Aremarkable behind-the-scenes look at the extraordinary people, meticulous research, and driving passions that make London's Natural History Museum one of the world's greatest institutions. In an elegant and illuminating narrative, Richard Fortey takes his readers to a place where only a few privileged scientists, curators, and research specialists have beenthe hallowed halls that hold the permanent collection of the Natural History Museum. Replete with fossils, jewels, rare plants, and exotic species, Fortey's walk through offers an intimate view of many of the premiere scientific accomplishments of the nineteenth, twentieth, and twenty-first centuries. Like looking into the mind of mankind and all the fascinating discoveries, ideas, and accomplishments that reside there, Fortey's tour is utterly entertaining from first to last.

Richard Fortey was a senior palaeontologist at the Natural History Museum in London. His previous books include the critically acclaimed Life: An Unauthorized Biography, short-listed for the Rhône Poulenc Prize in 1998; Trilobite! Eyewitness to Evolution, short-listed for the Samuel Johnson Prize in 2001; and The Hidden Landscape, which won the Natural World Book of the Year in 1993. He was Collier Professor for the Public Understanding of Science in 2002 and is a Fellow of the Royal Society.

Chapter 1

Behind the Galleries

This book is my own store room, a personal archive, designed to explain what goes on behind the polished doors in the Natural History Museum. All our lives are collections curated through memory. We pick up recollections and facts and store them, often half forgotten, or tucked away on shelves buried deep in the psyche. Not everything is as blameless as we might like. But the sum total of that deep archive is what makes us who we are. I cannot escape the fact that working for a whole lifetime within the extravagant building in South Kensington has moulded much of my character. By the same token, I also know the place rather better than any outsider. I am in a position to write a natural history of the Natural History Museum, to elucidate its human fauna and explain its ethology. There are histories that deal with the decisions of the mighty, and there are histories that are concerned with the ways of ordinary people. An admirable history of the Natural History Museum as an institution, by William T. Stearn, was published in 1981. What Stearn largely left out was an account of the achievements, hopes and frustrations, virtues and failings of the scientists who occupied the "shop floor"- the social history, if you like. My own Dry Storeroom No. 1 will curate some of the stories of the people who go to make up a unique place. I believe profoundly in the importance of museums; I would go as far as to say that you can judge a society by the quality of its museums. But they do not exist as collections alone. In the long term, the lustre of a museum does not depend only on the artefacts or objects it contains-the people who work out of sight are what keeps a museum alive by contributing research to make the collections active, or by applying learning and scholarship to reveal more than was known before about the stored objects. I want to bring those invisible people into the sunlight. From a thousand possible stories I will pick up one or two, just those that happen to have made it into my own collection. Although I describe my particular institution I dare say it could be a proxy for any other great museum. Perhaps my investigations will even cast a little light on to the museum that makes up our own biography, our character, ourselves.

At first glance the Natural History Museum looks like some kind of cathedral, dominated by towers topped by short spires; these lie at the centre of the building and at its eastern and western corners. Ranks of round-topped Romanesque windows lie on "aisles" connecting the towers which confirm the first impression of a sacred building. Even on a dull day the outside of the Museum shows a pleasing shade of buff, a mass of terracotta tiles, the warmth of which contrasts with the pale stucco of the terraces that line much of the other side of the Cromwell Road. Courses of blue tiles break up the solidity of the façade. The entrance to the Museum is a great rounded repeated arch, flanked by columns, and the front doors are reached by walking up a series of broad steps. Arriving at the Natural History Museum is rather like entering one of the magnificent cathedrals of Europe, like those at Reims, Chartres or Strasbourg. The visitor almost expects to hear the trilling of an organ, or the sudden pause of a choir in rehearsal. Instead, there is the cacophony of young voices. And where the Gothic cathedral will have a panoply of saints on the tympanum above the door, or maybe carvings of the Flight from Egypt, here instead are motifs of natural history-foliage with sheep, a wolf, a muscled kangaroo.

The main hall still retains the feel of the nave of a great Gothic cathedral, because it is so high and generously vaulted. But now the differences are obvious. High above, where the cathedral might display flying buttresses, there are great arches of steel, not modestly concealed, but rather flaunted for all they are worth. This i

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Excerpted from Dry Storeroom No. 1: The Secret Life of the Natural History Museum by Richard Fortey
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