Dry Store Room No. 1: The Secret Life of the Natural History Museum. Richard Fortey

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      A tray of molluscs from the original Sloane collection that formed the nucleus of the Natural History Museum.

      Tray of molluscs from the Sloane collection. Photo © Natural History Museum, London.

      Still, opening one drawer at random, it was a surprise to find that there were dozens of butterflies inside, all neatly lined up, as if they were brooches in a jeweller’s shop. Every butterfly was pinned tidily through its thorax, with wings spread out to display the fore and aft pairs, each wing shimmering with iridescence as if it had met its death only minutes ago deep in the Amazon rainforest. Some specimens were laid out to show the underneath of the wings instead, which were brown-blotched and mottled, although no less intricate than the dorsal surfaces, if less spectacular. Pushing the drawer closed again, my gaze wandered along row upon row of similar ranks of drawers. Some part of me tried to do the arithmetic: there must have been about a hundred butterflies in the drawer I had been looking at. Multiply that by the number of drawers in the rank before me, and that number again by the number of cabinets – the mind soon began to reel as the noughts piled on. And to think that the butterfly specimens I happened to be examining were some of the largest and most spectacular of the Class Insecta – the Lepidoptera, the show-offs of the Entomology Department. To be sure, most insects are flies and small beetles, and maybe five times as many of these modest animals could be shunted away inside a single drawer. Many, many more of these insects must have been secreted away on other floors of the department. Hundreds of thousands soon became millions. I need hardly add that very few of these are on display.

      My heady calculations were infused with the smell of naphtha, which provided a general fug throughout the Entomology Department. This is a chemical designed to keep away the pests that might otherwise gorge on the insects in the drawers – insects that eat long-dead insects. For of all the members of the animal kingdom the insects are endlessly inventive, experts at survival under almost any conditions, able to prosper where nothing else can earn a living. For some of them, the glue on an old label is a feast. When our own vainglorious species gets its eventual come-uppance – as it will – this will not disturb the cockroach (ah! So here are the Blattidae) one whit, nor jeopardize the prolific weevil, nor distract the swarming aphid. I soon learned that the very success of the insects poses the greatest problems to the entomologist. There are so many species, particularly in the tropics, that simply cataloguing and naming them all can seem an insurmountable task. There is still a long way to go, despite more than two hundred years of descriptive endeavour. We shall see later how scientific ruses have been suggested to get around this labour of Hercules. But, for now, I retreated back down the little hidden staircase into the familiar world of the basement of the Natural History Museum, and to the embrace of the trilobites.

      Not far from my office door there is a tiny lift. A brass plaque in the lift informs the passenger that it was installed thanks to the beneficence of Prof. Oldfield Thomas FRS, and it certainly saved the poor curator from walking all around the galleries to get upstairs. I took the lift upwards to the third floor, where the all-purpose key had to be used again to let any passenger out. A kind of cage encloses the elevator’s inmates, and as it whizzes away there is an odd sensation of being carried upwards through solid walls. I emerged close by a cross-section through a great giant sequoia tree propped against the wall; this specimen had been displayed to the public ever since the early days of the Museum. I remembered seeing it as a child. Time was spelled out in the tree rings that circled the richly red wood. As evidence of the antiquity of the tree, human events were ticked off along one of its diameters at the appropriate number of annual tree rings. The tree was so big when America was ‘discovered’; it was of such and such a size when the Black Death stalked through Europe.

      There is probably no more graphic way of comprehending earthly time than the stately chronometry of this tree. This one individual plant had seen more than a thousand years of modern human history, yet this was perhaps one-hundredth of the time since our species emerged from Africa. Then again, this life span of Homo sapiens (at most a hundred thousand years) was just a late sliver from the great trunk of geological time. The stretch of time life has been on Earth runs to at least 3.5 thousand million years. Or, if you prefer, more than a million times the age of the great arboreal Methuselah of living organisms that I was contemplating. Every specimen preserved in the Museum is a product of time, and evolution, cradled in the bosom of our planet. The Natural History Museum is, first and foremost, a celebration of what time has done to life. If the world is to remain in ecological balance, there is a pressing need to know about all the organisms that collaborate to spin the web of life. The planet’s very survival might depend upon such knowledge. I want to drag all the visitors to the Museum up to the tree and explain about time, and how we exist atop a vast history that has made us what we are, and that we ignore that history at our peril. But if I did, I fear that I should be branded with the same label as that funny old man who comes up in the street to tell you about his messages from angels.

      Not far from the famous tree there is another of those locked doors. By now I knew what to expect. Behind the door there would be a further secret domain, and so it proved. This was the portal to the Herbarium, centre of the Department of Botany. Built almost at the top of the west end of the original Museum, it was the greatest surprise so far. I had become accustomed to the idea that behind the scenes I would find workaday spaces, functional and purposeful, but scarcely matching the grandeur of the public galleries. The Herbarium disabused me of that notion, for before me lay another grand hall, spacious and airy, illuminated naturally from skylights high above. Running along almost the whole length of the ‘nave’ of the hall (which indeed was as long as a large church) there were two ranks of polished hardwood cabinets. By now I knew what to expect of these – they would house the collections. And so it proved. Where a door was ajar I could see folders neatly stacked side by side in the cupboards, a different kind of collection from any I had seen so far. On tables between the cabinets some of the folders lay open for study: each one contained a number of herbarium sheets a couple of feet in length, on which were laid out pressed flowers; well, not just the flowers, but whole plants, leaves, stems and all. The one before me seemed to be a kind of Aquilegia, and it was spread out in the most delicate way, so as to display the beauty of its lobed leaves, and the pendent flowers. The fresh green colour of life had faded to a yellowish hue, tinged the colour of dry sherry. But the sheet had preserved the essence of the plant, much as a sepia photograph might preserve a Victorian street scene. There in immaculate copperplate script was the scientific name of the plant recorded by some long-retired curator – the date of collection showed that the plant had been pressed well over a century before, 24 May 1867. These herbarium sheets were clearly as permanent as the other collections СКАЧАТЬ