The Value of Scientific Collections
The American Museum of Natural History’s more than 30 million specimens and objects are a record of 4.5 billion years of change in Earth’s geology and climate, the 3.5-billion-year history of life on Earth, and the remarkable achievements of human cultures.
These artifacts, specimens, and data form one of the most important scientific collections in the world.
[MUSIC]
[The American Museum of Natural History logo appears on top of a scene of the Museum's empty main rotunda, with the Apatasaurus and Allosaurus fossils facing each other as if in battle. The angle changes and the camera is now directly below the Allosaurus.]
[MURMUR OF A CROWD]
[The video shows a timelapse of people in the hall. On screen, the text "American Museum of Natural History, New York City" appears.]
SIR DAVID ATTENBOROUGH: I've been fascinated by animals for as long as I can remember. And if you're fascinated by animals, you want to know more about them, and the great place to know about them is, of course, museums.
[The rotunda fades into Sir David Attenborough, sitting in a row of shelves that extends to the front and back. Various jars and boxes of specimens sit on the shelves.]
ATTENBOROUGH: Walking into a great collection like, like this does a number of things to you.
[CLICKING]
[Text on screen types out "Sir David Attenborough in the collections of the American Museum of Natural History."]
ATTENBOROUGH: The first of all is that you realize—
[On screen, identifiers pop up next to specific specimens. Clockwise from Sir David Attenborough: "Shrimp eels, Ophichthus gomesii"'; "American Badger, Taxidea taxus"; "Anemone models, Actiniaria"; "Quartz"; "Butterflies, Rhopalocera"; "Petrified Wood"; "Coelacanth; Latimeria chalumnae"; "Ammonite, Ammonoidea"; "Pigeon, Columba livia"; "Flying squirrel, Glaucomys sp.".]
ATTENBOROUGH: —what an enormous variety of animal species there are in the world, and you know this is only scraping the surface, anyway. And the second thing you think, recognize is that actually, this is the basis of all zoological science. If you want to research an animal, you have to know—the first thing, first question is: what animal is it? And that's not as easy to answer as you might think.
[The camera fades into the African Elephants display in the Akeley Hall of African Mammals at the Museum. Text reads, "Akeley Hall of African Mammals".]
ATTENBOROUGH: Of course, if you look at an elephant, yes, I know it's, well, an elephant, and is either an African or an Indian elephant. That's easy to settle. But if you've got a little fly,
[CLICKING]
[The camera fades into a collections space with white cabinets lining the walls. Some of these cabinets are open to reveals wooden collections boxes inside, containing many tiny flies. Text reads, "Division of Invertebrate Zoology".]
ATTENBOROUGH: which might be very important from a health point of view—
[Three inset, zoomed-in photographs of some of the flies appear, with labels above each (from left to right): "Musca autumnalis"; "Calliphoridae"; "Bombyliidae".]
ATTENBOROUGH: it might carry disease, for example— it's essential that you know what that is. So where can you discover what it is?
[The camera fades back into the same scene of David Attenborough speaking inside the collection shelves.]
ATTENBOROUGH: And the place you need ultimately to go to is a museum where they will have a specimen, which is called a "type specimen," which was the one which was described when they decided that this was going to be given this scientific name. That is the basis of all zoological science.
[The camera fades into a room filled with mammoth skulls, mastodon skulls, and other fossils from elephant-like animals.]
[CLICKING]
[Text reads "Fossil Proboscideans, Division of Paleontology"]
ATTENBOROUGH: So institutions like this are the very foundations of all zoological knowledge.
[The camera fades into another room with compacters on the wall, with a selection of books, photographs, models, and drawings spread out in front of the camera.]
[CLICKING]
[Text reads, "Research Library".]
ATTENBOROUGH: The library associated with these great museums is almost as much greatly important as the objects themselves.
[Labels appear over some of the objects, clockwise: "Field notebook", "Field photos", "Birds of Paradise Illustration", "Rare Folios", "Archival Staff Photo", "Diorama Planning Sketches", "The Mammals of Australia".]
[The camera fades back to Sir David Attenborough in the collections.]
ATTENBOROUGH: Unless you know where it came from exactly and when it came from exactly, you are missing a lot of very, very important information.
[The camera fades and is surrounded by collections jars and a turtle skull, with labels visible.]
ATTENBOROUGH: And that can come, of course, not from the object itself, but from the circumstances, the documentation, that should accompany every scientifically-collected specimen.
[The camera fades back to Sir David Attenborough in the collections.]
ATTENBOROUGH: One of the huge changes in the natural world over the past 1,000 years happened within my lifetime, or perhaps a little earlier.
[STREET NOISE, CARS HONKING]
[The camera slides to a timelapse of a New York street scene, as traffic and people rush by.]
ATTENBOROUGH: Suddenly, human beings started to increase in number, and not only increase in numbers, but increase in power in the things they can do to the natural world, not only mechanically, but chemically, for example.
[The camera returns to Sir David Attenborough.]
ATTENBOROUGH: And sometimes it's what we wish to do, and sometimes it's a byproduct and we didn't realize we were doing it.
[The colors blow out to reveal a timelapse of a forest scene, with leaf litter on the ground, a big log, towering trees, and a small sapling.]
[BIRDS CHIRPING]
ATTENBOROUGH: So the natural world is changing, and it's changing by becoming poorer and more damaged.
[The camera returns to Sir David Attenborough.]
ATTENBOROUGH: Now, if we want to prevent it becoming continuing being damaged, we have to understand how it works, and we have to understand what it is that we're doing that may have an effect on the natural world, and that is perhaps the most important thing that's facing humanity today. If we want to preserve the richness of the animal world, we have to know how it works, and these are the places that tell you.
[The camera fades to the exterior of the American Museum of Natural History.]
[Credits roll.
PRODUCER
Lee Stevens
EXECUTIVE PRODUCER
Eugenia Levenson
VR/360 DIRECTOR
Jason Drakeford
CAMERA
AMNH/L. Stevens, E. Chapman, and L. Rifkind
Jason Drakeford
MUSIC
"Carnival of the Animals – 9) The Cuckoo in the Woods"
by Camille Saint-Saens (PD) / Warner Chappell Production Music
"Taking Care of the Wounded" by Amadeus Indetzki (GEMA)
/ Warner Chappell Production Music
SPECIAL THANKS
Barbara Brown
Christine Johnson
Courtney Richenbacher
David Kizirian
Eileen Westwig
Lauren Vonnhame
Lindsay Jurgielewicz
Lisa Breslof
Mai Reitmeyer
Radford Arrindell
Rebecca Morgan
Ruth O'Leary
Thomas Baione
© American Museum of Natural History, New York, NY]
[MUSIC ENDS]
Why are collections important to science and society?
Collections provide the evidence from which scientists derive scientific knowledge, including knowledge that is directly applied to critical issues facing our society, such as:
- documenting biological and cultural diversity in a time of unprecedented environmental destruction
- developing a baseline understanding of the effects of climate change and other environmental threats
- tracking host and parasite species responsible for infectious disease
- determining the actual and potential impact of invasive pests on crop plants
- discovering biomedicines
- monitoring the changes in marine resources, such as fisheries
- examining complex histories of human innovation, trade, technology, and material culture
- understanding how human changes to Earth's chemical cycles affect sustainability
Collections allow us to study such questions as:
- How do planets form?
- How do the Earth's interacting physical, chemical, and biological processes work?
- What are the species on Earth?
- How do new species form?
- How do genes influence the structure and function of organisms?
- What is the origin of the human species?
- How do languages and other features of human societies emerge and diversify?
- How is the climate changing, and how is it affecting species, including humans?
- What do mass extinction events and climates of the past tell us about our current environmental crisis?
As libraries of biodiversity, collections also help establish species' identities. When a new animal is discovered, the International Commission on Zoological Nomenclature requires that the representative specimen for that species—the type specimen—is deposited in an accredited museum.
How a species is defined affects legislation for its protection, and almost all species of plants and animals are defined on the basis of museum specimens, including specimens held in the collections of the American Museum of Natural History.
How and why did natural history collections begin?
Modern museum collections date to the 1600s in Europe, where they were formed as “cabinets of curiosity” that included small displays of objects and specimens. They evolved into something of far greater significance. The collection and organization of biological specimens allowed early naturalists to study the characteristics of and relationships among living organisms and to establish the foundation for modern biological science. The study of cultural objects allowed the development of a detailed understanding of human similarities and differences, their archaeological histories, and transformative processes.
The American Museum of Natural History and many other natural history museums in the United States were established in the mid-19th century as institutions devoted to the housing and care of major collections for scientific research and education of the public. These institutions fostered major expeditions, which brought back renowned collections that formed the basis for new scientific discoveries and exhibitions. Many expeditions included detailed documentation, including permits. Some of these expeditions resulted in the great dinosaur collections and the first comprehensive collections of animals and plants from some of the world’s most important centers of biological diversity, such as the Amazon rainforest. Archaeological and ethnographic collections from across the globe established the Museum as a world-renowned research institution in the study of human cultures. The Museum also became a repository for scientifically significant collections that were made privately or could not be maintained by other academic institutions.
Museum collections and collecting institutions are, by their nature, products of specific times and cultures, and are embedded within complex political and social histories, including broader histories of Western imperialism. The collecting practices of the past may raise complicated ethical questions today, including those involving questionable provenances and exploitative collection practices rooted in power imbalances and racism. Such histories expose a compelling need for acknowledgement, ongoing reflection and discussion, and action, including public education about past injustices that were carried out in the name of exploration and scientific inquiry.
Today, the Museum’s historical collections are treated according to established protocols, where available, evolving best practices, and, in some cases, specific agreements with descendant communities. For example, in accordance with the U.S. Native American Graves Protection and Repatriation Act (NAGPRA), which was passed by the U.S. Congress in 1990, the Museum has completed inventories for all Native American human remains and associated funerary objects. It also initiated consultation with all federally recognized Tribes in the United States by providing them with summaries of potential unassociated funerary objects, sacred objects, and objects of cultural patrimony within its collections. Since NAGPRA’s passage, consultation with and repatriation of human remains and cultural items to recognized Tribes and lineal descendants has been an ongoing process.
While NAGPRA provides a process under Federal law for addressing Native American human remains and cultural items, the Museum continues to evaluate and respond to requests from international communities consistent with its institutional policies and practices.
Why do museums serve as repositories for collections?
The American Museum of Natural History is part of a global community of natural history museums with distinct histories and strengths, which collectively house more than a billion specimens that record the history of life, Earth, and the solar system.
The American Museum of Natural History was founded 150 years ago, in 1869, for the purpose of discovering, interpreting, and disseminating, through scientific research and education, knowledge about the natural world, human cultures, and the universe. The mid-19th-century world was much less populated and certainly less transformed by humans. The Museum's scientific enterprise has been carried out over a period of unprecedented human impact on the planet, a period now often identified as the Anthropocene. During this time, scientists recorded not only the extraordinary richness and diversity of life but have also documented and estimated that biological species and human cultures are at risk in the face of drastic environmental change.
Since its establishment, it has been a primary goal of the American Museum of Natural History to provide a secure, professionally managed home for collections. Today, these collections are available to scientists, educators, students, and the global community of scholars, Indigenous peoples, and other descendant communities.
It is vitally important to steward these irreplaceable scientific and educational resources. More than 100 staff members are devoted to ensuring that the scientific collections that come to the Museum meet the highest standards of curation and care. The Museum has undertaken major renovations and upgrades of storage, including multi-story buildings for expanding collections, and Museum staff have digitized records for millions of specimens and artifacts.
With respect to ethnographic and archaeological collections, the Museum's anthropologists work to the highest professional standards as stewards of significant human legacy. The Museum recognizes that the Indigenous and other descendant communities from which cultural objects are acquired have invaluable insight into the management, interpretation, and disposition of collections. The Division of Anthropology strives to foster collaborative working relationships with these communities and welcomes recommendations for the care and management of culturally sensitive material. Such dialogues are vital and continue to be a priority as the Museum confronts the challenges of respectful research, curation, and exhibition.
Who uses scientific collections, and why?
In addition to being available to Museum researchers and students, the scientific collections of the American Museum of Natural History are made available for study onsite to a global community of more than 1,400 visiting researchers annually. Each year, tens of thousands of specimens are on loan to scholars at other institutions.
The Museum's collections also invite study and use by educators, historians, naturalists, artists, and Indigenous peoples and other descendant communities from around the world. For descendant communities, collections, including ethnographic collections, may serve as a vital resource for researching and sometimes recovering traditional culture, practices, and history of their peoples.
Shelf Life #15 - The Guts and Glory of Object Conservation - Visual Cue Transcript
[WIND BLOWS, DOGS PANT AND BARK]
An animated sequence combining black and white archival photographs—sled dogs race through the snow.
LAUREL KENDALL: When you go to the northeast of Siberia, that part of the world, it's very stark. But in its starkness, it's beautiful.
A gust of wind blows aside snow to reveal people riding on reindeer. Mountains rise on the far horizon.
KENDALL: The far north is tundra, and forest, and a long, empty coast.
Animated sequence continues as mountains give way to taiga forest and then to a coastline.
[WAVES CRASH]
[MUSIC PLAYS]
Camera zooms out on a hand-drawn map to reveal Siberia, Alaska, and the lands surrounding the North Pacific Ocean.
KENDALL: The Jesup North Pacific Expedition was probably the most ambitious anthropology expedition of all time.
Archival images of anthropologists are superimposed on the map of the Northwestern coast of North America.
KENDALL: The idea was to take two teams of experts—one on the American side,
Camera pans left to images of anthropologists on the Siberian side of the Bering Strait.
KENDALL: one on the Siberian side of the Bering Strait,
Dotted lines animate from one side of the Bering Strait to the other. A question mark appears between the coasts.
KENDALL: and have them explore the question of who came over the Strait, when.
Curator Laurel Kendall stands, looking at camera.
KENDALL: I'm Laurel Kendall. I curate the Asian Ethnographic Collection at the American Museum of Natural History.
[MUSIC PLAYS]
Shelf Life title sequence. Specimens and artifacts from the Museum's collections fade in and out.
Objects from the Siberian collection appear in quick succession.
KENDALL: The scope of the Jesup collections is enormous. Their brief was to collect every aspect of how people live.
Curator Laurel Kendall interviewed at desk.
KENDALL: Well, that's impossible. But they came as close as they possibly could.
Compactor opens to reveal shelves of objects from the Siberian collection.
JUDITH LEVINSON: The Siberian collection numbered more than 5,000 pieces.
Three conservators work at long tables in the Museum's Objects Conservation Laboratory.
LEVINSON: We chose a hundred of those to focus on for full conservation treatment.
Judith Levinson looks holds top of birch bark box and looks up at camera.
LEVINSON: My name is Judith Levinson. I'm Director of Conservation in the Division of Anthropology.
Levinson sits at table in Objects Conservation Laboratory.
LEVINSON: We're able to have very well developed consultation and collaboration with Native groups
Montage of consultations between conservators and Native peoples.
Levinson interviewed at table in Objects Conservation Laboratory.
LEVINSON: and part of why we were able to do this was that we have a very important project participant,
Still images of Vera Solovyeva talking with conservators, and with colleagues in Siberia.
LEVINSON: who is a scholar, who is a native Siberian.
Vera Solovyeva stands in Anthropology collections, looks at camera.
VERA SOLOVYEVA: My name is Vera Alexseyevna Solovyeva, and I am a PhD candidate at George Mason University.
[MUSIC PLAYS]
Hands pull out drawers in the collection, showing different objects on the shelves.
Solovyeva interviewed in collection space.
SOLOVYEVA: This collection is very important because it has probably the most elaborate collection in the whole world about our people's pre-Soviet period.
Archival photos showing different Siberian individuals.
Montage of objects from the Siberian collection.
SOLOVYEVA: And it has, like, the full range of the material and spiritual culture.
Archival photos of everyday life in early 20th century Siberia.
SOLOVYEVA: And then, second, it has pictures of our ancestors' everyday life.
Black and white animation of boy on sled, being pulled by reindeer. Text reads "Soviet Film, 1928."
SOLOVYEVA: When the Soviets came to the power, they tried to erase the memory of people.
Animation continues. A Siberian boy sits at a desk, dreaming of being pulled on sled. Dream fades away and picture of Lenin appears.
SOLOVYEVA: So, you know, they destroyed all items that belong to the shamans, the rituals.
Animation continues. Siberians in fur coats walk away from tents in the snow, leaving an empty landscape.
Solovyeva interviewed in collection space.
SOLOVYEVA: When the Soviet Union collapsed,
Montage of 1990s photos depicting Siberians engaging in traditional crafts and practices.
SOLOVYEVA: Indigenous People started to have interest to revitalizing their culture and their spirituality.
Solovyeva interviewed in collection space.
SOLOVYEVA: In my view, the Museum's collection have a very important role to showing what was truly ancestral way of living.
Archival image of female shaman drumming.
In the present day, conservator Amy Tjiong turns over a shaman's drum in the Anthropology collection.
LEVINSON: Each of these pieces holds valuable information to people from around the world,
Levinson interviewed at table in the Objects Conservation Laboratory.
LEVINSON: and we want to preserve them for many years to come.
A conservator cleans a birch bark map with a small brush.
LEVINSON: Here in the Objects Conservation Lab, we work to stabilize the physical condition of the objects.
Levinson interviewed at table in the Objects Conservation Laboratory.
LEVINSON: What I love about conservation is it's a fabulous blend of science, art, and history, and cultural studies.
Conservator Amy Tjiong works on the edge of a colorful Siberian robe made from fish skin.
AMY TJIONG: I get to work on a variety of material, including robes that were made from fish skin,
Hands turn over an elaborately decorated birch bark container.
TJIONG: containers that were made from birch bark,
Tjiong and a collections staff member carefully place a fur coat on a table.
TJIONG: coats that were made from reindeer hide.
Tjiong, standing in a row of the Anthropology collection, holds a birch bark container.
TJIONG: My name is Amy Tjiong. I'm a conservator within the Objects Conservation Lab at the American Museum of Natural History.
A conservator wearing blue latex gloves enters information onto an iPad.
Close up of the iPad, showing a diagram of a gut skin coat.
TJIONG: The first thing that we'll do is documentation of the object before treatment.
Close up of a camera snapping a picture. A white flash.
LEVINSON: We'll take pictures.
Photos of different angles of a Siberian fur coat appear in quick succession, punctuated by camera flashes.
A photo of a fish skin robe is overlaid with animation showing areas where conservation treatment will be necessary. Labels reading, "Major crease," "Loss from insect damage," "Staining," and "Failed stitches" appear with corresponding indications on the robe.
LEVINSON: We will write a condition report, documenting everything that we see.
Levinson interviewed at table in Objects Conservation Laboratory.
LEVINSON: And we're able to take teeny-weeny samples,
Tjiong consults with a forensic anthropologist. They hold up slides with small tissue samples and indicate microscopic images on a computer screen.
LEVINSON: and have particular kinds of scientific analysis done that help us identify the materials of manufacture
Levinson interviewed at table in Objects Conservation Laboratory.
LEVINSON: in ways that couldn't be done by the anthropologists who formed the collection.
Black and white archival portraits of anthropologists.
Mammalogist holding a wolverine specimen consults with Tjiong in the Mammalogy Department.
LEVINSON: So, for instance, because we work in a natural history museum,
In animated sequence, the camera zooms into a Siberian fur coat, to reveal a microscopic image of a single hair.
LEVINSON: we could pull individual hairs from a fur
Comparison microscope images of mammal hairs—labeled beaver, seal, reindeer, etc.—pop up around the sample hair.
LEVINSON: and compare it to our vouchered specimens in the Mammalogy collection
All hair images disappear, except reindeer. Image flips to reveal an illustration of a reindeer. Image grows in size, flips to reveal a photo of a reindeer superimposed on a map of Siberia.
LEVINSON: to identify the exact animals that came from Siberia.
A conservator holds a paint palette and leans over to dab a gut skin coat with a small brush.
LEVINSON: Once we've gathered all this information, we develop the treatment plan, and actually start treating.
Montage of conservation treatments – paper laid over a birch bark map, a metal tool is gently rubbed onto a coat, a brush mixes paint on a palette, scissors cut a piece of material.
LEVINSON: We may work to replace missing parts or correct surface finishes. But we use materials that are easily reversible.
Wide shot of conservators working on various pieces from the Siberian collection.
TJIONG: Among the objects that were chosen for treatment are 14 gut skin parkas.
Close up on seam of gut skin parka.
Tjiong interviewed in Anthropology collection space.
TJIONG: They're constructed from bands of intestine
Series of still images showing various gut skin parkas from the Siberian collection.
TJIONG: that have been cut open and flattened.
Hands in latex gloves wash intestines in industrial sink.
TJIONG: To better understand this material, I attended a gut skin processing workshop up in Seattle.
Still image of a large, long, inflated intestine laid out on a blue tarp.
Tjiong interviewed in Anthropology collection space.
TJIONG: You know, with gut lovers. I mean, there was- People who have a real fondness for studying gut skin.
Woman inflates intestine by blowing into it. Another woman and a man stretch out inflated intestine.
TJIONG: I was able to learn from a Native artist from Kodiak, and also a curator at the Burke Museum who is Aleutic.
Tjiong interviewed in Anthropology collection space.
TJIONG: And both of them have experience processing intestines.
[PEOPLE SHOUTING, OARS SPLASHING]
Several boats full of rowers move through water. Mountains tower in background.
TJIONG: And then, we went to Siberia
Montage of Solovyeva and Tjiong speaking with members of the Siberian community.
TJIONG: to reach out to members of the community, to try to see if there was any remaining knowledge.
Tjiong interviewed in Anthropology collection space.
TJIONG: And one of the most important goals for us was to share information about the collection
Still images of Tjiong and Solovyeva making presentations to Siberian audience.
TJIONG: to the members of the community there.
Still images of Solovyeva and Siberian people examining objects from the Jesup North Pacific collection.
SOLOVYEVA: The Museum's collection—it's really important to value again our culture.
Solovyeva interviewed in Anthropology collection space.
SOLOVYEVA: Actually, when I came I just- I- I want first, when I saw that, I almost cry. Yeah. Because, you know, like, it's- I never saw this kind of clothing before, for example. I didn't even realize that they exist. And to see them, it was, like, oh wow.
Tjiong works on elaborately decorated fish skin robe.
TJIONG: I do love what I do. I find it meaningful to preserve these cultural artifacts. They all come with such an amazing history I would love to see that they're here for as long as possible.
The Museum’s frozen tissue collection is a repository for genomic and other biomolecular research that serves scientists worldwide.
The collections are also the source of the Museum’s spectacular exhibits and pioneering educational programs that inform and inspire our millions of annual visitors onsite and online.
Why are physical collections necessary?
Every specimen is an ultimate source of original evidence, not only for past and current investigations but for future discoveries.
Biological and geological collections are not just the source of data on the natural world, they are the real elements of the natural world. Scientists can investigate these collections again and again, applying new technologies, exploring new questions, and finding new answers. For example, DNA sequences now can be extracted from modern and centuries-old specimens, and even from some fossils, providing evidence for understanding the relationships among and changes in populations of current and extinct species. The power of collections to provide such new evidence was only first recognized in the last decade of the 20th century.
Shelf Life #16 - Tales From the Cryptic Species - Visual Cue Transcript
[PLUCKING STRINGS]
A woman walks through a dimly lit room and sits down at a desk.
EVON HEKKALA: I like to think of myself as a creative thinker about museum collections.
She reaches to turn on a light...
[SOUND OF SWITCH, ELECTRIC SIZZLE]
A network of circles containing natural history specimens populates across the screen. A drawer containing a crocodile skull pulls down from the top of the screen.
HEKKALA: I was doing my dissertation research on crocodiles,
Hands in black rubber gloves hold a tray of sampling instruments, and pull open a drawer with a large crocodile skull.
HEKKALA: and I started to collect data.
[SCRAPING AND SCRATCHING]
Hekkala scrapes small samples from various crocodile skull specimens, and puts them into plastic vials.
HEKKALA: And as I started collecting DNA,
Seven different crocodiles appear at different spots over a satellite map of Africa.
HEKKALA: I realized that there were a lot of places where you couldn't get samples anymore because crocodiles had gone extinct in those sites.
Four of the crocodiles fade into white silhouettes. The others disappear from the map.
HEKKALA: And so I thought, "Maybe I can use museum specimens to fill in some of these gaps."
Circles containing different crocodile specimens pop up. Lines are drawn between the silhouettes and specimens.
[STEAM WHISTLE BLOWS, WATER CHURNS]
A steamship crosses the screen. A red line traces the route of the Congo expedition over mainland Africa. Map text reads, "Congo Expedition of the American Museum of Natural History. May 1909 to November 1915."
HEKKALA: I found that there was this expedition to the Congo from 1909 to 1915,
Archival images of expedition leader James Chapin standing in a pith helmet and sitting next to a tent are superimposed on the map.
HEKKALA: conducted by the American Museum of Natural History.
Different colored circles containing archival images of crocodile skulls pop up across the map.
HEKKALA: And those explorers had collected crocodile specimens from the Upper Congo.
Tweezers pull a tiny sample from a crocodile specimen.
HEKKALA: I extracted samples
Animated DNA helix spins and many Gs, As, Ts, and Cs of various colors move across the screen.
HEKKALA: and I was dumbfounded when I looked at the DNA sequence.
Evon Hekkala holds a crocodile skull in the Herpetology collections, and looks at camera.
HEKKALA: I'm Evon Hekkala, and I'm a research associate at the American Museum of Natural History.
[MUSIC PLAYS]
Shelf Life title sequence. Specimens and artifacts from the Museum's collections fade in and out.
[MUSIC PLAYS]
Old book opens to the title page of Linnaeus's Systema Naturae. Species names on specimen tags, file cards, and DNA sample vials.
JOEL CRACRAFT: Scientists have named and described approximately one and a half million species of organisms.
Curator Joel Cracraft speaks in Ornithology collections room.
CRACRAFT: Yet, everybody agrees that that is a tiny portion of the biodiversity that's out there.
Cracraft stands in front of specimen cabinets.
CRACRAFT: I'm Joel Cracraft. I'm a curator of ornithology here at the American Museum of Natural History.
Black and white archival images of Congo rainforest.
CRACRAFT: The knowledge that we have about the rainforests around the world has been basically built up over the last 100 years or more of exploration.
Evon Hekkala pulls a crocodile skull out of a drawer in the Herpetology collection.
CRACRAFT: But now, new, younger scientists are going out and they are looking at diversity in these forests from a genetic point of view.
Hekkala points at a small river on a large, old map of Africa.
HEKKALA: So, this site right here—Faradje—is where they collected two specimens of crocodiles on either side of this little river.
Close-ups of two crocodile specimens with numbered tags.
HEKKALA: And it turned out that one specimen had one DNA sequence, and the other specimen had another DNA sequence.
Hekkala sits at desk next to two crocodile skulls.
HEKKALA: And they were completely different.
The phrase "cryptic species" is revealed from behind a tangle of red lines.
HEKKALA: And I started thinking, "There must be a cryptic species here."
Two butterflies appear in silhouette with species names—Perichares poaceaphaga and Perichares geonomaphaga.
CRACRAFT: Two very distinct species can look exactly the same.
Silhouettes dissolve into photos of butterflies that look extremely similar. Then, as genetic sequence appears in Gs, Cs, As, and Ts, a blue circle appears behind one butterfly, and a yellow circle behind the other.
CRACRAFT: But when you look at them genetically then you find out that, in fact, they're very different.
Cracraft speaks in Ornithology collections room.
CRACRAFT: And so, we call those things cryptic species.
Silhouettes of various animals – a fish, a cat, a snake, etc. – appear in colored circles over an archival photo of the Congo rainforest.
CRACRAFT: And we are finding that we've underestimated species diversity in virtually all organisms in these forests.
The species name "Crocodylus niloticus" appears in a black circle, on top of a twisting strand of DNA. It is surrounded by images of crocodiles.
HEKKALA: It turned out that one specimen represents the Nile crocodile species that we all know and love from the Nile.
The black circle splits in two—Crocodylus niloticus goes off to the right, and a new black circle appears with the species name Crocodylus suchus and other images of crocodiles.
HEKKALA: And the other represents a completely separate species of crocodiles. In fact, they're so distinct, they're not even each other's closest relatives.
Hekkala sits at desk next to two crocodile skulls.
HEKKALA: They haven't exchanged genes in millions of years.
Camera pushes in to Hekkala standing over an old field notebook in the Herpetology archives.
[PLUCKING STRINGS]
HEKKALA: Once I started looking into the documentation that went along with those crocodiles,
Close-up of Hekkala's finger pointing to the word "crocodile" in old Lang-Chapin field notebook. Hekkala reads through other old field notebooks.
HEKKALA: I realized there must be other specimens from their expedition that also represent cryptic species.
Hekkala speaks in front of large map of Africa.
HEKKALA: This is a great opportunity for species discovery.
Tortoise shell and bones in plastic container.
HEKKALA: So, we started looking at tortoises.
Drawer pulls open to reveal monitor skull and specimen boxes.
HEKKALA: And we started looking at monitor lizards.
Hekkala speaks in front of large map of Africa.
HEKKALA: We started finding similar patterns there.
Series of archival images with pangolin, okapi, and elephant shrew.
HEKKALA: We were planning on looking into pangolins, the okapi, elephant shrews...
Hekkala speaks in front of large map of Africa.
HEKKALA: But the one that sort of jumped out at me right away was the African leopard.
Leopard jaw, coat, and specimen tag reading "The American Museum of Natural History" No. 52025 [male symbol] Date, 24 Nov 1913. Panthera pardus iturensis."
HEKKALA: Everyone's assumed that they're all one species recently,
Red specimen tag reads "American Museum 52025, Felis pardus iturensis, TYPE SPECIMEN" Drawer with leopard skull surrounded by a collage of field notes, maps, and a photograph of Herbert Lang. Circles appear with black and white, close up images of leopard coat patterns.
HEKKALA: but in the Lang-Chapin field notes, they describe differences in the coat texture, and pattern, differences in the distribution and the sizes.
The skull of a leopard rotates, as the text "Panthera pardus" appears.
HEKKALA: And so, we thought that would be a really good target species.
Hekkala speaks in front of large map of Africa.
HEKKALA: The most exciting thing with what we found in the leopard data, and it's also the most concerning,
Drawer with leopard skull and field notes. Molecular data diagrams and spreadsheets appear around the skull. A circle expands out with an aerial view of the Congo rainforest, an archival photo of a leopard, and a map indicating a small area in the Congo basin.
HEKKALA: is that our molecular data suggests that one of the leopard subspecies is found only in a tiny little pocket in the forest in the Upper Congo.
Hekkala speaks in front of large map of Africa.
HEKKALA: If we lose this unique little slice of genetic diversity, we're actually losing global biodiversity.
Cracraft speaks in Ornithology collections room.
CRACRAFT: Biological diversity is many things to many people.
A large iguana crawls across rocky landscape. A flower waves in the wind. A flock of flamingoes stand in a lake. A monkey sits in a treetop.
CRACRAFT: One of it is the obvious—how many different kinds of organisms are there out there?
A pipette squirts liquid into a test tube.
CRACRAFT: Another way to look at it is how much genetic diversity does a habitat contain.
Camera trap images of leopards moving through the forest.
HEKKALA: Having a distinct genetic identity may not necessarily mean that you're a distinct species. But having a distinct characteristic of your DNA may be incredibly important because more variation tends to be better in the face of a changing world.
Hekkala speaks in front of large map of Africa.
HEKKALA: And when populations get small and isolated,
Camera trap series of a leopard walking through the forest.
HEKKALA: they don't have the necessary ability to be resilient in the face of change.
Cracraft speaks in Ornithology collections room.
CRACRAFT: The pressures on the forest have increased dramatically.
Hekkala pulls a skull from a drawer in the Herpetology collections and walks towards camera.
CRACRAFT: Knowing what's out there is the first step in saving what's out there.
Hands in black latex gloves scrape a small sample off of a crocodile skull and put it in a vial.
CRACRAFT: And managing the genetic diversity is a key component
Cracraft speaks in Ornithology collections room.
CRACRAFT: to managing endangered species everywhere in the world right now.
Hekkala examines a crocodile specimen in a jar.
HEKKALA: One of the reasons that these historical collections are so valuable and important is because
Camera rises through the treetops of the Congo rainforest. Aerial view as flies over the Congo river towards a thunderstorm. Elephants wade in a shallow pool, surrounded by vegetation.
HEKKALA: today conflict, deforestation, habitat loss, poaching—these are all devastating the flora and fauna of the Congo basin.
Close up of fingers picking up a specimen tag reading "American Museum of Natural History, 10081" that rests on a crocodile skull.
HEKKALA: So, these specimens represent an irreplaceable resource that can never be reacquired.
Close up of the specimen tag reading "TYPE, The American Museum of Natural History, 52025, Panthera pardus iturensis [male symbol], Congo: Niapu. Nov. 24 1913, Lang-Chapin Congo Exp." Hekkala holds a jar containing a crocodile specimen.
[MUSIC PLAYS]
Credits roll.
Furthermore, physical reference specimens remain necessary to facilitate scientific research and discovery. Type specimens—the standards by which species are named and identified—continue to be used by scientists to recognize, verify, and document species. Other information included in collections, such as photographs and sound recordings, can often be valuable as a supplement but is not sufficient without the physical specimen or object.
Physical collections are not only an irreplaceable record of what the world has; in many cases, they are also the only record of what the world has lost. Many specimens collected decades ago are irreplaceable because the locality and habitats from which they were collected have disappeared, or a species they represent has gone extinct. Ethnographic collections may include material objects that are no longer part of contemporary cultural practice but remain important as historical records or serve as models for artisans and others from descendant communities engaged in the work of cultural revitalization.
How has collections research changed?
Major innovations in imaging, high-speed computation, digital data capture, genomics, chemical microanalysis, laser spectroscopy, and many other areas have unlocked physical collections in ways that were never imagined just a few years ago:
- tissues extracted from field samples now can be sampled for biomolecules
- new techniques now allow the retrieval of gene and other molecular information even from specimens in the Museum’s historic collections, including fossil specimens
- isotope signatures recorded in corals, meteorites, and other specimens can reveal much about such topics as changing climates and oceanic currents, water's role in plate tectonics, or the age of the solar system
- specks collected from the tails of comets provide unique data on composition
- x-ray CT scanning allows for non-destructive imaging
- analytical chemistry of artifacts identifies ancient sources of materials and trade routes
- enhanced absolute dating of archaeological artifacts establishes more refined sequences
Another outcome of the technology revolution is researchers' ability to render virtual representations—through techniques like photogrammetry, CT and synchrotron analysis, and 3D printing—of original materials with incredible accuracy and detail. Many of these objects can be printed in 3D for use in education, outreach, and research. Massive virtual collections of astrophysical data now allow Museum scientists to determine the age of stars or identify the atmospheric composition on distant exoplanets.
Future technology will yield rich new information and insights from objects and specimens not yet anticipated. In this way, museum collections become even more informative and scientifically important over time and, therefore, are even more crucial to preserve now.
Why is continued collecting needed?
Despite the broad scope of our collections, continued collecting is not only scientifically important—it is urgently needed.
We still face the enormous challenge of producing a full accounting of life’s diversity:
- Some 1.8 million species have been formally named, but this is far short of the actual diversity of species living today, estimated, with the inclusion of microorganisms, to be more than 10 million species.
- Only about 20% of the estimated 5 million species of insects are known, and our relative knowledge is even more incomplete when it comes to some other groups of animals, fungi, and microorganisms so essential to the health of ecosystems.
- New birds and mammals, which are intensively studied groups, and even major new branches of life, continue to be discovered.
- The challenge of assembling a much better accounting of life’s diversity is compounded by the disappearance of species as a result of habitat loss and degradation, pollution, climate change, and other drivers. Many of these species will doubtless become extinct before scientists have a chance to identify them.
How is modern collecting conducted?
Modern expeditions and collections follow professional protocols and are designed to promote sustainable stewardship.
Many regions now targeted for collecting are currently poorly understood in terms of standard taxonomic surveys and are under threat from habitat destruction and other pressures. Modern collecting often adopts a synthetic approach, where specialists from different disciplines collaborate to focus on a central objective.
Collecting also follows best practices, regulations, and guidelines at many levels. National, regional, and local permits are required for collecting specimens and objects and formally adding them to museum collections.
International expeditions are conducted under protocols established by the Museum with partner institutions and scientists in the host country. Science is collaborative, now more than ever before, and projects are conceived and conducted as close partnerships.
[MUSIC]
[A scientist sits on the edge of a moving boat moving past rocky islands.]
NATHALIE GOODKIN (Associate Curator, Division of Physical Sciences, American Museum of Natural History): I’m an oceanographer, and I study the history of the ocean’s role in climate.
[GOODKIN appears on screen in speaking to camera in front of a tropical seashore.]
GOODKIN: Climate systems don’t just impact one location; climate systems impact a large area.
[A yellow buoy with solar panels and instrumentation bobs in the water.]
GOODKIN: We have buoys that we can put in the ocean that can record environmental conditions, but we can’t cover the entire ocean with buoys.
[We swim over a mound of corals underwater. A school of fish nibbles at coral.]
GOODKIN: Corals serve as a natural buoy, where they are recording all of those conditions using the chemistry of their skeleton right where they’re growing over several centuries.
[BUBBLES]
[Title appears on screen: “Diving for Corals in Tobago. Constantine S. Niarchos Expedition 2019.” GOODKIN appears back on screen speaking to the camera.]
GOODKIN: So I’ve been working in the Pacific Ocean for a very long time,
[Text appears on screen: “Nathalie Goodkin, Associate Curator, Division of Physical Sciences”]
GOODKIN: but ever since I completed my Ph.D. thesis,
[GOODKIN sits on a boat with rocky islands in the background.]
GOODKIN: which was looking at the North Atlantic Oscillation in Bermuda, I’ve wanted to return to the Atlantic.
[GOODKIN sits on the edge of a boat smiling. A map of the Atlantic Ocean fades in, showing North and South America, Greenland, Europe, and Africa. At the bottom, text appears: “North Atlantic Oscillation (NAO)”]
GOODKIN: The North Atlantic Oscillation is a measure of the difference between sea level pressure at two points in the North Atlantic.
[Two dots appear in the ocean. The first dot is close to Iceland and reads “Low pressure”. The second is near the coast of Morocco and reads “High pressure.”]
GOODKIN: And what it’s telling you, effectively, is what the wind patterns are.
[The labels next to the two dots both change to “Similar pressure.”]
GOODKIN: When those pressure differences are similar, the winds slow down, they slacken.
[Arrows showing the wind paths flow from North America’s coast through the two points down towards Africa, away from Europe. The labels then change to their original labels of low pressure in the Iceland dot and high pressure in the Morocco dot.]
GOODKIN: When those pressure differences are larger, the winds speed up.
[Bigger, faster arrows fly through the two points from the coast of North America and instead curve up towards Europe.]
GOODKIN: As you change these winds and their directions, you change the storm tracks,
[An animated icon of a thunder cloud with lightning boltes appears on screen.]
GOODKIN: you change the wave height…
[An animated icon of rolling waves appears on screen.]
GOODKIN: It also changes surface temperature, both on land and in the water.
[An animated icon of a thermometer appears on screen. Swaths of color appear on the map to indicate warmer and cooler areas: the area between the two dots is red and warmer, stretching from North America to Europe, and the areas both North and South of this area both appear blue, and are cooler.]
[The icons and temperature coloration disappears. A circle appears around an area off the north coast of South America.]
GOODKIN: In the modern record, the NAO has the strongest impact here in Tobago.
[The map zooms in so we see the islands of Trinidad and Tobago with labels next to them. The map continues to zoom into Tobago while it fades and we see landscapes of blue ocean and rocky islands.]
GOODKIN: And so we’re trying to get coral cores to understand how the system is changing both through time and geographically.
[GOODKIN reappears on screen speaking to the camera.]
GOODKIN: The first thing you really need when you want to go work in a foreign country is a collaborator who wants to work with you–
[GOODKIN holds a coral core out over the edge of the boat to another scientist snorkeling in the water below. The same scientist, REIA GUPPY, sits on the edge of a boat in a wetsuit while tropical shores fly by in the background.]
GOODKIN: –and is interested in the science questions you’re asking.
[ENGINE RUMBLE]
[GUPPY appears on screen speaking to camera with islands in the background.]
REIA GUPPY (Assistant Professor, The University of Trinidad and Tobago): Because I work on coral reefs, she—good ol' Google—found me,
[Text on screen: “Reia Guppy, Assistant professor, The University of Trinidad and Tobago”]
GUPPY: and asked if we were interested in collaborating.
[GUPPY snorkels in the water.]
GUPPY: By trade I'm really a coral reef biologist. I'm very much interested in environmental health and disease,
[We see a bright brownish orange coral with fish swimming around it, a closeup of a coral with anemone-like tendrils, and a brain coral on the edge of a reef.]
GUPPY: how they are influenced by changes that are going on.
[GUPPY reappears on screen speaking to camera.]
GUPPY: Throughout my time, I've seen going from pretty resilient, healthy reefs
[Cut to a barren, dead section of reef.]
GUPPY: to really disastrous densities and diversity.
[We swim through some sea fans on top of dead coral.]
[A scuba diving scientist, KONRAD HUGHEN, makes the “OK” symbol at the camera underwater.]
GOODKIN: We decided we would involve Dr. Konrad Hughen at the Woods Hole Oceanographic Institution,
[HUGHEN points to a coral core laid out on a table. GOODKIN reappears on screen speaking to camera.]
GOODKIN: and then two students that would start at roughly the same time–
[GOODKIN sits next to her student on a boat. The same student labels a coral core.]
GOODKIN: one in the U.S. really working on the climate questions,
[A different student sits on the bow of a boat, pulling in the anchor. He examines a coral core along with HUGHEN.]
GOODKIN: and one here in Trinidad working on human impacts on reefs.
[GUPPY reappears on screen speaking to camera.]
GUPPY: We had chosen Speyside as our primary site, which is where we are at now. You can actually see in the background
[GUPPY turns to indicate two islands behind her. Closeup of the islands: one smaller in front and one much larger behind.]
GUPPY: two of the infamous islands which is Goat Island, and Little Tobago.
[GUPPY reappears on screen speaking to camera.]
GUPPY: Both of these islands are known for their large corals,
[We swim up to a large, striking brain coral underwater, followed by an overhead view of a different large brain coral.]
GUPPY: which is what you really want to be able to get these long-term climate records.
[GOODKIN reappears on screen speaking to camera.]
GOODKIN: At any given location, what we’re doing is we’re drilling a coral core.
[The scientists load scuba gear onto a boat from a small pier.]
GOODKIN: We’re getting up each morning, we have an enormous amount of equipment. We’re loading it onto boats and heading out to sea.
[The small boat, named “Fish Machine 2”, floats on the water as a few scientists arrange gear and jump off into the water.]
GOODKIN: We’re identifying those corals, and then we’re going ahead and sampling them.
[We dive from the surface and look down on three scuba divers surrounding a coral. We swim up on HUGHEN, in scuba gear, drilling into a coral with a pneumatic drill. One of the students drills a different coral, and hands the core underwater to HUGHEN.]
GOODKIN: Our main goal for this trip was to collect a core from the largest coral we found last spring when we were here surveying.
[HUGHEN swims over a huge coral – it’s as long or longer than his whole body as he swims overtop it.]
GOODKIN: This was a very difficult core to drill. We estimated that the coral was about three meters in height.
[We see the huge coral from the side as a few scuba divers swim around it.]
GOODKIN: It was in about 45-feet depth, which is very deep for drilling.
[GUPPY reappears on screen speaking to camera.]
GUPPY: I've been diving this site since the '90s—it is known for the strong currents where the surface currents go in one direction and under the water the currents go in a different direction.
[GOODKIN reappears on screen speaking to camera.]
GOODKIN: When we showed up in the morning, we expected to be there three, maybe four days.
[Camera pans over a blue sky, islands, and calm seas.]
GOODKIN: We showed up, there were no currents at the surface,
[Scuba divers swim next to a huge coral.]
GOODKIN: there were no currents at the bottom. The visibility was crystal clear,
[Close up of HUGHEN drilling a hole in the top of the huge coral.]
GOODKIN: and we were able to get the bottom of that core in one day.
[GOODKIN holds up a white coral core on the boat, smiling.]
GUPPY: It is a very short term injury. It’s not lethal to them.
[A gloved hand pushes a cement plug into the drill hole at the top of a coral.]
GUPPY: When we cover the hole with an inert substance,
[An older cement plug in a coral, covered with bits of coral growth and algae.]
GUPPY: the coral eventually grows over it.
[The five scientists and students stand around a table, each picking up a section of coral core and holding it up end to end. It stretches almost the length of the table.]
GOODKIN: We were able to collect a core that was 2.8 meters long,
[The camera pans across the long coral core.]
GOODKIN: so that could be up to 500 years of environmental record.
[One student labels a coral core. GOODKIN and GUPPY wrap up cores in towels.]
GOODKIN: So once we get the samples back to the lab,
[WHIRR OF A SAW]
[Back in cooler climates, GOODKIN and a student slice open coral cores outside with a circular saw table.]
GOODKIN: –the first thing that we do is that we slice them into rectangular pieces.
[GOODKIN looks at a sliced core.]
GUPPY: When we cut the corals, we would be able to see these growth rings,
[Close-up of some of the growth bands inside a sliced coral core.]
GUPPY: –very similar to what you would see in tree growth rings.
[A pointed machine takes a tiny sample from a piece of a coral core.]
GOODKIN: And from there we’ll start with our chemical analysis.
[GOODKIN places a tiny container on a scale back in the lab.]
GOODKIN: Strontium is one element we’re very interested in.
[GOODKIN reappears on screen speaking to camera.]
GOODKIN: If it gets colder, the corals incorporate more strontium into their skeleton. And when it gets warmer, they incorporate less strontium.
[An x-ray of a coral slice, showing dark bands of growth.]
GOODKIN: And with records of sea surface temperature from the last 20 years,
[Circles appear next to the dark bands with “Sr” for strontium inside. The “Sr”’s are replaced with temperatures varying from 25°C to 28°C.]
GOODKIN: we’re able to calibrate each coral to have a thermometer back in time.
[A stormy rainy seascape appears, with an overlay of the map showing the path of the North Atlantic Oscillation and its effects.]
GOODKIN: One of the concerns of the next 50–100 years is that as our climate system changes, the NAO will change.
[Beneath the map, we see a cargo ship.]
GOODKIN: This will impact shipping routes.
[The cargo ship is replaced by a wind turbine.]
GOODKIN: It will impact energy supply through hydroelectric dams and wind farms.
[The wind turbine is replaced by a puddle with rain on it, and then a rainy window looking out onto city traffic.]
GOODKIN: This will impact droughts and water supply for large populations.
[GOODKIN reappears on screen speaking to camera.]
GOODKIN: And, so, the first thing we really need to do is to understand how this system has operated in the past
[A sunny seascape with a boat floating on the waves.]
GOODKIN: and what might happen as we change the system around it.
[A triggerfish swims through the water. A Christmas tree worm sucks its bristles back into its hole. GUPPY reappears on screen speaking to camera.]
GUPPY: As a Caribbean person, we're all about trying to move towards sustainable development.
[Angelfish swim on the reef. Overhead shot of a large branching coral.]
GUPPY: We're starting to see a shift in some of those earlier species that had disappeared. They’re actually starting to come back, which is very exciting.
[Closeup of the surface of a brain coral. Striped fish swim through the reef.]
GUPPY: I'm, you know, very optimistic that, if we can continue to do land management,
[GUPPY reappears on screen speaking to the camera.]
GUPPY: in time that we'll be able to preserve our reefs and let them come back to something that they were like in the '80s and '90s.
[Swimming from the bottom to the surface, we see the Fish Machine 2 boat with the scientists on board.]
GOODKIN: The cores hold so much information.
[GOODKIN reappears on screen speaking to camera.]
GOODKIN: We can study ocean currents. We can study ocean physical conditions. We can study the biological conditions on the reef.
[HUGHEN and GOODKIN speak and look at the coral cores laid out on a table in front of them.]
GOODKIN: We can study the nutrients that the corals and the other plankton are living off of, all recorded within the coral skeleton.
[GUPPY hands a small chunk of a coral core from the water where she’s snorkeling up to the scientists on deck. The camera zooms in on the coral core.]
GOODKIN: It would take us decades to extract all of the information from them. It looks that there’ll be years to come of work here in Tobago–
[Swimming from the sea floor up to the surface, we see the boat and the scientists working on it.]
GOODKIN: –to better understand the corals and the climate of this region.
[Credits roll.]
In some instances, the nation of origin retains ownership of biological, paleontological, archaeological, or ethnographic materials even when materials are brought to the American Museum of Natural History for preparation and study as part of collaborative research projects between Museum scientists and colleagues around the world.
Our scientists train and sponsor international researchers and students, providing capacity building and enhanced learning and research opportunities to local scholars from countries with limited resources for collections-based science. Some field projects support local efforts to protect biological and geological resources.
What is the future of collections?
The collections and science of the American Museum of Natural History provide an irreplaceable record of natural history—the evolution of Earth and its life, the origins of the planets, stars, and the universe, and the histories of human cultures.
As stewards of these scientific collections, museums continue to draw on them for scientific research, the development of biodiversity conservation programs, and for exhibitions and educational programs that reveal the natural world, human cultural similarities and differences, and the processes of scientific discovery to millions of people around the world.
The Museum’s collections-based science has been transformed through discoveries and technologies in ways wholly unexpected a few years ago, and the future will undoubtedly bring additional discoveries from these vital collections.