Blogs from our Scientific Researchers

Carnegie Museum of Natural History is home to active research and vast scientific collections. Our scientific researchers regularly contribute to the blog at the museum.

December 1, 2023 by Erin Southerland

Birds in “Twelve Days of Christmas”: a Museum Search

by Patrick McShea

The Twelve Days of Christmas

When a traditional song about Christmas gifts reaches young ears, the centuries-old lyrics naturally prompt questions. If you’ve been on the receiving end of inquiries such as “What’s a partridge?”, a museum visit can provide identity information for the abundance of birds mentioned in the “Twelve Days of Christmas.”

Although the birds cited below aren’t precise matches for European species of the song, locating these feathered references can renew your own appreciation for what might be an overly familiar tune.

Inspiration and informational reference for the re-interpretation of several exhibits comes from a 2018 American Ornithological Society blog post by Bob Montgomerie, an evolutionary biologist at Queens University in Kingston, Ontario. Dr. Montgomerie’s post is titled “Three French Hens.”

A Partridge in a Pear Tree

*Ruffed Grouse taxidermy mount in Discovery Basecamp.*

In Pennsylvania, the Ruffed Grouse has reigned as state bird since 1931. The species’ collective value to Pennsylvania residents includes the gamebird’s historic importance as a food source and its current role as the focus of much upland sport hunting. The bird referenced in the song might well have been the Red-legged Partridge, a European species known to science as Alectoris rufa, however, the Ruffed Grouse is a decent substitute because the bird, which is known to perch in trees occasionally, is routinely called “partridge” in Maine and other portions of the northeast.

Two Turtle Doves

*Passenger Pigeon taxidermy mount in Bird Hall*

The European Turtle Dove, Streptopelia turtur, is a member of the bird family of doves and pigeons known as Columbidae. Generally, the smaller species in the family are called doves, and the larger species ae called pigeons. The Passenger Pigeon is the most notable family member on display at the museum.

Passenger Pigeons were once so abundant in eastern North America that flocks darkened the skies for hours when the birds migrated to access seasonal feeding areas and nesting sites.

Sustainable use of the birds by humans did not continue into the 19^th Century. By mid-century, Passenger Pigeons became an unregulated commodity in the rapidly expanding American economy, with the country’s growing railroad network and parallel telegraph system providing unprecedented means for sharing word of flock locations, transporting hunters to those sites, and shipping harvested birds to distant markets.

Three French Hens

The song reference is to a specific breed of domestic chicken. There are no domestic chickens on display in the museum, but the species is usually well-represented in the food selections offered within the building’s dining areas. Some scientists have speculated that our current reliance on domestic chickens as a global source of protein for human consumption might someday leave deposits of chicken bones as an identifying mark of the Anthropocene, a proposed name for the current geologic age, viewed as the period during which human activity has been the dominant influence on climate and the environment.

Four Calling Birds

Northern Raven taxidermy mount in a diorama of its habitat

If we use the cited author’s research finding, (The original ‘colly bird’ was the Eurasian Blackbird (Turdus merula) as ‘colly’ meant ‘black’ as in ‘coaly,’ and is why border collies bear that name.) the Northern Ravens in an Art of the Diorama display can fill this slot. Another candidate is the American Crow, a species frequently observed passing over the museum building at dusk during winter evenings, heading to local roosts in scattered flocks that number in the thousands. Ornithologists explain the birds’ collective behavior as taking advantage of a “heat island effect,” a base temperature in a city that is five or more degrees warmer than the surrounding countryside.

Five Golden Rings

Close-up of a bird band on bird taxidermy mount

“Five golden rings” might also have a bird connection. Dr. Montgomerie’s post mentions both Gold Finches and Ring-necked Pheasants as possible references, but the museum’s long history of bird banding at Powdermill Nature Reserve, the location of Powdermill Avian Research Center (PARC), allows a different approach. Bird banding is a research practice that involves capturing wild birds, marking them with numbered leg bands, and releasing them unharmed. In some parts of the world this centuries’ old effort to verify bird movements through recovered birds is called “ringing.” It is admittedly a stretch between gold rings and aluminum bands, but for a close look at the latter, check the tabletops in Discovery Basecamp for an encased taxidermy mount of a Gray Catbird bearing one of the lightweight markers on its right leg.

Six Geese A-laying

goose taxidermy mounts in a museum diorama

Although the lyric refers to a domestic variety, a scene focused on an enormous gathering of a wild species in The Art of the Diorama demonstrates the eventual outcome of “geese a-laying” – more geese. Here Blue Geese, a variety of Snow Geese with dark plumage, are shown gathering near James Bay in preparation for a continent-crossing migration. The dark-headed geese in the foreground are young of the year, the most recent product of “Snow Geese a-laying.”

Seven Swans A-swimming

A lone Tundra Swan watches over Discovery Basecamp from a high perch. Thousands of these birds fly, rather than swim, across Pennsylvania spring and fall during seasonal migrations between Arctic nesting grounds and wintering territory along the Chesapeake Bay. Their fall passage over western Pennsylvania, announced by flock calls some people describe as “like the baying of distant hounds,” generally occurs between mid-November and early December.

Patrick McShea is an Educator at Carnegie Museum of Natural History.

What’s in a Name? Japanese Knotweed or Itadori

by Rachel Reeb

We name what we notice, adopting or creating vocabulary to reflect all that our senses regularly engage.

Where multiple names exist in the same language for the same subject, nuance reigns. In Japan, for example, a historical collection of words referring to Reynoutria japonica (synonym: Fallopia japonica), the plant known commonly as itadori or Japanese knotweed, totaled to 689 terms. Some words referenced the plant’s shape and structure, others its sour taste, medicinal properties, seasonal appearance, or supporting habitat. Several dozen terms even noted audio characteristics, referencing the sound produced by the snapping of the plant’s stem.

Though the plant has deep cultural and ecological ties to its home range of Japan, Taiwan, China, and Korea, most of these connections are lost in its introduced range of western Pennsylvania, where it is considered to be an unwelcome invasive species. Information about how differently itadori is regarded in different parts of the world forces us to appreciate the diversity of human attitudes towards plants. Why are plant species perceived positively by some people, but negatively by others? To explore this question, a research paper documenting the rich cultural and ecological history of itadori in Japan (“Fallopia japonica (Japanese Knotweed) in Japan: Why Is It Not a Pest for Japanese People,” M. Shimoda and N. Yamasaki, 2016) made the journal club reading list for the scientists and educators involved in the collaborative Invasive Plant Species Education and Outreach Campaign funded by the Richard King Mellon Foundation.

*Along the Allegheny River near Braeburn, Westmoreland County, spring growth of a knotweed stand that will block the view of the water by late June.*

Itadori, or Japanese knotweed, has co-evolved with the humans, plants, and animals living in its home range for thousands of years. It’s no wonder that there are so many names for this plant in Japan, where people have co-existed with itadori and passed down their knowledge of the species over generations. Throughout history, humans found many uses for itadori in food, medicine, floral arrangements, and even as a children’s toy!

Today, in Japan, itadori commonly grows around lawns and roadsides, but it is not considered to be a pest because it can easily be mowed and managed. In comparison, itadori was introduced to western Pennsylvania in the early 1900s, making our collective experience with the plant relatively recent by botanical standards.

People widely planted itadori in ornamental gardens across the continent, but did not anticipate that it would escape cultivation and become established in nature. Here, many of the natural ‘checks and balances’ that stabilized itadori populations in the home range have been lost, including its insect pests, fungi, and plant competitors. Humans also lack deep ties to itadori in the introduced range, and consider it to be more detrimental than it is useful. The fast-growing plant often causes structural damage to buildings, is extremely expensive to manage, and displaces many of the native plants and animals we have formed connections with.

Thousands of years from now, itadori is likely to form new ecological and cultural connections in its introduced environment of Pennsylvania. What new names might we use to describe it, as our relationship to this plant evolves over time?

Rachel Reeb is a postdoctoral research fellow in the Section of Botany at Carnegie Museum of Natural History and content creator and project manager for the Invasive Species Awareness Campaign.

Art and the Animal

by Deirdre M. Smith

The Society of Animal Artists is an association of international artists who depict nonhuman animals and wildlife scenes in 2-D and 3-D media. Founded in 1960, today there are 500 members living in 25 countries. The Society hosts an annual exhibition called Art and the Animal, and this year’s 63rd edition kicked off at the Stifel Fine Arts Center of the Oglebay Institute in Wheeling, West Virginia. The Society sought nearby artists and scholars to serve as judges and reached out to CMNH. As an art historian whose research often intersects with animal studies (including the question of whether nonhuman animals themselves can be called artists), I jumped at the opportunity to learn more about the Society and see their latest exhibition.

*The author with fellow judges Larry Barth and Julie Zickefoose at the artists’ reception for* Art and the Animal. Photograph by Walter Matia.

My fellow judges were Larry Barth and Julie Zickefoose, both accomplished animal artists themselves. Larry is an award-winning carver of birds in wood, and Julie paints and writes on birds and other animals, often in watercolor. I was interested to learn that both artists have connections to CMNH. Larry volunteered in the Section of Birds in the mid-1970s, and both artists have sketched study skins from the section’s collection. One of Larry’s impressively-detailed carvings, depicting a Ruffed Grouse, is on display today at Powdermill Nature Reserve.

*A view of second floor galleries of the Stifel Fine Arts Center during* Art and the Animal. Photograph by author.

The exhibition featured 116 works by as many artists. Nonhuman animal subjects was the overarching theme, but within that domain artists turned their attention to diverse species: from house cats to cheetahs, dairy cows to zebras, snakes, bears, a southern stingray, and many, many birds: avocets, falcons, herons, owls, penguins, woodcocks, a Eurasian hoopoe, the list goes on. The choices of style and medium were equally varied, from highly detailed, realistic paintings, to decorative cut paper compositions, and from humorous works to ones alluding to the precarious lives of all animals under present environmental crises.

Works from the exhibit: Left, Lisa Nugent’s Follow Me Into the Sea, a depiction of a southern stingray in soft pastels, which was selected for an Award of Excellence. Right, Elke Gröning’s Cozy Cuddling, a colored pencil image of two little red flying-fox bats. Photographs by author.

The judges were tasked with selecting up to eight works that stood out overall for “Awards of Excellence,” as well as four cash prizes. After lunch with Renée Bemis (President), Kim Diment (Vice President), and Wes Siegrist (Executive Director), where the bias against sculptors in the “fine arts” and apple foraging in Appalachia were topics of conversation, we began what ended up being a three-and-and-half-hour-long process of tough deliberations. We were instructed by the leadership of the Society not to let our opinions about a species impact our judgment, and to initially not look at the names of the artists. Otherwise, we were free to use our own best sense as to which works stood out as superlative. As judges we found ourselves balancing assessment of the artist’s technique, choice of medium, the extent to which they had accurately and compellingly captured their animal subject, with the overall visual and conceptual appeal of the work. Some of our most intense conversations and disagreements concerned bird anatomy (something Larry and Julie are expert in), what it means and matters to be “realistic,” and whether artists were bringing fresh perspectives to the genre of animal art.

Examples of work from the Carnegie Museum of Natural History’s Natural History Art collection. Left, a screech owl painted by George Miksch Sutton, ornithologist and former CMNH staff member. Right, a field sketch of a snake by Romeo Mansueti from 1939, who eventually became a professor at the Chesapeake Biological Laboratory at the University of Maryland. Photographs by author.

I felt primed for the task of judging the competition because I had spent the summer with CMNH volunteer Elizabeth Dragus going through each object in the museum’s Natural History Art collection, which features hundreds of naturalist illustrations made by artists, scientists, and several former CMNH staff between the nineteenth and twentieth centuries. Established in the early 1970s as the M. Graham Netting Animal Portraiture Collection, it is a treasure trove of images and sculptures of birds, fish, insects, mammals, and reptiles. Several artists in the collection are members of the Society.

*Rachelle Siegrist’s* Nature’s Incredible Water Filter, a watercolor painting of a freshwater mussel. Image credit, the Society of Animal Artists.

One work that received much commentary from the judges, and eventually an Award of Excellence, was Rachelle Siegrist’s Nature’s Incredible Water Filter, a petite (6 x 4 in.) charmer of a watercolor painting depicting a freshwater mussel leaving a trail in sand. The only bivalve subject in the whole show, the work equally stood out for the way the artist captured the patterns on the surface of the water above the mussel. In the statement that accompanies the image in the exhibition catalog, Siegrist shares details on the lives of freshwater mussels: their ability to filter bacteria and pollutants, their role as an “indicator species,” and the rising threat of extinction that these organisms face.

Animals of other species are the most enduring subjects of human image-making, stretching back to the oldest surviving image in a cave, the “Sulawesi pig.” Humans have made images of other animals in order to worship, marvel at, allegorize, objectify, and study them. Siegrist’s little painting demonstrates the power that this primordial practice of taking the time and effort to make an image of another animal can hold: she offers the viewer the opportunity to pause and contemplate a little being whose life might otherwise go unnoticed, or be inaccessible, and develop a new relationship to it through her act of representation.

Deirdre M. Smith is an Assistant Curator at Carnegie Museum of Natural History.

Carnegie Museum of Natural History Blog Citation Information

Blog author: Smith, Deirdre M.
Publication date: November 21, 2023

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November 17, 2023 by Erin Southerland

Tribal Museums Day and Promoting Indigenous Authors

by Amy L. Covell-Murthy

The Association on American Indian Affairs (AAIA) celebrated its 100^th anniversary in 2022, making it the oldest non-profit serving Indigenous Nations in the United States. Founded in 1922 to promote sovereignty and self-sufficiency by halting assimilation, termination, and allotment, the AAIA continues to advocate at a national level, while supporting grassroots level implementation of Tribal programs.

As part of our ongoing repatriation work at CMNH and as a member of AAIA, I attended the annual meeting in Shawnee, Oklahoma last week. I received training in the new regulations of the Native American Graves Protection and Repatriation Act, met Tribal and Institutional representatives who share in the same work that I do, and learned more about how the AAIA is helping to educate and advocate. One thing I am excited to share is that the AAIA declared December 2-9, 2023 as the 2^nd Annual Tribal Museums Days and has created an interactive map of where participating museums are located. If you would like to visit a Tribal Museum in person, the closest to Pittsburgh is the Onöhsagwë:de’ Cultural Center in Salamanca, New York. While the museum might not be open on the weekend, you can support them through their online gift shop.

slide above a stage that has a photo of four people and the words: Associtation on American Indian Affairs, Ink & Impact: Our Stories Make a Difference

At the meeting, I was fortunate enough to be able to attend an Indigenous author event called Ink and Impact: Our Stories Make a Difference, which featured Angeline Boulley, Kim Rogers, Andrea L. Rogers, and Sara Elisabeth Sawyer. During the Q&A an audience member asked how we could help spread the word about their amazing books and other Indigenous works. They offered quite a few suggestions, including ordering a set of books to donate to a local library or classroom. My sister happens to be a reading teacher in Franklin, PA, so as a donation to her classroom in honor of Native American Heritage Month (which is in November!) she’ll be receiving Boulley’s Firekeepers Daughter and Warrior Girl Unearthed, and Sawyer’s Anumpa Warrior: Choctaw Code Talkers of World War I, as well as a few other books by Louise Erdrich. Another suggestion was to use our social media platforms to not only elevate Indigenous authors, but to also promote Indigenous owned book sellers.

So…. I am happy to promote Green Feather Book Company of Norman, Oklahoma. They were present all week at the meeting selling the books featured at the event and other Indigenous works. They have an easy online ordering feature, and you can buy all four of these author’s book here along with many others.

Remember, if you can’t buy a copy, it costs nothing to request to borrow them through your local library. This also benefits the authors and spreads the word. Happy Reading!

Amy L. Covell-Murthy (she/her) is Archaeology Collection Manager/Head of the Section of Anthropology.

Museum Researchers Describe Five New Amphibian and Reptile Species in 2023

Five frogs in the genus *Amolops*: A: *Amolops cremnobatus*, B: *A. tanfuilianae* **sp. nov.**, C: *A. sengae* **sp. nov.**, D: *A. kottelati* **sp. nov.**, E: *A. attiguus* sp. **nov**.

*Acontias mukwando*. Photo credit: Arthur Tiutenko.

Researchers in Carnegie Museum of Natural History’s (CMNH) Section of Amphibians and Reptiles celebrate five new species described in 2023. Associate Curator Dr. Jennifer Sheridan and an international research team describe four new species of Southeast Asian frogs in the genus Amolops in the journal Vertebrate Zoology. Collection Manager Mariana Marques and international colleagues describe a new species of legless skink (small lizard) from Angola in the African Journal of Herpetology. Both museum researchers are lead authors of their respective studies.

Marques and Sheridan’s discoveries took place 6,000 miles apart on different continents, yet both provide new scientific insights about their respective regions. In the face of a worldwide decline in biodiversity due to human impact, the documentation of new-to-science species fills vital knowledge gaps for a better understanding of ecosystem health. The better scientists can document biodiversity, the better they understand the effects of biodiversity loss and how to identify future conservation goals.

“Publishing five new species within less than three weeks is exciting for us and the museum,” said Sheridan. “Both discoveries required a combination of field work and research back at the museum. Mariana knew in the field that she had likely encountered an undescribed species, while in my case, these frogs were labeled as Amolops cremnobatus in the field because that’s what they looked like. Years later, once we started looking closely at numerous individuals collected by many researchers, we began to fully realize the diversity hidden in the Amolops genus.”

Dr. Jennifer Sheridan, Associate Curator of Amphibians and Reptiles.

Sheridan and researchers from Laos and North Carolina hypothesized that the Lao torrent frog Amolops cremnobatus, first described in 1998, is actually five species in the genus Amolops based on mitochondrial DNA analysis of specimens from Laos, Vietnam, and Thailand. Their paper in Vertebrate Zoology describes the four new species Amolops tanfuilianae, Amolops kottelati, Amolops sengae, and Amolops attiguus.

“These are extremely cryptic species,” said Sheridan. “So, determining the differences is not as simple as ‘specimen A has different coloration than cremnobatus’ or anything like that.” The visual differences between adult specimens were small and included varied finger lengths and the number of vomerine teeth (used to capture and hold prey). Tadpole morphology (size, shape, and structure) was key; even though adults are collected more often than tadpoles for scientific study, tadpole information is important. Body length, presence or absence of glands, and other physical features in tadpoles provided crucial data to differentiate the new Amolops species. Molecular data including mtDNA and nuDNA analysis also revealed differences the research team needed to describe the four new species. The team recognizes that continued research in Thailand may reveal additional species.

Meanwhile, Marques and an international team of researchers discovered the skink Acontias mukwando on Serra da Neve, an inselberg, or isolated, rocky outcrop, in Angola, one of the most ecologically diverse countries in Africa. Moveable eyelids and distinct coloration distinguish the new species, Acontias mukwando, from other species in the genus Acontias. The research team chose the species name in honor of the local Mukwando tribe to recognize their support and friendship during field work.

Both Sheridan and Marques used specimens from the collections of multiple other museums to fully determine how these newly described species are unique, and how they relate to their closest relatives. They relied on collections made by numerous researchers from multiple countries, highlighting the value of collaborative museum networks for understanding global biodiversity.

“Finding a specimen like Acontias is always exciting,” said Marques. “These animals spend most of their time under rocks and foliage, and they are not usually seen by people. There is so much we don’t know about them. Discovering that a member of a little-known group occurs on top of an equally obscure mountain was such an exciting mystery to solve. It was one of those rare ‘wow’ moments in your career as a scientist! My goal is to provide a solid and scientific overview of the fauna occurring in Serra da Neve, in order to support its conservation and contribute to the understanding of its rare biodiversity.”

CMNH’s Section of Amphibians and Reptiles maintains a collection of more than 230,000 specimens and ranks as the ninth largest amphibian and reptile collection in the United States. It includes 156 holotypes, the single type specimens upon which the descriptions and names of their respective species are based.

September 22, 2023 by Erin Southerland

2023 Point Counts at Powdermill Avian Research Center

by Grace Muench

Since 2013, field technicians at Powdermill Avian Research Center have gathered data about breeding birds on the 2200-acre Powdermill Nature Reserve through point counts. This wildlife survey term denotes tallies of every bird detected by sight and sound by a single observer located at fixed, predetermined positions for specified time periods, along with rough estimates of each bird’s distance from the surveyor. On many days this summer I was the surveyor, and the experience was enriching.

Powdermill is divided into ten sectors containing eight to eleven points, and during June and early July, I visited a different sector each day to conduct ten-minute point counts. I surveyed each sector twice, for a total of 190 different counts. Point counts can tell us about densities of birds in the immediate area, trends in the regional populations, species proclivity for a certain habitat, and more. Because Powdermill’s point count locations overlay plots from a vegetation survey that was completed at Powdermill in the mid-2000s, the paired data give us valuable information about the forest ecology on the reserve.

Pileated Woodpecker — *Credit: Powdermill Nature Reserve, Carnegie Museum of Natural History*

On the first day of point counts, the Porcupine Ridge trail acted as the main access corridor for many of the points in the sector. While walking along the trail to the last point of the day, I heard an unfamiliar noise. It sounded like several incessant hollow bark-like calls, and in the far distance I could hear Pileated Woodpeckers. Knowing that these woodpeckers primarily nest in dead trees, I began to search for nestlings. At the very top of an old, dead chestnut oak tree with almost no bark, I saw three heads poke out of a cavity, calling to the parents who were now close by and began acting defensively. While I had heard Pileated Woodpeckers in almost every sector this summer, this was the only nest that I observed, and it was the first of many incredible sightings.

Shortly after completing surveys at every point in all ten sectors, I restarted from the beginning. The particular sector I surveyed on June 11 has about a one-mile-long hike uphill to get to the first point. Three quarters of a mile in, I saw some movement to my right and redirected my attention. A yearling black bear was running up and down a fallen tree, stopping only briefly to scratch himself. I could tell the bear was a yearling by the shape of the head, along with the long and slender legs making the bear look tall. The bear ran across the fallen tree two or three times before he noticed my presence. He very slowly turned himself to look in my direction, paused for a few seconds at most, and took off into the forest.

Pennsylvania is also home to the Timber Rattlesnake, which brings me to my next animal encounter. I was walking through a mountainous, hilly second growth forest. The understory was filled with green briar and stinging nettles, so I had my eyes on the ground to minimize the chances of being stuck or stung by these plants. The walk from one point to the next was about 250 meters, or 0.16 miles. There are often obstacles like fallen trees, some of which are easy to step over, but others I had to go around. As I approached a fallen tree, I heard an unfamiliar noise. Though unfamiliar, the rattling sound was unmistakable. A few meters down the fallen tree was a large, perfectly coiled dark phase Timber Rattlesnake. I estimated this snake was four to five feet long, and it was clear that there was a meal moving through the snake’s digestive tract. The snake had eight rattles, specialized hollow scales which are added, one layer at a time, each time the reptile sheds its skin. I was lucky to be able to observe the snake from a safe distance for a few minutes before I headed to the next point.

The last day of point counts was also one to remember. About halfway through the final point of the sector, something about 250 meters away made a noise that I can only describe as a woman screaming. Immediately, all birds stopped singing and flew up into the canopy. I knew this animal call. It was a bobcat! This scream is referred to as “caterwauling,” and the sound is produced primarily during the mating season. After hiking back down to the avian research center, I was lucky enough to spot a different bobcat! A relatively small bobcat was hiding next to a structure near the bird banding lab, stalking the eastern cottontails that were foraging in the grasses. After a few minutes of inching closer and closer to the rabbits, the bobcat pounced. The rabbits frantically ran in all different directions, and the bobcat was left empty-handed.

bobcat laying in the grass — *Credit: Grace Muench*

After completing the 190 point counts, I rejoined the banding crew to finish the breeding season and to prepare for fall migration. I will always remember encountering and observing incredible wildlife, seeing my lifer Cerulean Warbler, and all that the Powdermill staff has taught me this summer. I can’t wait to learn more this fall!

Grace Muench is a Field Tech at Powdermill Avian Research Center.

Birds in “Twelve Days of Christmas”: a Museum Search

by Patrick McShea

The Twelve Days of Christmas

A Partridge in a Pear Tree

Two Turtle Doves

Three French Hens

Four Calling Birds

Five Golden Rings

Six Geese A-laying

Seven Swans A-swimming

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Carnegie Museum of Natural History Blog Citation Information

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What’s in a Name? Japanese Knotweed or Itadori

by Rachel Reeb

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Carnegie Museum of Natural History Blog Citation Information

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Art and the Animal

by Deirdre M. Smith

Carnegie Museum of Natural History Blog Citation Information

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Tribal Museums Day and Promoting Indigenous Authors

by Amy L. Covell-Murthy

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Carnegie Museum of Natural History Blog Citation Information

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Museum Researchers Describe Five New Amphibian and Reptile Species in 2023

2023 Point Counts at Powdermill Avian Research Center

by Grace Muench

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