Our first group pitch, where we shared the initial findings and it is an important learning opportunity. We categorized our discoveries thematically, but I still made the mistake of incorrectly describing the Puma in Old College from South ‘Africa’ rather than South America. James, the curator of Talbot Rice Gallery, promptly corrected this oversight, highlighting the essential role of fact-checking. They emphasised the wide range of audience groups for which the exhibition is presented, stressing that our content must be accessible to people from all walks of life. Given that the Talbot Rice Gallery is part of the university, some visitors may be deeply versed in the topics we explore, so the accuracy of our text was critical.
Most of our group, including myself, came from contemporary art backgrounds and found archival research to be very different from our usual approach. I admit that attention to minutiae is not my strong suit, especially when I am researching in a second language. At James’ request, we created a shared file for collective fact-checking. I also had my peers double-check sources, but the spectre of historical reliability often hovered over our heads.
W. H. Lizars, College Museum Edinburgh, Gen.129/121, Centre for Research Collections
Our dedication notwithstanding, we encountered a challenge with what we initially believed to be evidence of the puma’s existence – a letterhead designed by William Home Lizars.[1] It served as a starting point for my research, illustrating the extensive global connections underpinning the museum’s collection, a testament to a larger narrative of dislocation. This letterhead, commissioned by Robert Jameson for his personal use, was assumed to depict the storied puma.[2]
The reference to a tame puma in the Edinburgh New Philosophical Journal led us to draw this connection:
“The Dufresne collection of stuffed birds can be seen in the wall cabinets. Note the tame puma crouching below one of Trotter’s tables cases”.[3]
Nonetheless, a closer examination revealed a chronological mismatch; the image was created in 1822, while the puma only arrived in Edinburgh in 1827.[4][5] Additionally, the presence of three live animals in the depiction suggested that it could be an imaginative representation of the Natural History Museum as envisioned by Professor Jameson.
Though this detail was not included in our exhibition text, it served as a potent reminder to cautiously navigate through historical information and meticulously check our facts against the timeline. After opening our exhibition, a guest speaker pointed out several inaccuracies. We took these insights seriously, temporarily closing the exhibition to amend the errors. This experience taught us the invaluable role external expertise can play. Our internal checks were necessary but not sufficient. For future projects, engaging with knowledgeable individuals in the respective fields will be crucial, and we will strive for transparency and inclusivity in our communication with all involved parties, especially guest speakers. It reinforced a clear lesson: fact-checking is an ongoing, indispensable process.
[1] Fraser, The Building of Old College, 209.
[2] Ibid.
[3] ibid.
[4] Ibid.
[5] James Wilson, Illustrations of Zoology: Being Representations of New, Rare, or Remarkable Subjects of the Animal Kingdom, Drawn and Coloured after Nature, with Historical and Descriptive Details. (Edinburgh: W. Blackwood, T. Cadell, 1831), 66.
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