Taking a walk through a forest, running through fields of wheat or even just gazing at trees, all a far-cry from dealing with the sheets of pressed, long-dead dried plants you come across in museum collections. Good taxidermy at least looks like the original animal.
Other problems with plant specimens include their need for low light, extremely careful handling and, occasionally, mercuric chloride. Despite being phenomenally important to researchers, for everything from tracking climate change to curing cancer, plant collections are not at the top of many people’s lists when it comes to exhibitions, events and workshops.
So, what public-facing engagement can you do with herbarium specimens? Here I’ve looked at a few great case studies where creative collections are delivering brilliant botany…Continue reading →
The National Herbarium (DBN) at the National Botanic Gardens of Ireland is home to an ever-expanding collection of approximately 600,000 plant and fungal specimens from across Ireland and around the globe. This rich collection spans mainly from the early 1800s to the present day, including specimens gathered from voyages of exploration, ranging from the Americas to Asia. Some of the oldest specimens, dating back to 1661, are over 350 years old. Apart from our herbarium, the other important plant collections on the island of Ireland are held by the Ulster Museum and Trinity College Dublin. This makes the DBN collection invaluable not only as a source of natural heritage but also as a part of Ireland’s cultural legacy.
Herbarium collections are crucial to enhancing our understanding of the natural world. Beyond documenting plant species, these specimens reveal the intricate relationships between plants and their environments and tell the story of botanical discovery over time. The wealth of data gathered from this collection allows us to track historical and geographical changes in flora and helps predict future environmental impacts. Digitising this vast collection is a key step toward preserving these resources for future generations. Digital records not only provide greater access for researchers and the public but also safeguards the physical specimens by minimising handling and potential damage.
Written by Su Liu, BA English Language and Literature student at the University of Sheffield, formerly summer intern (2023) at Amgueddfa Genedlaethol Caerdydd – National Museum Cardiff.
Thomas Drummond, a Scottish naturalist, witnessed the tragedy of his accompanying Native American family – the Iroquois hunters had just lost their beloved and a newborn in the severe winter of Saskatchewan, Canada. Yet their journey had to be continued to collect the 286 specimens in Drummond’s Musci Americani, one of the richest collections of North American mosses.
‘…the whole of the continent of North America has not been known to possess so many Mosses as Mr. Drummond has detected in this single journey.’ – Sir William J. Hooker (1830)
Above is a real event in Drummond’s Sketch of a Journey to the Rocky Mountains and to the Columbia River in North America, which records his excursions during Franklin’s second land expedition. It has been adapted into an interactive digital narrative, Snow, Bonfires and Mosses, in which the reader engages with a combination of novel, visualisations, sound effects and choice-making. Choice-making allows the reader to experience different narratives and explore possibilities amid ambiguities in history.
This browser game is accessible on most devices and comes with an ‘encyclopaedia’ that includes a selection of Drummond’s moss specimens and external links to the biographies of all historical characters.
Lost stories of a distant adventure and forgotten collectors
The story of Drummond’s adventure began in Saskatchewan, 1825, where he parted ways with Franklin’s party and was joined by Iroquois hunters employed by Hudson’s Bay Company, a dominant fur trading company at the time. Their journey near the Rocky Mountains was an underdeveloped version of Man vs. Wild, surrounded by hunger, blizzards, wildlife, and humans – conflict between different tribes continued regardless of the Europeans’ intrusion.
Drummond made excursions whenever he had the opportunity, followed by sleepless nights when he had to treat his specimens before the fur brigade departed. At times, he failed to follow the fur brigade’s pace and consequently much of his work was lost or destroyed. By the time he was brought back to reality from work, he realised that he had been left ‘alone with the Indians’.
In contrast with Drummond’s objectives, the emphasis of the expeditions had been more on the exploitation of new trading routes. The capitalist powers were eager to establish colonial influence in North America and appeared to have taken local labour for granted, so the natives were not having a great time either. Drummond sometimes found the ‘fickleness’ in them hard to deal with but nevertheless depended on their work.
My colleague and BA history student Harry Pointon has pointed out the conventionalised indifference towards local hunters in the early 19th century, whose contributions are acknowledged in Drummond’s Sketch due to the complexity of his journey, as the natives play essential roles in the naturalist’s survival and are experienced guides to the flora in their natural habitat. With that in mind, my digitalisation of the exsiccatae (numbered collections of dried herbarium specimens with a common theme or title) goes in tandem with decolonising the history of the participants, especially the Native Americans.
Behind the scenes of Snow, Bonfires and Mosses
I had a blast writing, drawing and programming to make historical science approachable without being a bore, especially for slightly older children. It was hard to imagine myself working on two-hundred-year-old mosses as an English student, but I was beyond excited to see moss specimens in a great variety of sizes and colours. With the help of the Biodiversity Heritage Library (BHL) and my supervisors, I was able to put together a full timeline of events without much barrier to scientific knowledge.
The historical accounts were quite a fun read. Early modern science writing (approximately from the 17th century onwards) consisting of all sorts of information, from each step of the experiments (even if it results in failure) to personal remarks from the researchers. Unlike contemporary science writing which aims to be brief and impersonal, these accounts are vividly descriptive, and they highlight the presence of all participants: naturalists, hunters and fur traders. Drummond’s Sketch is an excellent resource that conveys his passion for botany and has proven itself practical in helping me construct my storytelling of the specimens. It is also proof of Native American involvement in naturalist excursions.
Apart from the emphasis on Drummond’s excursions and specimens, the narrative also presents parts of Native American culture throughout the characters’ dialogues. Iroquois people, for example, tend to have a strong belief in astrology and female leadership. This will hopefully create a fuller image of the Indigenous collectors, their lives, and the ways they were treated by the Europeans.
As a literature student, my understanding of decolonising history is the liberation of artefacts from hidden archives and unravelling the stories of neglected participants in the most accurate detail as possible. Drummond’s Sketch is perhaps a fortunate case for decolonising the archive, considering the common lack of credit for Native Americans. It is encouraging to see readers entertained and captivated by the story, and hopefully this has been an inspiring attempt at digitalising and decolonising museum archives for educational purposes.
Submitted by Clare Drinkell, Senior Curator Botanist at the Royal Botanic Gardens, Kew.
Editors: Nina Davies, Clare Drinkell, Timothy Utteridge. 290 pp, 234 x 156 mm. Over 700 colour photographs. Paperback, ISBN 9781842467695. Kew Publishing, TW9 3AE, UK 2023. £25.00. https://shop.kew.org/kew-herbarium-handbook
Cover page of The Herbarium Handbook
The new Herbarium Handbook is a key new addition to Kew Publishing’s series of handbooks, including The Plant Glossary and The Temperate Plant Families Identification Handbook. Unlike the other books in the series the Herbarium Handbook is a new version of a book first compiled and edited by Kew botanists some thirty-four years ago. The initial Herbarium Handbook came about following an extremely popular International Diploma Course in Herbarium Techniques at Kew. The demand to attend the course was so high that the number of applicants far exceeded places on the course. In view of the interest, the main information imparted during the course was published as a manual, widely recognised as an important reference for fundamental aspects of herbarium care and management.
The Manx Museum, part of Manx National Heritage, is both the national museum and part of the National Trust of the Isle of Man, which is technically not a part of the UK, it is a Crown Dependency. Its collecting focus is to represent the Island and its history, similar to county museums in the UK. No other museum represents our Island better and that is our strength. When accessing our material, researchers are looking for something relating to the Island itself or how it sits in context to a wider geographical area. We are an Accredited museum and, like many others, we have a collections development forum, made up of curatorial and collections management staff, through which any new proposed acquisitions have to be assessed – but this has not always the case. We still have objects within the collection which would not pass our collections development policy today.
NatSCA 