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Dr. Nick Pyenson, Curator of Fossil Marine Mammals in the National Museum of Natural History’s Department of Paleobiology, has been a longtime user and advocate for BHL. The historic data accessible through publications in BHL underpins much of his work. For example, the Discovery Reports, which present the results of groundbreaking investigations into the biology of whales, helped inform Pyenson’s studies on the evolution of cetacean body size and whale hearing.

While BHL has been a valued resource for Pyenson for many years, digital access to scientific literature has become especially important as research has shifted to a primarily telework environment.

Art is an integral part of scientific investigation and documentation. Before the advent of photography, illustrations were used to capture the natural world and share it with broader audiences through reproduction via woodcuts, engravings and etchings, and lithography in natural history publications. Even today, scientific illustration is important, articulating morphological, physiological and anatomical features with more detail and clarity than can often be captured through photographs.

Scientific illustrations are useful for communities in a wide range of disciplines. Our audiences have shared how they use these illustrations to support studies in the sciences, such as identifying the earliest observations on heterostyly in plants, researching the history of herbaria, and revisiting the legacy of women in science. Citizen scientists make use of these resources on platforms like Wikipedia and to research the identities of natural history artists.

Given that these illustrations are works of art, it’s not surprising that these collections are also providing a wealth of inspiration for artists like Dee Etzwiler, who recently used BHL images within nine pieces she created for a group show — Conversations: Reflections of 14 Women Artists — exhibited at the Maude Kerns Art Center (Eugene, OR) from 10 January – 7 February 2020.

In 1868, one of the first serious botanical works in Canada was published. Entitled Canadian Wild Flowers, the work treated nearly three dozen of “the most remarkable” wildflowers found in Canada. The publication is notable for more than its position as an early work on Canadian botany. During a time when women were largely unwelcome in the male-dominated scientific world, this pioneering book was written and illustrated by women.

Canadian Wild Flowers was authored by naturalist Catharine Parr Traill (1802-99), a trailblazer in research on Canada’s natural history. The plates were drawn and lithographed by her niece, Agnes Dunbar Moodie Fitzgibbon Chamberlin (1833–1913). An expensive undertaking and sold by subscription, the work went on to be published in several editions.

“Catharine Parr Traill is arguably Canada’s most famous 19th century botanist, though she never thought of herself as a professional botanist because women weren’t employed as such in those days,” explains Dr. Dawn Bazely, University Professor in the Department of Biology at York University in Toronto.

At the end of the twentieth century, the The Royal Botanic Gardens, Kew, The Harvard University Herbaria, and The Australian National Herbarium began collaboration on an ambitious project—to create an online index of names for all of the world’s vascular plants [1].

By combining the data in the nomenclatural indices of these three institutions—namely Index Kewensis, the Gray Card Index, and the Australian Plant Names Index—the collaboration created the International Plant Names Index (IPNI). Hosted by the Royal Botanic Gardens, Kew, today the database includes over 1.6 million records. As part of the provided nomenclatural information, IPNI includes bibliographic details linked to scanned literature in the Biodiversity Heritage Library (BHL) and links to taxonomic data through the Plants of the World Online.

Not surprisingly, given its role as a source of scanned literature for the Index, BHL is a vital resource for those working to build and maintain the IPNI database.

“I started working for the International Plant Names Index in 2013,” says Heather Lindon, Plant and Fungal Names Editor at the Royal Botanic Gardens, Kew . “I need to be able to look up protologues—the original place of publication of plant names and their descriptions. If the earliest place of publication isn’t known, we can use the name search in BHL to try to find it. Since our modern naming system dates to 1753, BHL has a lot of relevant literature for my work. Also, the rules of the International Code of Nomenclature that govern plant names apply to names published in the past, so consulting older works is still relevant for names being published today.”

Visit any major botanical research institute today and you’ll find a herbarium, or collection of preserved plant specimens. These specimens are used to identify plants, to track where and when particular plants grow, and to help understand how plants are influenced by climate change and other environmental factors.

Formal herbaria have been around for about five hundred years. The first recorded herbarium was created by Italian physician and botanist Luca Ghini in the early 1500s. Called a Hortus Siccus, or “dry garden”, the herbarium was populated by drying plants under pressure between pieces of paper and then mounting the specimens for study. Today, herbaria are integral to botanical research.

Dr. Maura Flannery, Professor Emerita of Biology at St. John’s University in New York and a Research Associate in the A.C. Moore Herbarium at the University of South Carolina – Columbia, studies the complex history of herbaria, their many uses, their digital future, and relationships between herbaria and botanical art. While she has been studying biology and its links to art over most of her career, Flannery’s interest in herbaria emerged about ten years ago.

I’m a Deep Time – Peter Buck Fellow in the Department of Paleobiology at the Smithsonian’s National Museum of Natural History where I study the ecology and evolution of prehistoric vertebrates, especially fossil mammals from the Indian subcontinent. The Indian subcontinent has one of the richest mammalian fossil records anywhere in the world. The Siwalik Hills and surrounding regions in Northwest India and Pakistan have a fossil record ranging from about 23 million years ago to about half a million years ago, making this region an ideal place to study how mammalian communities have changed through time.

Fossil mammals in India were first discovered by British explorers and naturalists in the 1830s and 40s. Hugh Falconer, Proby Cautley, W.E. Baker, and H.M. Durand discovered one of the largest deposits of fossil mammals from the Pliocene and Pleistocene (3.6 million years to 0.6 million years) in the region between the rivers Yamuna and Sutlej. These fossils eventually made their way back to the Natural History Museum in London and form one of the most important fossil collections in the world. These collections form the basis of my research on the reassessment of the taxonomy of fossil mammals from India, the biogeography of South Asian mammals, and paleocommunity change.

My name is Michelle Pinsdorf, and I am a paleontologist and preparator of fossil vertebrates in the Smithsonian National Natural History Museum’s Department of Paleobiology. Preparators’ work can cover a wide variety of duties, from fieldwork to discovering new fossil specimens, to freeing those specimens from their surrounding host rock in our laboratories, to safely housing specimens for research collections, and helping to build exhibits for specimens going out on display. We call it “grave to cradle” work.

Most of the time you’ll find a fossil preparator leaning over a lab bench with a fine tool in hand, peering through a microscope and exposing the details of a fossil that helps researchers identify and publish about it. But for the past five years, my lab colleagues and I have been working on the renovation of the Natural History Museum’s fossil exhibits. This has involved the dismantling of many previously exhibited fossil mounts to allow for the conservation of the fossils and remounting them in new poses and settings. With the significant scientific value of these fossils, a lot of research and planning happens before each individual specimen is worked on.