1 Botany & Plant Sciences, School of Natural Sciences, National University of Ireland, Galway; * corresponding author email: email@example.com
One of the main aims of creating online databases of herbarium images (or any data set) is to increase the ease of access for researchers, educators, and other users who may want to obtain data from the specimens without having to physically travel to an herbarium. Online herbarium databases have become particularly useful during the global COVID-19 pandemic, when many herbaria are not allowing or greatly reducing the amount of in-person visitation.
For many herbaria, online databases are still being constructed and ease of access and use can vary significantly between collections. Additionally, while a database may list a certain number of specimens held by the herbarium, it can often be the case that only a subset of these specimens are actually imaged and available to view online. Some herbarium databases are better than others in actually allowing the user to narrow down their search to get the data they are looking for. The databases range in ease of use from ‘very easy’ to ‘usable but frustrating’. Any databases that are too difficult to use often dissuade researchers from using the digital resources available on that database.
I don’t imagine that there’s an abundance of field work taking place during the unprecedented pandemic situation that we find ourselves in at the moment. However, if there was one piece of advice that I could offer to anybody taking down field notes, it would be to develop neat handwriting! Either that, or to transcribe your notes into digital form as soon as possible. Otherwise, some poor soul – who may not even be a botanist – may find themselves, a mere thirty-three years after your expedition, staring at a page of unfamiliar place names or Latin plant names, with confusion.
That said, would anybody care to take a guess at what’s been happening with the Cyclamen Society collection during lockdown? Yes, I’m taking the opportunity to get to grips with as much of the data entry as I possibly can. As with so many other collections around the world, volunteers haven’t been into the Herbarium since the middle of March. This means that our usual tasks of mounting and photographing the collected cyclamen specimens are out of bounds. Aside from the physical though, there is always plenty of digital work to do.
Written by Ranee Prakash, Senior Curator (Flowering Plants), Algae, Fungi and Plants Division, Department of Life Sciences, Natural History Museum, London.
A survey of flowering plant material stored in various fluid preservatives across several European herbaria/institutions was carried out a few years ago. The feedback received from the survey is shared and shows that the majority of the herbaria use 70% IMS (industrial methylated spirit) to store their collections.
The seed plant collections (stored in various liquids such as formalin, some have unknown liquids, and some mention poison) form a relatively small yet significant part of the botanical holdings at NHM (Natural History Museum). They include some important material dating back to the mid 1800’s and type collections such as the world’s largest flower Rafflesia arnoldii collected by Robert Brown. However, these wet collections have remained a somewhat underused asset and are in dire need of curatorial attention.
In continuation to this aim, a survey of flowering plants stored in spirit collections across various institutions in Europe was carried out in 2012 so as to assess what preservatives other institutions were using and what would be the best method to store the collections at NHM for posterity. The objective of this survey was to gather information on:
How big the spirit collection is
How the collection is used
Which liquid preservatives the flowering plant collections are stored in
This article was first published as a blog for AC-NMW, 17 May 2019.
Within Amgueddfa Cymru’s botany collections are books of dried plant specimens created by scientists and enthusiasts. Each specimen has been carefully dried and pressed, before being added to the books, sometimes with handwritten or printed notes alongside. The books are of enormous importance both in terms of modern scientific research into climate change and biodiversity, and as a way to see first hand the history of botanical exploration.
You can now look through a catalogue of the 36 books that contain non-flowering plants, fungi, lichens and seaweeds. You can read about a few of the stories surrounding these books below. For more detailed information about each book, please visit the website.
These books show the changes in how we collect, classify and name plants over two centuries from 1800 to present day. An old volume which probably dates from the 19th century entitled “New Zealand Mosses”, contains more than just mosses. Lichens, algae and even some pressed hydrozoans (tiny marine animals) have been included by the unknown collector who chose to group these superficially similar ‘moss-like’ specimens together. This donation entered the Museum’s collections after its Royal Charter was received and before work had begun on the present Cathays Park building.
In November 2017 I attended the Cross-pollination, Revaluing Pollinators through Arts and Science Collaboration conference at Swansea College of Art. The conference marked the end of a successful and pioneering project funded by both the Arts and Humanities Research Council (AHRC) and the Arts Council of Wales, combining Art with Science to explore new insight into perceptions of the value of honeybees and wild pollinators.
As an artist I’ve spent most of my career working alongside scientists on science communication projects and my current work focuses on the protection of nature and features pollinating insects, so the project was of great interest to me.
At the conference I heard many fascinating lectures and discussions but it was my chance conversation with Assistant Professor Scott McArt, from the
Entomology Department at Cornell University, that sparked a creative idea which has developed into a collaborative piece of artwork, which is now on display in the new PolliNation exhibition at the Mann Gallery in Cornell.