Artifact identification and analysis is central to what we do in the archaeology lab. But most of us do not always know exactly what we are looking at – and we would not be very good scientists if we pretended we did! So how do we figure it out? What do we do when we do not know, for instance, what kind of lithic (stone) material was used to make a projectile point, or what kind of shell was used to make a bead? That is where our reference collections come in.

One drawer of many in our lithic comparative collection. The loose tags inside are for use in photography.

A reference collection is a grouping of specimens that have been thoroughly researched and identified by an expert in that field and labeled accordingly. Think of it as a 3D encyclopedia. With anything I can’t identify on my own (or maybe I just want to be more confident about my identification), I could compare to examples in the reference collection until I find the match Okay, it doesn’t always work that tidily, but you get the idea. Over the past few months, I have been working with my co-worker, Amy Bleier, and some of our volunteers to get the lithic comparative collection organized and ready for use by researchers and contractors. But you may be wondering… why would archaeologists find a collection of different types of stone useful?

Lithic raw materials have unique mineralogical signatures that allow you to trace them back to their source (e.g., an outcrop of rock in eastern Montana). So if you know that someone at a hunting camp in eastern North Dakota was making tools from a stone that originates in Colorado, then it tells us something about human mobility during that time, and/or trade relationships between those hunters and groups in distant areas. We can also find patterns – for instance, the raw material that people use may change over time (directing us to look for changes in other behaviors, such as subsistence or settlement). Or people may only use a certain material for particular classes of tools – this helps better understand tool technology and specialized knowledge relating to flintknapping.

A map of lithic raw material sources in the North Dakota region. Note the concentration of sources west of the Missouri River.

Physically assembling a collection likes this is the most difficult and time-consuming part. We were fortunate to receive a donation of a completely assembled lithic comparative collection from the late Stanley A. Ahler, Ph.D., whose work in the region laid the foundations for the last thirty or so years of archaeology in North Dakota. Over many years, Ahler, with help from his colleagues and acquaintances, collected more than 280 lithic samples from across the United States. We regularly rely on this collection for lithic analysis. But now we want it to be useful to people who can’t come to our office when they need to compare different types of raw materials.

With the help of SHSND volunteers Doug Wurtz and David Nix, we have taken high-resolution photos of all specimens, written narratives on their origins and characteristics, created finding aids, and compiled a bibliography for the 16 most commonly found materials in North Dakota. The next step will be to create an app for mobile devices so archaeologists and other researchers can take advantage of the collection while they are in the field or doing analysis in their own labs.

Antelope chert is silicified peat that occurs primarily in non-glaciated areas southwest of the Missouri River. It comprises woody plant materials and can contain whole or fragmented gastropod shells. The type site (and quarry) is in McKenzie County, North Dakota.

Porcellanite is vitrified claystone and shale that forms around burned lignite seams. The source area is concentrated in southeastern Montana, northeastern Wyoming, and western North Dakota.

Knife River flint originates in Dunn and Mercer Counties, North Dakota, though cobbles can also be found in gravel deposits in the southwestern part of the state. It is typically brown, fine-grained, and develops a yellowish-white patina on exposed surfaces.

Because there can be a lot of color and texture variability in one lithic type, we will include multiple images when necessary to depict variations. Feel free to make suggestions as to how we can make the app useful to you. We will let you know when it goes live.

Fort Totten State Historic Site, on the south-east edge of the town of Fort Totten, features a dozen or so brick buildings, all with distinctive columns lining the front porches and entrances. Unfortunately, many of these columns had succumbed to rot and water damage over the years and were in desperate need of preservation.

The original military fort was built of logs in 1867 and replaced with buildings built using locally made bricks in 1868. These original bricks and the wood columns require regular maintenance and care.

Soldiers in front of a building at Fort Totten, circa 1870. Note the distinctive columns on the porch. SHSND 670-21

After its tenure as a military post, Fort Totten became an industrial boarding school for Native American children in 1890. Pictured are staff members of the school on a front porch around 1890. SHSND 32286-61

The columns at Fort Totten had started to rot and were in need of restoration.

This summer, we replaced 7 columns. To replace the columns, the existing rotten columns were removed and the porches shored up temporarily. Large fir beams were hand cut into the distinctive tapered shape of the historic columns at Fort Totten.

The footers at the base of each column were then poured and the columns painted to match the historic colors.

Although likely overlooked by most visitors, the columns at Fort Totten are an important architectural feature of the site and well worth restoring. Restoration work is an important aspect of our preservation of historic sites at the State Historical Society of North Dakota.

We invite you to visit Fort Totten and admire the craftsmanship of our newly restored columns.

I don’t like to shop. My idea of shopping is to know exactly what I want at the store and the aisle that contains the product I need. In, out, done.

I was recently in need of a new set of kitchen knives. Over the years I have sharpened and resharpened the set of Chicago Cutlery knives that my wife and I received as a wedding present. Replacement of the worn-out set was not a problem for me. There is a retail store where I have “shopped” on numerous occasions, and I knew where the knives were located. In, out—wait.

Unfortunately, I like gadgets.

The knives were displayed next to the latest and greatest knife sharpener. I have a number of sharpeners, but I figured one more couldn’t hurt.

Across the aisle from the knives was a display of spaghetti canisters; glass and stainless steel with a screw-top lid. I like spaghetti. It seemed only right that our noodles be kept in the latest kitchen storage innovation.

In, out (not as fast as I had anticipated), done.

Where am I going with this story?

I take it for granted that the store down the street has everything I need. Imagine, if you will, that it was the year 1717 and not 2017, and I needed a new knife, a new knife sharpener, and a food storage container. If the store wasn’t there and I had to craft these items, how would I begin?

The State Historical Society of North Dakota (SHSND) and the North Dakota Archaeological Association (NDAA) are collaborating on a project that explores these questions and more. Every other Friday at 10 a.m., an “Experimental Archaeology” program is conducted at the North Dakota Heritage Center & State Museum.

Some of the tools being used during "Experimental Archaeology"

In public learning spaces in and around the museum, flintknappers, potters, fire-starters, jewelry makers, and other skilled artisans replicate the processes that produced knives, storage containers, fire, personal adornment, and more before retail stores were available for replenishment.

Using a piece of Knife River flint to remove bark from a willow branch to make a willow basket.

Consider the knife that I so cavalierly replaced in our kitchen. If I had to make that knife myself, where would I begin? What type of material would I use to fashion the blade? Does Knife River flint knap better than Tongue River silicified sediment? Would heating the material before knapping result in a better product? What size and shape of blade would be best for downing and then processing a bison? What kind of handle would I fashion, and what material would I use? How would I resharpen the blade when it became dull? Where would I do that resharpening? (Certainly not in an earthlodge or tipi, where the kids could step on the razor-sharp flakes.)

Gary Jochim demonstrating flintknapping

When the bison was ready for eating, how would it be cooked and served? What if, instead of having glass and stainless steel containers, I had to fashion a pottery vessel by hand? Where would I begin? What type of clay would I use? How would it be tempered so that the vessel wouldn’t crack when fired? How would it be fired and at what temperature? How would I achieve the proper temperature? How would the container be shaped for proper heating, serving, and storage? How would the clay pot be incised or impressed for decoration and identification?

These processes and many more will be replicated at the semi-monthly “Experimental Archaeology” sessions. Our sessions are loose, friendly, and inclusive. Everyone is invited, and no question is too trivial.

A visitor recently asked how long it took to complete the pecking of a groove in a stone hammer. The answer was that you peck until it is done—this can take hours or it can take days, depending on the quality of the work and the resources available. Time takes on a different dimension if you are on a hilltop scanning for bison, looking out for the enemy, waiting for your clay pots to fire, or thinking about the angle of your next percussion strike while knapping a stone tool. “Experimental Archaeology” will put you in the same frame of mind.

Erik Holland, Curator of Education for the State Historical Society of North Dakota, teaching the art of pecking a hammerstone.

Join us for our next free sessions on August 11 and 25, 10 a.m. to noon, in Project Room A of the ND Heritage Center & State Museum.

After several experiments, it is obvious to me that I will never be able to eliminate shopping from my life. I do, however, appreciate the gadget store down the street a little more.

In June and July 2017, instructor Anna Andrzejewski of the University of Wisconsin-Madison held a four week, three-credit class in vernacular architecture, with a week in North Dakota’s Stark and Hettinger Counties, recording farmstead layout and buildings. (Vernacular architecture embodies the common building methods, materials, and decorative techniques used in a particular region during a specific period.) While in western North Dakota, students interviewed farmstead owners and photographed, drew, and made notes on the architectural features of the various buildings in their study. As review and compliance coordinator for the State Historic Preservation Office, I helped define the parameters of the field school.

Old stone barn under study as part of the Farmsteads on the Frontier: German-Russian Immigrants in Western North Dakota field school, June 2017, photo by Susan Quinnell

Professor emeritus Tom Carter (University of Utah) assisted the students in their endeavors, holding the tape measure, inspecting restored tractors, and commenting on what he had noted on his first trip to North Dakota. His initial impression was that the North Dakota architecture he studied was clearly architecture of the American West, a category still being defined, but which includes the false-fronted main street building, the front-gabled mountain cabin, and the ethnic architecture of various groups that settled in the American West. Also on hand was a professional architectural historian, James Sexton from Massachusetts, who emphatically agreed. Sexton has worked in North Dakota on and off for several years and has provided hundreds of architectural site forms for research at our office. Carter is writing a book on architecture of the American West in his retirement and hopes to include work from his North Dakota field research.

Small granary being measured as part of the Farmsteads on the Frontier: German-Russian Immigrants in Western North Dakota field school, June 2017, photo by Susan Quinnell

Magnificent dairy barn with added stairs that lead to a hay loft converted to barn dance floor, off of Hwy 22, Stark County, North Dakota. Photo by Susan Quinnell

Barn cat meets student in the restored dairy barn, ground level. Stanchions with individual cow’s names are in the background. Photo by Susan Quinnell

After recognizing the stone barns and farmhouses in this sub-area of Stark and Hettinger Counties as examples of American Western architecture, the second notable feature to the field school group was the date of settlement. The students asked the land owners when their farms were settled. The answer from everyone was 1910. Not 1909 or 1911, but 1910. And despite this specific date, the buildings we surveyed included traditional small stone barns, the most up-to-date dairy barns of the time, and plain residential homes. Normally one would expect to find that the small stone barns were built by the first generation, the dairy barns by the next, and a small home first followed by a larger and more stylish house later. Yet here all of these types sprang up the same year, depending on the cash resources available to the owners, and perhaps the size of the family. I hope the follow-up research is able to explain why there were both traditional and modern buildings built at the same time. I think this is an important juncture in the history of settlement that occurred after a specific point in time— is perhaps after the railroads passed through the area, making standard building materials more affordable.

The third impression Tom Carter had of the settlements he studied here was how clean they were. Many of the farms and ranches he studied further west, being more isolated and generally poorer, had a more difficult time taking away the trash. He found lots of historic trash where ever he went, but here trash piles were fewer.

The students are home now, where they will complete two more components of the field school. The first is a presentation by Anna Andrzejewski, who hopes to return to North Dakota and present her findings. The second is the development of an e-book by the students which should be completed this fall.

One of the things I love most about my job is that I get to work with a truly world class collection. It is the product of over a century of collecting, and with nearly 74,000 artifacts, it never ceases to surprise me. We have lots of things that are just downright fascinating to me, not because of what they are, but because of what they represent and what they speak to. Items that give a human touch to an event or time period, or that give us an idea of what it was like to be there.

Our collection of World War I artifacts is rich with such items. The State Historical Society collected extensively during the war, bringing in artifacts from both individuals and from the US Government. I’d like to share my list of the top 5 most fascinating World War I artifacts, all items that will be on display in the Sperry Gallery at the North Dakota Heritage Center & State Museum starting in August.

1. Orchestra Ticket and US Army Uniform Jacket (12455.1, 12455.3)

I recently completed a major project with our military uniform collection. I quickly learned to check the pockets of uniforms, because I started finding surprises. One of the best was an orchestra ticket from France crumpled into the breast pocket of a uniform jacket, like it had been forgotten there. What makes it fascinating to me? The last person to touch that ticket was probably the man who wore the uniform, and it may have even been when he was still in France. There is no way to know. It’s a very human thing to do, to forget things in your pockets, and it makes the artifact more personal to me.

2. French Combat Helmet with Battle Damage (1990.142.4)

This French combat helmet, like many of our World War I artifacts, was sent to us directly from the battlefields of France by Major Dana Wright, a North Dakota soldier. What makes it unique is the actual battle damage—an entry hole from a bullet on the right side and an exit hole on the right front side. We don’t know how the helmet came into Major Wright’s possession, and we have no way of knowing if the French soldier who wore it survived, but it speaks firsthand to the conditions and dangers of World War I battlefields.

3. French Army Leave Slip (L815)

A resident of Fargo, Sydney Mason joined the French Army and served on the battlefields in the Ambulance Corps. In June 1917, he was granted leave to visit Paris. According to the pass, he was not allowed to carry luggage or take a horse. It fascinates me for two reasons: for one, I didn’t know that Americans joined the French Army during the war prior to seeing this. Also, how many of these documents actually survive? It is something that would commonly be disposed of after it was used, and many probably met that fate.

4. German Mourning Card (L92)

This mourning card was found in a German trench by a (then) private named Neil Reid, who was part of an American unit that had just pushed the Germans back. It was sent to his mother in North Dakota, who then loaned it to the State Historical Society. The card memorializes a 20- -year-old-German soldier killed in April 1918 named Peter Rappl. Was he a loved one of a soldier who had just retreated? These were often handed out to the families of fallen soldiers, but it is a question we can’t answer.

5. German Combat Helmet (1990.142.3)

We have 18 German combat helmets in the collection and 22 dress helmets, making them far from rare. What makes this one unique? It was mailed to us directly from the Meuse Argonne Sector in France after being picked up on a battlefield there. I don’t mean that it was placed in a box and shipped to us—three 12-cent postage stamps and an address label were stuck to the side of the helmet. The label, which you can see in the photo above, is still attached.  Unfortunately the postage stamps were removed at some point in the last 100 years. I’ve heard you can mail almost anything as long as it has enough postage, but who knew you could drop a helmet in the mail and have it delivered?

You can see all of these items and many more in our World War I exhibit, which will be opening in August.

Ninety years ago, Minnesota’s Charles Lindbergh became perhaps the most famous aviator in the world when he made the first solo nonstop flight across the Atlantic Ocean. On May 20, 1927, Lindbergh took off in the Spirit of St. Louis from Roosevelt Field near New York City, and after 3,600 miles in 33.5 hours he landed near Paris to thousands of cheering people.

Lindbergh’s heroic flight thrilled people throughout the world. He was honored with awards, celebrations, and parades. President Calvin Coolidge gave Lindbergh the Congressional Medal of Honor and the Distinguished Flying Cross. To promote and encourage aviation-related research, Lindbergh, sponsored by the Daniel Guggenheim Fund, went on a three-month tour of the country in his airplane, the Spirit of St. Louis. On August 26, 1927, he landed in Fargo.

One of the many advertisements in the Fargo Forum leading up to Lindbergh’s 1927 visit

Lindbergh’s arrival to town is described in this excerpt from The Fargo Forum – August 26, 1927 Evening Edition:

He turned and twisted around the city, his plane at an altitude low enough so that many of his downtown watchers believed they could see the nation’s hero in his enclosed cab.  His flight over the city turned to the flying field, circled it in a huge sweep once, and then, evidently seeking to inspect it closer, dropped near the ground and circled it three times before ‘snaking’ his machine to the ground.

One of the many advertisements in the Fargo Forum leading up to Lindbergh’s 1927 visit

Lindbergh would spend the night in Fargo after his hero’s welcome and speech. He flew to Sioux Falls, SD, the next day.

The State Archives recently completed digitizing the Meyer Broadcasting/KFYR ¾” tapes that date from 1976-1998. During that project, I came across Lindberg’s Fargo landing on one of the tapes. KFYR reporter Dick Heidt did a story on the 50th anniversary of Lindbergh’s historic flight and visit to Fargo.  The attached clip from 1977 includes an interview with Basil Kolosky, an amateur photographer from rural Georgetown, Minn., and shows film footage that Kolosky took during the actual event of 1927. So, not only are we marking the 90th anniversary of the Lindbergh’s flight and tour, but also the 40th anniversary of the KFYR-TV story on the 50th anniversary of Lindbergh’s great feat!

Enjoy the clip!