The collections in this particular part of the Museum and in this particular aisle are devoted to vertebrates from the geologically recent period known as the Pleistocene, a time slice that includes the last ice ages. Inside the tray on which each fossil rests there is a neatly written label which tells us that this particular collection was derived from the cliffs at Easton Bavents, near Southwold in the county of Suffolk, a place where the sea is eroding some of the youngest rocks in Britain, though they are still over a million years old. Sharp-eyed local collectors had spotted these organic remains as winter storms excavated them from the soft sandy cliffs. Had they not been collected and housed in a museum, a few seasons of weathering on those harsh shores would have reduced the bones to meaningless rubble. So the Museum provides a way of cheating decay, of sequestering information from the degradations of time. Doubtless, each specimen provoked a thrill of recognition in its discoverer, the satisfaction of a search rewarded. This single drawer preserves the record of days of endeavour and an archive of pleasure in discovery, or secret gloating over finding the best specimens of the season. Each bone could tell a story of the relative roles of luck and perseverance in science. Fossil fragments have an eloquence that belies their yellowish uniformity. Perhaps the observer will feel a twinge of disappointment at the incompleteness of the specimens, having seen reconstructions in books and films of whole animals striding about the landscape. These remains are just scraps, bits and pieces, odds and ends. The truth is that much fossil material is like this. The skill of the scientist often lies in being able to identify small pieces of a whole animal: from tooth to elephant. Every morsel of the past is useful.
The writing on the labels does not betray any drama of discovery. Old labels like these are written in the hand of the curator at the time the specimen is identified. They are small slips, about the size of one of those special postage stamps issued by countries like San Marino. The writing has to be very neat. Old labels are frequently found written in the copperplate script preferred by the Victorians. Newer ones favour small, neat script. Everything is written in Indian ink so that time will not allow the messages to fade. After all, the 1753 Act of Parliament that set up the British Museum specified that the collections “shall remain and be preserved in the Museum for public use for all posterity.” These labels were meant to last. An old label is a message from a curator whom one might never have met, but a little personal message on paper nonetheless. There was a time when the hiring of curators was accompanied by a writing test; nobody with overly large writing would be employed, nor any scribblers, nor any who employed extravagant curlicues. Graphologists would have had a very dull time with those who came through the interviews. More recently, the computer has replaced the skilled human being, as so often, so that neat little labels can be spewed out of a laser printer at the touch of a button. In future, labels will always be impersonal (and if there is a mistake, probably nobody will know who made it). At the top of the label accompanying the large tooth is the Latin, or scientific, name of the animal concerned: Mammuthus primigenius—an ancient mammoth. Any visiting scientist will recognize that name. The rock formation from which it was recovered (Easton Bavents Formation) is given next. The age of the specimen within the Pleistocene period follows. Beneath this again is the locality, specified quite precisely. Nowadays a locality might well be given by a GPS position, but British specimens could be fairly precisely located by reference to the national grid, and I have seldom had a problem relocating a locality if this information was given. Then there is the name of the collector of the specimen, who also happened to donate it to the Museum “for all posterity.” Many labels will include more information, especially if the specimen to hand has been mentioned or figured in a scientific paper. This is how the importance of the material is conveyed to the outside world: not everybody can come to root around in the drawers of the Museum to see the specimens themselves. Specimens are made known to experts around the world primarily through catalogues and technical publications. So the label might also bear something like: “Figured by Ann T. Quarian in Transactions of the Society for Ancient Things Volume 1, Plate 1 figure 2.”
That is just one specimen taken at random from a single drawer in a rank of drawers in just one cupboard from one row of cabinets. Some drawers may contain a hundred specimens or more—the next one down includes tiny vole teeth, for example. There may be a dozen or more drawers in a single rank; and there are some ten ranks of drawers in a row. On this floor there are fifty-seven rows or lines of cabinets; except where very large specimens are accommodated, almost every drawer carries a full burden of specimens. In this department alone there are three floors of fossil collections of comparable or greater size. That adds up to a very large complement of drawers, and a vast number of specimens. It does not require a calculation to show that only a tiny fraction of the material held by the Museum is on display to the public: the galleries show the merest sample from a colossal collection. In the secret world behind the scenes there is no shortage of specimens; indeed, one of the main problems is how to accommodate the sheer bulk of new material. Much of it is fragmentary, like the Easton Bavents bones. Its value is scientific and it would not fetch much on the open market. A few specimens are precious and valuable in their own right. “Million dollar fossils” might include the famous original of the Jurassic bird Archaeopteryx or the exquisitely preserved fossils of Cretaceous fishes from Brazil. But that is not why we have museums with collections of natural history specimens. A few scraps of bone can tell us what the climate was like three hundred thousand years ago: that is a value that cannot be reckoned in euros or dollars.
My first office was not in the present palaeontology wing, which was officially opened in 1977—by which time I was already an old hand. I originally had an office in the old building, tucked away in the basement beside the main entrance. On busy days I could hear the chattering of children as they swarmed up the steps. It was a hugely tall room, and not like an office at all, lit from a large window that looked out on to the lawn in front of the Museum. The collections—my part of the collections—were stored within the room in old storage cabinets. The office was so tall that it had an extra gallery halfway up, reached by a steel staircase. If I wanted to examine some part of the collections, I would have to clunk up the stairs, carrying my hand lens, like an antiquarian gaoler, and open drawers in this upper storey. There were railings all around it to ensure that I did not fall off. The cabinets were beautifully crafted. Each drawer had an independently suspended glass top to keep out the dust. The mortise and tenon joints that formed the corners of the drawers would have struck dumb any carpenter. Labels on the front of each drawer recorded the scientific names of the fossils within. They were cupboards made for eternity. From my first day in that office I felt like an expert—the man from the BM.
Countless specimens: rows of cabinets and drawers for storing the insect collection. In 2007, this storage was being replaced and renewed.
I should explain that the Natural History Museum was then known in the scientific trade as the BM, the British Museum. The official title of the museum at the time of my employment was in fact the British Museum (Natural History). The South Kensington museum had split off from the original BM at Bloomsbury when the natural history collections had become so large as to require separate accommodation. The divorce from the mother institution was slow and legalistic. Formal separation from Bloomsbury did not happen until an Act of Parliament of 16 August 1965. The old BM title nonetheless had a magisterial presence that could not be instantly erased. My colleagues would call me up to make a date to “come to the BM” as if that were the only way in which it could be referred to. At conferences, I would still describe myself as belonging to the British Museum—after all, there were other natural history museums all over the place but only one BM, which housed collections made by Sir Joseph Banks and Charles Darwin. However, since the public at large referred to it as the Natural History Museum, in 1990 that
finally became its official title. Farewell to the BM, with the finality of the end of the gold sovereign or the landau carriage. Even so, some of my more senior colleagues still sneakily find themselves talking about “finding time to call in at the BM….”
So there I was in my official premises, surrounded by the collections upon which I was to work and to which I was supposed to add. My contract had specified only that I “should undertake work upon the fossil Arthropoda,” which left me free to roam through hundreds of millions of years. It might as well have said: “Amuse yourself—for money.” But I did have a boss to whom I was accountable. As I have mentioned, the head of department in a British national museum is called the Keeper. This may call up an image of a man in braces mucking out a gorilla cage, or it may have connotations of somebody jangling keys and going around inspecting security locks. It is, however, rather a grand title, one that entitles the bearer to an entry in Who’s Who. My boss, the Keeper of Palaeontology, was H. W. Ball—Harold William. Above a certain level in the hierarchy one was allowed to call him “Bill” otherwise, it was always “Dr. Ball.” He had the room directly above me, a place of leather-topped desks and filing cabinets. He was guarded by the kind of devoted secretary who exists mostly in the pages of spy novels, like the prim Miss Moneypenny in the James Bond thrillers. She was called Miss Belcher. She was an unmarried lady who lived with and cared for her mother; in the Palaeontology Department she was omniscient. Some years later, I discovered that her Christian name was Phoebe, but I would have no more dreamed of addressing her by that name than I would of addressing the Queen as “Lizzie.” She occupied an anteroom through which one had to pass to access the presence of the Keeper; and she always called him that, just as she always called me “Dr. Fortey” until she retired. She regarded such access as a rare and precious commodity, and an audience was a privilege to be awarded reluctantly. In fact, one usually went to see the Keeper because one was summoned. Few employees dropped in for a chinwag.
Occasionally, the summons was for doing something naughty. It was easy to anticipate these occasions. Normally, Dr. Ball gestured towards a chair, beaming, and said something like: “Sit ye down, dear boy.” He had a slightly polished-up, satisfied air, like the head boy of a posh school. On the other hand, if you had transgressed one of the rules, you earned a particular stare that P. G. Wodehouse described as “basilisk” when emanating from one of Bertie Wooster’s more terrifying aunts. Once I was ticked off for the key offence—leaving them displayed to the world upon my desk. Then there was a diary infringement. The diary was a hangover from the early days of the Museum, being a little book into which the employee was supposed to write his activities, morning and afternoon, and which was collected every month and signed off by the head of department. It was a very tedious bit of bureaucracy, and nobody on the shop floor took it seriously. I took to writing “study trilobites” on the first day of the month and ditto marks for the rest of it. Miss Belcher called me up to say that the Keeper didn’t regard this as adequate, and would I please put in more details. So the following month I put in entries like “a.m. open envelopes” and “p.m. post replies” and at the end of the month: “p.m. write diary.” My attempts at humour were not appreciated upstairs. The Keeper gave me a flea in my ear and sent me on my way, remarking that nobody was indispensable. Such encounters were, fortunately, infrequent. Diaries were abolished after a few years, and nobody mourned their loss, not even Miss Belcher. The concept of accountability was fairly rudimentary then, so a more usual meeting was an interview once a year with the Keeper to check on my progress. After the “sit ye down” invitation, this grilling usually consisted of noting that I had finished one or two publications that year, jolly good, and see you next year. I had to report on my curatorial assistant, Sam Morris, in similar terms.
Once I was settled into the Museum I vowed to explore the five science departments: Palaeontology, Mineralogy, Zoology, Botany and, in some distant redoubt, Entomology. The hidden museum seemed to stretch in every direction. As more and more new corners were discovered, there seemed no end to it. The public galleries were flanked, underlain and overlain by hidden rooms and galleries and laboratories. There were separate wings and towers. There were odd blind alleys, others that opened into another unsuspected gallery. Some corridors were narrow and poorly lit, and suddenly took a turn downwards into flights of stairs. Others were wider, lined on both sides by mahogany doors carrying the names and titles of the researchers who hid behind them: Dr. J. D. Taylor, Mr. F. Naggs and Miss K. Way were just down the way from my office in the basement. Most of the names were to be matched with faces over the coming months. There were a few I never met face-to-face. Down here in the vaults, there is none of the grand decoration of the public galleries; plain slab floors are the rule, pipes and cable housing run here and there, and almost everything is smothered in institutional cream paintwork. On all sides there are locked cabinets bearing tantalizing labels: Blattidae; Lucinidae; Phyllograptidae. What could they all mean?
Outside my office loomed stuffed elephants and giraffes covered in tarpaulins, dead exhibits that had once graced the main hall. They were now slightly down-at-heel and neglected, with a few bald bits, and rather sad, like a disused sideshow at a fair. The corridors were sealed off into sections by doors that could be opened using the magic keys. It is said that rats, when learning a new maze, make short dashes from home base to start with, gradually extending their range so that unfamiliar territory becomes familiar. So it was with my exploration of the underground or behind-the-wall labyrinth of the Museum. I was able to probe my way from my office in several directions, and I could usually find my way back again. If I got lost, I could pop out of one of the doors into the nearest public gallery to locate my position. Gradually, the most arcane corners of the Museum yielded their secrets.
Westwards along the basement, I let myself through a heavy door just beyond the dead giraffes. There was a notice on the wall that read “Departmental cock”—I never did find out what that meant. Beyond the door, a corridor stretched away lined with polished cabinets on both sides. I had left the Palaeontology Department and entered Zoology. The cabinets housed shells; thousands upon thousands of shells. This was the mollusc section of the Zoology Department, a place where the lingua franca was shells. The cupboard labelled Lucinidae was just one family among many of clams. Any drawer in the stack housed a dozen different species belonging to that family which might come from anywhere in the world, packets of shells laid out neatly in labelled boxes. Many of us have made desultory collections of shells while pottering on the beach on summer holidays: these collections were like an almost infinite and systematic multiplication of that brief acquisitiveness. Dr. J. D. Taylor and his colleagues occupied the offices whose doors opened between the cabinets. Like my own office, they had windows facing out on to the lawns in front of the Museum, and their offices, too, were lined with collections and books, which gave them a cosy, nest-like quality. I soon got to know John Taylor, Fred Naggs and Kathy Way as the mollusc people, the conchology gang, at home with gastropods and bivalves, squids and slugs, nudibranchs and pteropods. As I write this, they are still working in the same rooms, tucked away in their basement redoubt, John Taylor labouring on his beloved molluscs long after most of his contemporaries have taken to the golf club or the allotment. Downstairs from John Taylor’s room there was a collection of octopuses and other soft-bodied animals stored in jars, pickled in alcohol and formalin, dead things all pallid and covered in suckers, slightly threatening, as if they might creep out of their accommodation when no one was looking.
Giraffes’ heads stored behind the scenes as part of the zoology collections
At the end of the corridor a small door led to a narrow, dimly lit staircase. It looked as if nobody had passed this way for years. At the top of the stairs was another curious little door, which bore the legend THIS DOOR MUST BE LOCKED. What secrets could be hidden behind it to require such inviolability? It opened out int
o a broad atrium, and across the way were some huge photographs of insects—beetles, I believe—and a fine formal entrance with double mahogany doors, above which was the notice “Department of Entomology.” I had passed through the Zoology Department into the kingdom of the insects. Who could resist the region of the hexapod, the realm of a different Keeper, the habitat of another batch of experts all tucked away from the world in this secret place? Through the doors and beyond there lay another vast empire of the natural world, rank upon rank of cabinets bearing labels identifying the family of insects to which the specimens belonged. I knew that there were further floors above me, and I had a brief vision of swarms of insects beyond number, as in films I had seen of plagues of locusts. Around the perimeter of this huge squarish gallery there were offices with names on doors, Dr. This and Dr. That, all presumably the authorities on the insects in the drawers that lined up in their thousands in ranks in front of me. Perhaps it was not surprising that the drawers themselves were only half as deep as those I had opened in the Palaeontology Department, because insects are mostly rather small, and you can fit a lot into a confined space.
Dry Storeroom No. 1 Page 2
