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The first edition of The Fishes of Illinois was published in 1908 by the Illinois State Laboratory of Natural History, representing several decades’ work to document species, distributions, and ecology. The work features detailed, color paintings of fishes attributed to Lydia M. (Hart) Green and Charlotte M. Pinkerton. In the first edition were 55 images representing 53 species, with 20 images representing 18 additional species added for the 1920 second edition. Images were not credited to specific artists in either edition.

Most of the originals were kept by State Laboratory (now Illinois Natural History Survey), and are being reviewed in preparation for accession into the University Library, University of Illinois at Urbana-Champaign. Artists have been identified for most color plates in the 2 editions: 33 by Green, 24 by Pinkerton. Three paintings bearing the name of Max Bihn (one published) were also found among the paintings long assumed to be the work of Green and Pinkerton alone. Green routinely applied a distinctive signature in ink to the front of her work.

Charles Lathrop Pack was a principal organizer of the Victory Garden movement. Victory gardens, war gardens, or, as they were sometimes called, “food gardens for defense,” are gardens meant to be supplement and even improve upon the food supply in times of shortage and rationing due to war, providing a variety of home-grown vegetables, fruits, and herbs. Not limited to typical farming areas or countryside, Victory Gardens were planted in urban areas as well. They sprang up at private homes and in public parks and allotments in the United States, the United Kingdom, Canada, Australia, and Germany during World War I and again in World War II.

This blog post is the first in a series from Smithsonian Libraries highlighting Unearthed, a new BHL collection of paleobiology literature curated by Smithsonian Libraries in celebration of the opening of the National Museum of Natural History’s David H. Koch Hall of Fossils – Deep Time exhibit. Additional posts will publish throughout 2019, so check back regularly for more fossil fun. Explore the Unearthed collection today.

Athanasius Kircher, a 17th century German Jesuit scholar whose name translates to “immortal” (from the Greek “Athanasius”) and “church” (from the German-derived “kircher”), was born on 2 May 1602 in Geisa, part the principality of Fulda in the Holy Roman Empire in Europe. The youngest of nine children, Kircher’s family was devoutly Catholic — a complicated religious affiliation at a time when Protestantism was more popular and war broke out between Catholics and the Protestant Lutherans and Calvinists in the form of the Thirty Years War (1618-1648). Not only did Kircher live during a period of war, but also of witch burnings and plague.

When Louise Rienzi wrote her guide on General Instructions for Rearing Silkworms, in 1887, she was part of a movement attempting to establish a viable silk industry for the United States. The epicenter of the new industry was California, where Louis Prevost, a French botanist, was the first to grow silkworms and produce cocoons, in 1860. The physical environment was favorable, and the industry saw some success before it eventually faded.

Several groups were formed to promote the industry, including the State Board of Silk Culture in San Jose. This organization was responsible for printing and distributing Louise Rienzi’s sericultural manual in the late 1880s. Louise Rienzi also served as Secretary of the State Board and issued official reports on the monthly and annual meetings as well as the contributions of various committees, such as the Committee on Mulberry Trees, Eggs and Cocoons.

The Library at the South African Institute for Aquatic Biodiversity is named for Mary Margaret Smith (née Macdonald), the first Director of the JLB Smith Institute of Ichthyology. Macdonald attended Rhodes University College in Grahamstown from 1934 to 1937. She was awarded her B.Sc. degree in 1936, majoring in physics and chemistry (with distinction), and became a senior demonstrator in the Chemistry Department.

The beautiful lithographs produced by Elizabeth Gould show lively birds of all shapes and colors performing mating displays, protecting their young, and interacting with their environments. A far cry from the dead-bird-on-stick approach to book illustration of the 18th century and prior, Elizabeth’s birds are reminiscent of the more dynamic figures depicted by John James Audubon; in fact, distinguished ornithologist Prideaux John Selby proclaimed “I like [Elizabeth’s illustrations] as well as Audubon’s.”