Thomas Hincks was born 15 July 1818 in Exeter, England. He attended Manchester New College, York, from 1833 to 1839, and received a B.A. from the University of London in 1840. In 1839 he commenced a 30-year career as a cleric, and served with distinction at Unitarian chapels in Ireland and England. Meanwhile, he enthusiastically pursued interests in natural history. A breakdown in his health and permanent voice impairment during 1867-68 while at Mill Hill Chapel, Leeds, forced him reluctantly to resign from active ministry in 1869. He moved to Taunton and later to Clifton, and devoted much of the rest of his life to natural history. Hincks was elected a Fellow of the Royal Society of London in 1872 for noteworthy contributions to natural history. Foremost among his publications in science were "A history of the British hydroid zoophytes" (1868) and "A history of the British marine Polyzoa" (1880). Hincks named 24 families, 52 genera and 360 species and subspecies of invertebrates, mostly Bryozoa and Hydrozoa. Hincks died 25 January 1899 in Clifton, and was buried in Leeds. His important bryozoan and hydroid collections are in the Natural History Museum, London. At least six genera and 13 species of invertebrates are named in his honour.

Joseph Banks possessed the greater part of the zoological specimens collected on James Cook's three voyages round the world (1768-1780). In early 1792, Banks divided his zoological collection between John Hunter and the British Museum. It is probable that those donations together comprised most of the zoological specimens then in the possession of Banks, including such bird specimens as remained of those that had been collected by himself and Daniel Solander on Cook's first voyage, and those that had been presented to him from Cook's second and third voyages. The bird specimens included in the Banks donations of 1792 became part of a series of transactions during the succeeding 53 years which involved the British Museum, the Royal College of Surgeons of England, and William Bullock. It is a great pity that, of the extensive collection of bird specimens from Cook's voyages once possessed by Banks, only two are known with any certainty to survive.

Georg Josef Camel (1661-1706) went to the Spanish colony of the Philippine Islands as a Jesuit lay brother in 1687, and he remained there until his death. Throughout his time in the Philippines, Camel collected examples of the flora and fauna, which he drew and described in detail. This paper offers an overview of his life, his publications and the Camel manuscripts, drawings and specimens that are preserved among the Sloane Manuscripts in the British Library and in the Sloane Herbarium at the Natural History Museum, London. It also discusses Camel's links and exchanges with scientifically minded plant collectors and botanists in London, Madras and Batavia. Among those with whom Camel corresponded were John Ray, James Petiver, and the Dutch physician Willem Ten Rhijne.

Charles Wesley Hargitt was born near Lawrenceburg, Indiana, USA, and died at Syracuse, New York. After a brief career as a Methodist Episcopal Minister, he carried out graduate studies in biology at Illinois Wesleyan University and Ohio University. He served briefly on the faculty at Moores Hill College and later at Miami University of Ohio before receiving an appointment at Syracuse University. Hargitt spent 36 years at Syracuse, and for 21 years was a trustee of the Marine Biological Laboratory, Woods Hole, Massachusetts. His research encompassed animal behaviour, cell biology, development, ecology, natural history, and taxonomy, as well as education, eugenics, and theology, and he wrote or contributed to more than 100 publications in science. Approximately half of these were on Cnidaria, with 41 of them on Hydrozoa. His most important works in hydrozoan taxonomy were on species of the Woods Hole region, the Philippines, and south China. Hargitt was author of three genera and 48 species and subspecies ascribed to Hydrozoa, seven species of Anthozoa, and one species of Cubozoa. Four species of hydroids are named in his honour.

In the final years of his life, after a long and turbulent political career, John Stuart, third Earl of Bute, was at last free to indulge in one of his passions: botany. The publication of Linnaeus's "Systema naturae" in 1735 threw the botanical world into disarray and academic argument raged throughout Europe. The production of the "Botanical tables" (1785) was an ambitious project to explain Bute's individual view of Linnaeus's system of taxonomy and was particularly composed for the "Fair Sex". Twelve volumes were published privately and presented to family, royalty and botanical colleagues across Europe. The "Botanical tables" were illustrated by the renowned botanical artist, John Miller. The illustrations are both aesthetically pleasing and scientifically correct. In this paper we consider the circumstances of the production of the "Botanical tables" and explore how the original sets of this publication and original material have been dispersed.

The natural history expedition of the American banker and stock broker Francis E. Bond and companions to the Paria Peninsula and delta of the Orinoco, Venezuela, in early 1911 is described. Biographical details are provided for the three principles: Francis E. Bond, Stewardson Brown and Thomas S. Gillin. The itinerary of their three and a half month expedition is elaborated, and notes are provided on the collection of plants, animals, and artefacts that they gathered in South America and deposited in the Academy of Natural Sciences of Philadelphia on their return.

Although Ferdinand Mueller (later von Mueller), Government Botanist of Victoria, opposed Darwin's theories when "On the origin of species" was published, there has been little detailed study of the nature of Mueller's opposition from 1860, when he received a presentation copy of "Origin," to his death in 1896. Analysis of Mueller's correspondence and publications shows that he remained a theist and misunderstood key aspects of Darwin's theory. However, Mueller did come to accept that natural selection could operate within a species, although never accepting it could produce speciation. Despite these differences he retained a cordial relationship with Darwin.

Food shortages, particularly of proteins, in Britain during the Second World War led to the suggestion re-surfacing that marine plankton might be harvested on an industrial scale first as human food, then turning to its potential use as a supplement to stock and poultry feed. The notion emanated in the United Kingdom from Sir John Graham Kerr, at Glasgow University. He encouraged Alister Hardy, at Hull, to develop the idea and the natural testing ground was the Clyde Sea Area (given the extensive history of plankton research at Millport). Unpublished documents from the archives of the Scottish Association for Marine Science shed new light on the interactions behind the scenes of this project between Kerr, Hardy and the Millport Marine Station's then director, Richard Elmhirst. Elmhirst, who was sceptical about the feasibility of the plan from the outset, went along with it; not least as a way of attracting welcome research funding during lean times but also, doubtless, regarding it as his patriotic duty in case the proposal proved worthwhile.

The roles, affordances and social agency of natural history museums are discussed in relation to the writings of Edward Forbes. These signal a motivation, in the mid-nineteenth-century, to naturalize the established social order through the systematic arrangement and display of natural history specimens. The perceived importance of the embodied messages of social order, as an antidote to radicalism and revolution, overrode concerns about temperance and abstinence and immediate fears for the physical safety of collections. The tensions between temperance, and the broader concerns about social order, were played out over the matter of the museums themselves being licensed premises.

As a senior scientist working in the Fish Section of the Department of Zoology at the Natural History Museum, Alwyne (Wyn) Wheeler was a regular library user and well-known to library staff. Always amiable and helpful, and possessing a broad general knowledge of natural history as well as expertise on fishes, Wyn interacted with library staff at all levels. A close working relationship developed where he contributed to section library management and collection building. He also published catalogues of some of the library's most important art collections. This paper celebrates the collaboration between Museum scientist Wyn Wheeler and librarians at the National History Museum.

As part of the Darwin celebrations in 2009, the Natural History Museum in London unveiled TREE, the first contemporary artwork to win a permanent place in the Museum. While the artist claimed that the inspiration for TREE came from Darwin's famous notebook sketch of branching evolution, sometimes referred to as his "tree of life" drawing, this article emphasises the apparent incongruity between Darwin's sketch and the artist's design -- best explained by other, complementary sources of inspiration. In the context of the Museum's active participation in struggles over science and religion, the effect of the new artwork is contradictory. TREE celebrates Darwinian evolutionism, but it resonates with deep-rooted, mythological traditions of tree symbolism to do so. This complicates the status of the Museum space as one of disinterested, secular science, but it also contributes, with or without the intentions of the Museum's management, to consolidate two sometimes conflicting strains within the Museum's history. TREE celebrates human effort, secular science and reason -- but it also evokes long-standing mythological traditions to inspire reverence and remind us of our humble place in the world.

In 1776, the Sienese botanist Biagio Bartalini (1750-1822) published a catalogue of wild plants growing around Siena, adding an appendix on fossils found in the same area, that is the first monograph on Sienese fossils and one of the first works of its kind in Italy. This paper provides tentative identifications of the species and an analysis of the value and meaning of Bartalini's work. The catalogue reports 72 species, each denoted by a list of names applied to analogous living taxa. Identification of single entities is extremely problematical because it can only be attempted through analysis of the literature, since the original material cannot be traced. The most interesting report is the first record of a Euro-Mediterranean Pliocene species of Sthenorytis (Gastropoda, Epitoniidae). Though important, the catalogue is incomplete, with oversights and mistakes, suggesting little familiarity with the subject. Shortcomings include some inconsistencies in the species sequence, the report of giant clams and the absence of molluscs ubiquitous in the Sienese Pliocene and sharks. Nor is it true that it is the first Italian palaeontological work in which binomial nomenclature was used, as sometimes claimed.

Menzies made the earliest extant botanical collections in the Galápagos; five sheets, representing three endemic species, are known. Menzies's own account of the visit is also extant and is transcribed here from his manuscript journal.

This review surveys recent scholarship on the history of natural history with special attention to the role of images in the Renaissance. It discusses how classicism, collecting and printing were important catalysts for the Renaissance study of nature. Classicism provided inspiration of how to study and what kind of object to examine in nature, and several images from the period can be shown to reflect these classical values. The development of the passion for collecting and the rise of commerce in nature's commodities led to the circulation of a large number of exotic flora and fauna. Pictures enabled scholars to access unobtainable objects, build up knowledge of rare objects over time, and study them long after the live specimens had died away. Printing replicated pictures alongside texts and enabled scholars to share and accumulate knowledge. Images, alongside objects and text, were an important means of studying nature. Naturalists' images, in turn, became part of a larger visual culture in which nature was regarded as a beautiful and fascinating object of admiration.

The sitters in a previously misunderstood nineteenth-century Indian group photograph are identified as four East India Company surgeons with wider interests in natural history: William Jameson, Thomas Caverhill Jerdon, John Lindsay Stewart and Hugh Francis Clarke Cleghorn, taken in Lahore at the Punjab Exhibition of 1864. The image was previously believed to depict the committee of the Madras Literary Society and to have been taken in Madras. No portraits of Jameson or Stewart have previously been known, and Jameson had mistakenly been identified as E.G. Balfour. Brief biographies are given of the individuals figured, the circumstances under which they coincided in Lahore explained, and their roles in forest conservation and the documentation of Indian biodiversity outlined. The photographer is confirmed as Samuel Bourne, and information is provided on the Scottish individuals to whom Cleghorn sent copies of the photography.

Biographical information is provided for Daniel Chambers Macreight. He worked in Augustin-Pyramus de Candolle's herbarium at Geneva during the early 1830s, and later in the decade was prominent in medico-botanical circles in London. Macreight retired in 1840, due to ill-health, and moved to Jersey in the Channel Islands where he died. In 1837, he published an innovative "Manual of the British flora" which covered both native and cultivated plants. This flora contained two novel features: dichotomous keys were provided to assist students to identify plants, and the category subspecies was employed for taxa within the genera "Rosa," "Rubus" and "Salix."

Twenty nine items of correspondence from the mid-1950s discovered recently in the archives of the University Marine Biological Station Millport, and others made available by one of the illustrators and a referee, shed unique light on the publishing history of "Collins pocket guide to the sea shore". This handbook, generally regarded as a classic of its genre, marked a huge step forwards in 1958; providing generations of students with an authoritative, concise, affordable, well illustrated text with which to identify common organisms found between the tidemarks from around the coasts of the British Isles. The crucial role played by a select band of illustrators in making this publication the success it eventually became, is highlighted herein. The difficulties of accomplishing this production within commercial strictures, and generally as a sideline to the main employment of the participants, are revealed. Such stresses were not helped by changing demands on the illustrators made by the authors and by the publishers.

When early reviewers of Darwin's "On the origin of species" chided him for neglecting to mention predecessors to his theory of evolution, he added an "historical sketch" in later editions. Among the predecessors he cited was a French émigré to American named Constantine Samuel Rafinesque, who in the mid-1830s had written about the emergence of new species at a time when most naturalists (including Darwin initially) accepted the biblical story of creation and assumed the immutability of species. Rafinesque discovered and named thousands of new plants and animals in his American travels and flooded the taxonomic literature with reports, which seemed incomplete, confusing, and excessive to other naturalists. He alienated many who later dismissed his findings and excluded them from the biological literature. Soon after Rafinesque's death in 1840, Asa Gray, the young American botanist, wrote a damning critique of his work and suggested it be ignored. How Darwin learned of Rafinesque and his views on species is the focus of this essay, which also mentions briefly the two other American naturalists cited by Darwin in his sketch. Gray seems the likely informant through his correspondence with Darwin or his close associates.