Collections in the Landscape blog as the work takes shape.  We may need your help to wet-and-dry the Blue John slices – Vicky tells us its takes a long time, but it could be good fun!


Minerals from Ecton Copper Mine

Minerals from Ecton Copper Mine

Azurite on Limonite, Deep Ecton Pipe vein (Buxton Museum).

Buxton Museum has a small collection of minerals from Ecton Copper Mine, including the three specimens shown here.

Aurichalcite, Clayton Adit, Ecton Mine (Buxton Museum)

Aurichalcite, Clayton Adit, Ecton Mine (Buxton Museum)

Chalcopyrite, Copper Pyrite crystals on Calcite (Buxton Museum).

Chalcopyrite, Copper Pyrite crystals on Calcite, Ecton Copper Mine (Buxton Museum).

A recent tour of Ecton Hill and Copper Mine run by National Trust volunteers gave a fascinating insight into where the Museum minerals came from. The mine itself is owned by the Ecton Mine Educational Trust, an independent charitable body. The National Trust have acquired the Engine House.

First we investigated the mine features on the surface and discovered some of the history of the mine. In the afternoon we explored the mine itself and its geology.

A bit of social history …

Copper has been mined where it outcrops on the hill at Ecton since the Bronze Age over 3,500 years ago. Ecton is one of only two known Bronze Age copper mines in England. In the early 1700s the Duke of Devonshire leased the mine out, but as it became obvious it was a rich resource, took back control and developed the mine. It became one of the richest in the world, employing 400 workers during peak production from 1765 to 1789. It is also huge – the mine is as deep as the Empire State building is high! The heyday of the mine was very short. The copper resources were finite and in June 1790 the Times reported the mine had failed and workers had been laid off. It never got back to its former production levels although work carried on for another 100 years. Copper from Ecton was used to protect the bottom of wooden naval vessels from the ravages of worms, and also for the first trans-atlantic telegraph cable.

The Engine House on Ecton Hill. On the skyline behind is a spoilheap from another mine. The bushed below mark an area of Bronze Age mining activity.

The Engine House on Ecton Hill. On the skyline to the right of the Engine House is a spoil heap from another mine. The scatter of bushes immediately below this were pointed out as an area of Bronze Age mining activity.

The dressing floor, where women and children broke the ore out of the rock wound up from the mine. Waste was tipped over the edge.

The stone wall at the back of the dressing floor was built much later, in the 1880s, and formed the back wall of a dressing shed.

The Powder House.

The Powder House.

A wooden lining was attached to the batons to prevent sparks.

A wooden lining was attached to the batons to prevent sparks.

From 1825 a number of companies succeeded each other in leasing the mine from the Duke. The Powder House (for the storage of gunpowder) was built relatively late, in 1884, by Ecton Co. Ltd (formed 1883, folded 1889), but it is likely there was a previous building for the same purpose. It was set away from other buildings for safety and was purposely built with strong walls and a weak roof to direct any blast upward.

In the first early days of the mine, we were told, though it really is hard to believe, that water was removed by a series of rags on ropes which were fed round on pulleys and wrung out. A vertical shaft, the Main Pipe, was excavated from the hilltop and Deep Ecton level was driven in horizontally to meet it. By 1750 the mine was down to the water table. Vertical shafts were taken off Deep Ecton level and ore was brought up and out of Deep Ecton in tubs.

In 1760 a single shaft was sunk the entire depth of the mine from the Engine House.  The shaft allowed air to flow through the mine from Deep Ecton. Pulleys to bring ore out up the Shaft were worked by horses turning a drum in the Gin circle. The circular wall for the winding drum can be seen next to the Engine House.

The Gin Circle.

The Gin Circle.

The Shaft drops ft below this exit!

The Shaft drops for hundreds of metres below this slab!

In 1788 the horses were replaced by a Boulton and Watt double acting steam engine (though the horse mechanism was kept as a back up). Boulton and Watt were the first company to make an engine which would turn something round, rather than up and down, so this was cutting edge stuff. It was the oldest steam-powered mine winding engine house in the world. Horses could move 30 tons per shift, but the engine could move 40 tons.

Gradually the seam became narrower as the miners dug further down and by the late 1790s, it was obvious it was running out. Efforts were made to improve efficiency in extracting the declining resources and in 1804 a new level, Salts level, was driven to bring the ore out at the dressing floor, instead of bringing it up from the outlet of the Deep Ecton level. In 1850 pumping was stopped and the mine finished in 1891.

And then a bit of geology …

Donning hard hats and lamps, we made our way into the hill.

The mine entrance.

The mine entrance, Salts level.

Our guide Pete Webb explained how the surrounding limestone was formed by the deposition of skeletal remains of marine organisms at the bottom of the sea which covered the area around 350 million years ago. At this time Derbyshire was actually very near the equator but has drifted slowly northwards to where we are now.

The horizontal ledge shows the sea floor at the time with 'wayboard' of volcanic ash above.

The horizontal ledge shows a bedding plane, which was the sea floor at the time it was made. A ‘wayboard’, or thin layer of volcanic ash lies immediately above this.

The seabed layer could be seen in the bedding plane at the side of the tunnel, with a layer of grey clay above it caused by volcanic ash. These layers are known as wayboards. Miners would gather mounds of the clay and use it to sit their candles in.

Pete explains the formation of the fault he is standing next to.

Pete explains the formation of the vertical rock fault above his head, and the changes in the angle of the bedding planes we were seeing.

Over millennia, the rock was fractured by large scale movement and volcanic activity. Water bearing dissolved minerals entered the fractures where the minerals crystallised out to form veins of mineral material. It’s estimated this mineralisation took place about 290 million years ago.

Calcite veins - an indicator that other minerals might be present.

White calcite veins – an indicator that other minerals, such as Copper, might be present.

White calcite veins in the rock were a sign that there might be a copper vein and the miners would open up side passages to investigate.

Standing in the fault, near the vertical Pipe shaft. Green malachite (copper (II) carbonate can be seen near the centre of the picture.

Standing in a fault looking up, near the vertical Pipe shaft. Green malachite, a copper ore, can be seen near the centre of the picture.

The Pipe - the original vertical shaft. In 1750 all the ore was taken out of the Pipe.

The Pipe – the original vertical shaft, its shape is very irregular compared to the later Shaft, made when technology had moved on.

Looking down the more regularly-shaped Shaft.

Looking down the more regularly-shaped Shaft.

Guide Pete Webb points out a deposit of malachite (copper carbonate hydroxide)

Guide Pete Webb points out another deposit of green malachite.

Galena, lead ore, can be seen in this crack.

Galena, lead ore, can be seen shining in the crack in the centre of the picture. Here tremendous forces  have moved the rocks so the layers are near-vertical. At one time, we were told, there was a water-powered blast furnace on the dressing floor, for the processing of lead.

To get the ore out, explosive black powder was placed in drill holes. The transition from hand-hewn triangular cross-section holes to cylindrical ones could be seen through the mine. The triangular ones were created by two men taking turns to strike the chisel which was turned between strokes by a third man. Progress was only 5 ft a week, By the 1860s compressed air was being used to drill cylindrical holes. This was generated by a steam engine in the tunnel fed with firewood. It really is hard to imagine what the working conditions were like.

Triangular cross-section hand-drilled hole.

Triangular cross-section hand-drilled hole.

Longer cylindrical drill hole.

Longer cylindrical drill hole.

Iron rails rested on stone sleepers along the sides of the tunnel. It is thought they were arranged like this rather than across the tunnel so that ponies pulling ore along the rails could walk down the middle of the tunnel.

Stone sleepers along the sides of the passage.

Stone sleepers along the sides of the passage, looking towards the exit of Salts level.

Slickenside formation.

Slickenside formation, Salts level.

Before we left the tunnel, there was time for one last amazing piece of geology – a rock at the side of the tunnel showing slickenside, where two sides of a rock fault slid across each other. The slickenside created on the other side of the fault could be seen a little further down the tunnel. The image of Apes Tor, Ecton, below really brings home the forces involved in folding these rocks into such convoluted shapes, which led to the rich mineral deposits being created.


Dovedale Family Trail

On Saturday 15th March we took to Dovedale to test our new Dovedale Family Trail. It was a windy start but the weather held and we had a lovely day. Myself and Anna were joined by Martha Henson, who has been working with us on all of the Buxton Museum apps.

 Twitter grab 

As I have mentioned before, Dovedale posed a different set of problems than the other sites. For starters, there is no mobile signal. We got around this by creating the trail as a pdf that can either be downloaded to a device or printed in advance. There is also a simple web-version available on the Buxton Museum apps site. On the test day we all used printed copies and, although low-tech, everyone thought it worked well and preferred it to a screen-based activity. The paper copy meant families were sharing, ticking things off and writing things down, and not worried about breaking anything.


Everyone seemed to use the trail as a good info sheet and ideas for activities, but several families told us they weren’t always clear where they were. For instance, Lover’s Leap is a great place to stop and have a breather (especially as you’ve just hiked up the hill to get there!) but there aren’t any signs to tell you where you are. Some of our location choices for activities also seemed crazy once we were there. At the Stepping Stones we ask people to ‘Look at the fossils below your feet’, but this location is far too busy for anything else than crossing the river.


Reynard’s Cave was everyone’s favourite spot on the tour (staff favourite too!). We do not encourage people to climb up the slope to the cave itself because the climb is steep and dangerous, however, most families on the event did. Lots of objects have been found in Reynard’s cave, from Roman pottery to animal bones, making it a collection highlight too. One family liked that they could connect visiting the cave, and Dovedale, to objects we have in the museum and said it would make their next museum visit more relevant.


Walking back was the hardest part, even though we knew we had lunch at the end of it! Like many of the families, I would prefer a circular walk of Dovedale and we are looking into the options. We had some great suggestions on how to develop the activity. Could we turn it into an orienteering challenge? Or perhaps run it as a regular group event? If you have tried the activity on your own we would also love to hear your thoughts. Until May 31st we are offering a small prize to anyone who completes the Dovedale trail and fills in our online survey. Prizes can be collected from the museum.

Fact of the Week: Children love dead things

Earlier this week we ran a family activity called ‘Design the Wonders’. The idea was for children to have a wander around the Wonders of the Peak and choose their favourite object. Ben, acting as the glamorous assistant would  photograph the object for them – you can spot him in the reflection below. The child then glued it to their nicely decorated worksheet and described why they had chosen the object, why they liked it and what they wanted to know more about.

Liffs Low
Piping the bear to the top spot was the Liffs Low skeleton… ‘I’ve never seen a skeleton before’. With some kids wanting to know how he died and how long he had been buried for? The children proved to be a macabre lot with the skulls also proving popular.Bones

Less predictably was the spear appreciation club; It is awesome ‘because they were used’ and it prompted the question ‘what did cave men kill?’

It wasn’t all morbid. The mermaid was chosen ‘because she looks like Aerial’ – she doesn’t and actually I guess she could almost be classed as another dead thing.   But there was an appreciation for the Blue John and a piece of amethyst ‘because it is coloured pink and purple and these are my favourite colours’.

mineralAs well as being a fun activity it was interesting for us to see what objects the children were passionate about. We will be thinking about their responses in our design ideas for the Wonders of the Peak gallery.

One thing that really came across was that the children wanted to know the personal stories of the objects. What would the Liffs Low man have looked like? Whose skull was it? How and why did he die?

 I have seen reconstructed skulls on TV and in museums, so this might be something we look at doing here in Buxton. What do you think?
You can see information on the reconstruction of Liverpool Museums Leasowe man here and National Museum Wales’ Penywyrold head here.

The Beauty of Minerals

Last week I had the good fortune to share an office with Dr Noel Worley, president of the Yorkshire Geological Society, as he cast an expert eye over the Burgess Collection.

Noel and his expert eyes.

Noel and his expert eyes.

The collection includes the research papers, notes and 1966 thesis of A.S. Burgess: ‘The Geology of the Millers Dale Area with Special Reference to the Igneous Rocks’. In addition, the collection also includes 156 thin section microscope slides prepared from field samples by his father, H.W. Burgess. According to Noel, this is one of the most complete collections of Derbyshire Carboniferous igneous sections that exists anywhere.

Some of slides, prepared by H.W. Burgess from his son's field chippings.

Some of the mineral slides, prepared by H.W. Burgess from his son’s field chippings.

Preparing rocks and minerals to a thickness of 0.03mm allows them to be studied through a petrological microscope, such as the one Noel used to check and identify the samples. Having little background in geology or mineralogy, I was unfamiliar with this piece of equipment, and suitably amazed by its capabilities. This got me thinking about how Collections in the Landscape could also help explain the science behind the collections.

Highly amydaloidal basalt with centripetal succession of gret semctite and green chlorite (Crossed Polars)

Highly amydaloidal basalt with centripetal succession of grey semctite and green chlorite (Crossed Polars)

Stained Glass? No! This photomicrograph shows the vivid, striking images produced when viewing the interference colours of a section. As well as being visually stunning, viewing samples in this way can reveal a wealth of information including the composition of different minerals.A petrological microscope uses polarised light and a rotating stage to examine mineral sections. It uses two polaroid sheets, one of which, the analyser, can be moved in and out. Polarisation restricts the electromagnetic vibrations of light to single plane of movement. Confused? Here’s an amazingly simple example even I understood!

Noel's Petrological Microscope

When examined under plane polarised light (analyser out), mineral sections are seen in their natural colour and features such as crystal shape, transparency and fracture can be observed. The limestone section below is seen in this manner. Forgive the quality, it was taken down the microscope on my phone and is pretty terrible compared to Noel’s experienced snaps.

Limestone section viewed with the analyser out (plane polarised light)

Olivine Basalt section viewed with the analyser out (plane polarised light)

When the analyser is included (analyser in) the sections are seen in a cross polarised light. Instead of the natural colours we see the interference colours. As the rotating stage is turned, colours move between a maximum colour and extinction (where they show no colour i.e. black). The nature of these points allows certain minerals to be identified.

The picture below is the same sample as above, but with interference colours. Again, apologies for my awkward camera work!

Limestone section viewed with the analyser in (Cross polarised light)

Olivine Basalt section viewed with the analyser in (Cross polarised light)

I’m fascinated by the aesthetic beauty of these mineral samples, as well as the incredible amounts of information that be gleaned from them. I’d like to think Collections in the Landscape will be able to feature methods of scientific enquiry and give our collections better, richer scientific context.

Dovedale: making sense of the collection

Dovedale: making sense of the collection

One of the main challenges we face with Collections in the Landscape is making sense, and making the most, of Buxton Museum and Art Gallery’s collections. This is a particular challenge with Dovedale, one of our trial locations for the project. We are currently working out how to interpret the multi-layered history of the area in a way that is interesting and engaging for visitors.

To begin with we need to consider the area we are dealing with. There is the Dove valley itself, but do we include the offshoots such as Hall Dale, and how far up the valley do we go? J.W. Jackson led a trail that went from Dovedale in a circuit around to the Manifold valley. If we used this template we could also include items held in other museums, including the spectacular Beeston Tor hoard at the British Museum. These are all things we need to consider.

Moonlight at the Straights, Dovedale

Moonlight at the Straights, Dovedale

 In the Enlightenment period Dovedale was a popular site with tourists, travellers and artists, much as it is today. As part of the recently finished project Enlightenment! Derbyshire Setting the Pace in the 18th Century Buxton museum and regional partner sites acquired 6 artworks relating to the area. These acquisitions complement our existing pictures collection which already contains over 35 Dovedale-themed works from different periods.  We also have a collection of books from this period that talk about walks and tales of Derbyshire (including Dovedale) and booklets of tourist prints, plus more that is yet to be catalogued in depth. In addition to these works we have a rich photographic archive, most of which is available on Picture the Past.

Jackson in Dovedale

Jackson in Dovedale

Moving more up-to-date, we also have several boxes of archive material from J.W. Jackson relating to Dovedale. Jackson was heavily involved in the movement to get the Peak district declared as a national park, to do so he focussed on the geological importance of Dovedale which he himself had excavated extensively. These boxes include newspaper cuttings, pamphlets for talks given by Jackson and photographs, but again we need to record this material in depth.

A sample of Jackson's collection, stored in pill boxes

A sample of Jackson’s collection, stored in pill boxes

Interpreting Jackson’s collection is the biggest challenge we face. In total there are 480 records of fossils from the area, but within each record there is anything from 1 – 80 specimens, sometimes even more! These were excavated from various sites along the Dove valley and certainly offer an insight into the biodiversity of the area during the Lower Carboniferous period. However, how do we make this extensive collection accessible? We will be meeting soon with the National Trust to discuss our ideas for the project and learn about their current work too. One of their volunteers, Mike Allen, has been cataloguing the find sites in Dovedale and we are very interested in seeing his work.

Discover Geology: An Augmented Reality Field Trip

The view from the top of Mam Tor, a very pleasant hike!

The view from the top of Mam Tor, a very pleasant hike!

I recently had the good fortune to join the University of Manchester on a field trip to Castleton and Mam Tor. The purpose of our visit was to test out ‘Discovery Geology’ – a recently developed augmented reality field trip. The experience was co-developed by a cross departmental team that included Mimas, the Engineering and Physical Sciences Faculty and Manchester Museum.

Augmented reality is something we’re curious to explore as part of Collections in the Landscape. As soon as this trip came onto my radar, I knew it would be a valuable exercise to see what other people were already doing digitally, out there in the Peak District.
But before we pull on our walking boots, what was ‘Discovery Geology’? And how did it work?

In the developers’ own words:

The app allows the user to enhance their walking experience, learning more about the geological history of the Hope Valley with expert academic commentary and insight. Other functionality includes:

  • Feature finder identifying fossils, oil deposits and minerals such as Blue John.
  • Location based Points of Interest (POI) along the way navigating your journey.
  • A compass allowing the user to find their bearings, to compliment the audio commentary.
  • Geological ‘Beneath your Feet’ diagrams illustrating the geological make up at points along the route.
  •  Dynamic navigation informing the user of the closest POI.
  • Route finder – audio directions to the next POI…. and many more.

The trail is hosted on the Junaio app, an AR browser which allows users to create, explore and share information by layering this digitally onto the real world. This is viewed through a device’s camera, hovering over a real-time view. Alternatively a map view can be used.

This video by the developer shows some of the capabilities of the browser:

So did it work…?

Starting in the car park by Castleton Visitors Centre many users experienced difficulties accessing the app, mainly due to poor signal in that area. Fortunately this was the worst signal spot on the whole route and so once the group moved off things improved.
Being unfamiliar with Junaio many people had difficulties finding their way around the app at first (myself included!). However, once I’d got to grips with the layout, capabilities and design I found the tour pretty easy to interact with. That said, some users did give up due to the tempting paper versions of the tour handed out to everybody before the walk started. This just goes to show how inclined people are to take the easiest option!

In general, audio, images and texts loaded fairly quickly. Once or twice I had to wait for audio to buffer half-way through but this was not common. So long as GPS is functioning it was simple and straight forward to interact with points of interest through camera view or via map view.

Each point of interest typically contained the following content:

  • One or more audio commentaries describing geographic features in the landscape. For example at POI 9 – Top of the Ridge, there is a ‘Look North’ and ‘Look South’ option, each linking to an audio guide explaining the view and underlying geology.
  •  ‘Beneath your Feet’ opens up a page with a geological map with the walking route laid over the top. The POI is marked on and users can see what type of rocks they are currently standing on.
  • ‘Route’ links to a short audio instruction to give the users directions to the next POI. Live View or Map View are not detailed enough to show pathways etc.
  • Some POIs had more specialised content, for example POIs 10 – On the ridge, and 14 – Windy Knoll, had links to images of nearby rocks and prompted the user to locate fossils or other interesting features. The ‘Feature Finder’ at Windy Knoll is a particularly good example.
Geological features at Windy Knoll

Oil seepage was just one of the geological features that the app highlighted at Windy Knoll.

The main problem encountered was battery life. The phone was fully charged that morning but constant use of GPS and frequent use of my phone’s camera on Live View drained the battery very quickly. I had a flat battery by around 3pm. This can be saved by maximizing use of Map View and using Live View as little as possible but that sort of negates the point using of AR in the first place.

Bright sunlight was also problem in places, making the screen difficult to read. Another slight hazard was the temptation to walk whilst looking at/through the phone screen. This caused more than one near trip or stumble.


Overall the app and content functioned well in the landscape and, save for a couple of black spots, signal was good and content was fairly quick to load. Problems such as signal or battery life will probably resolve themselves as technology progresses and as phones/tablets get more and more sophisticated. It may be advisable to limit trail lengths until battery lives significantly improve.

The app did look better and seemed easier to use on tablet devices. That said, it was not difficult to use on a smart phone. This is more of an aesthetic comment although clearly the quality and size of photographs on a tablet make visual information more accessible.

The app turned a pleasant hike into a more enriching experience with only a couple of technological hiccups. Although this tour didn’t utilize museum collections it certainly wouldn’t be difficult to insert this type of content into it. I’m definately keen to explore the possibilites of AR as part of the project…

Don’t just trust my review!

Mimas have already blogged about the field trip

MancOnline also tested out the trail

Visit to British Geological Survey

On 29th July myself, my colleague Ben and one of our Volunteers Brian visited the British Geological Survey (BGS) to take a few of our fossils specimens for photography and 3D scanning. BGS are coming to the end of a digitisation project called GB3D type fossils, run by Simon Harris and Dr. Michela Contessi and funded by JISC, which has been 3D scanning all the type fossils in museums in the UK. The data will soon be freely available on their website and the results are quite impressive. If you have the equipment the 3D scanned fossils can also then be downloaded and printed on a 3D printer.

The 3D scanner in action

The 3D scanner in action

One of our type fossils being photographed at BGS by Simon Harris

One of our type fossils being photographed at BGS by Simon Harris

Our specimens were particularly small so only one item, a brachiopod, was big enough to be scanned. The other two fossils, holotype and paratype trilobites, were photographed on both sides and the labels of the items were also photographed as a record. It was also a great opportunity for us to learn some tips to improve our own photography, for instance objects should be lit from the top left when photographing.  

BGS retain borehole cores from all over the UK in their massive stores

BGS retain borehole cores from all over the UK in their massive stores

The Victorian cases in the BGS museum stores

The Victorian cases in the BGS museum stores

Whilst there we were also lucky enough to be shown around their museum collections, library and stores by Simon Harris, who will soon be the collections conservator at BGS. We were surprised by the size of their stores – 28,000 trays housing over 3 million specimens, and that isn’t including all the borehole samples they retain! The type, figured and cited collection alone is around a quarter of a million specimens. The museum collections are still kept in wonderful Victorian wooden cases and we were interested to find that they hold several fossils collected by one of the main contributors to Buxton Museum & Art Gallery’s collections, J. W. Jackson.

Specimens collected by J.W. Jackson from Mam Tor, Castleton, Derbyshire

Specimens collected by J.W. Jackson from Mam Tor, Castleton, Derbyshire

As part of the GB3D Type fossil project, later this month there will be a treasure hunt for 3D-printed fossils created from the 3D scans. A printed fossil will be hidden in some of the museums that have taken part in the project and the BGS are inviting visitors to search for the 3D prints and enter the treasure hunt! The treasure hunt will run between 22nd August and 12th September. We will select five winners from the entries at our museum and those winners will get a VIP tour of Buxton Museum & Art Gallery. The winners will also be entered into the grand prize for a chance to win a tablet preloaded with 3D fossils. Details of how to take part will and what to look for will be updated shortly.