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However, centuries of European colonialism and the capitalist system it birthed dependent on monoculture plantations and the commodification of life has, with time, strained the interspecies fabric of life on earth to the point of what Deborah Bird Rose termed an unraveling. In this context, botanical collections and their history of public display—peaking in nineteenth-century botanical museums—provides the environmental historian with a valuable record. This article follows a nineteenth-century economic-botany collection in Florence, Italy, from public display to botanical research collection, as an eloquent witness to this global reshaping in what was then a new nation within colonial networks but, as yet, without colonies. Figure 1. In , Filippo Parlatore — , professor of botany, published a comprehensive catalogue of the collections of the Botanical Museum in Florence, which was part of the famous Royal Museum of Physics and Natural History founded in Botany, art, and industry merged in this gallery figure 1. Of these visitors, he repeatedly mentions the traveler, reflecting the geographical scope of the collection beyond the region and nation. Figure 2. Today, the displays from cabinets 6—8 and 13—20 remain intact or partially intact. Courtesy of the Natural History Museum of Florence. The copyright holder reserves, or holds for their own use, all the rights provided by copyright law, such as distribution, performance, and creation of derivative works. Figure 3. The cotton cabinet depicts the process of production from plant to commodity, from the cotton pods to woven fabric, following the same progression as the linen display in cabinet 8. This work is licensed under a Creative Commons Attribution 4. A research institute, which later became part of the University of Florence, was founded within the museum, organized into six departments, some of which were later relocated to other parts of the city. In the early s, the botanical collections were controversially moved to their current location near San Marco. In the new location, the herbarium was expanded while the botanical collections on public display were concentrated in a single room. Instead, it offers a set of perspectives through which the visitor can explore the collections—an approach that is nonlinear and multilayered. Figure 4. Some of the palms that were displayed in the center of the Galleria dei Prodotti Vegetali are visible by the door. Photograph by Anna Svensson. From the collections of the Natural History Museum of Florence. In the s, the Botanical Museum was closed to the public except by appointment and partially dismantled to make way for disabled access, office space, and growing collections. Of the museum displays still intact, some are visible, some obscured or partially dismantled. Although the specimens are arranged botanically according to genus, the labels are not standardized and often give the derivative substance rather than the Latin binomial. Many plants are cultivated, domesticated, and acclimatized, and sometimes the contents of the jar cannot be definitively tied to a particular species as in the case of indigo. Figure 5. These encounters are important to understanding the power of the pedagogy of display behind the original exhibition—bringing together plants, plant substances, and products—that enabled visitors to forge connections with plants from distant places. Yet the socioecological consequences for these places of cultivation and production remained out of sight. Ultimately, these specimens bear eloquent witness to the role of botanical science in the efforts of emerging national economies to rationalize domestic agrarian production within the increasingly dominant forces of accelerating globalism and industrial processing, during a period just before our reliance on plants would be obscured by these same processes. I am grateful to the C. In particular, I wish to thank Head Curator Dr. Chiara Nepi for so generously sharing her extensive knowledge of the collections, and Mark Nesbitt and Caroline Cornish at the Mobile Museum project at the Royal Botanic Gardens, Kew, for providing invaluable insights into the history of economic-botany collections and their display. Svensson, Anna. Rachel Carson Center for Environment and Society. Please click on an image to view its individual rights status. Skip to main content. Used with permission. Further readings:. Related links:. Print page to PDF. About the author. Svensson, Anna Independent scholar Show more. With a background in English literature BA Oxford and international museum studies MSc University of Gothenburg , she explores how the worlds of people and plants mutually shape each other, drawing on a range of perspectives including the history of science, museology, environmental humanities, and book history. Increasingly, she is putting traditional scholarship into conversation with practice-based approaches such as floristry and natural dyeing. Themes Environmental Knowledge. Keywords advertising museums plants vegetables science botany. Explore on map. Javascript is required to view this map. Explore on timeline. All Arcadia Collections Coastal History. Disaster Histories. Diseases and Pests in History. Global Environmental Movements. Histories across Species. Multispecies Intellectual History. National Parks in Time and Space. The Nature State. Notions and Nature. Religion and Place. Rights of Nature Recognition. Technology and Expertise. Terms of Disaster. Water Histories. Recent Contributors.

Recollecting the “prodotti vegetali” of the Natural History Museum, University of Florence

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When the setting for life is the largest fells in Finland and the rhythm is provided by the ever-changing seasons, limitless possibilities are just waiting to be realized. Our central mission is to advance the development of the Fell Lapland region in a variety of ways, from finding new investments to improving marketing and services. More than tourists stay in the area every year. Four seasons did not suffice for Laplanders and the Sami people in the olden days. Instead, they structured time into eight periods: autumn-winter; winter; spring-winter; spring; spring-summer; summer; summer-autumn and autumn. It only takes a couple of cold, frosty nights, and the autumn-summer turns into autumn. When leaves begin to fall and lakes become covered with fog and ice at night, autumn has arrived in full force, though it is not quite yet autumn-winter. There were valid reasons for dividing time into eight distinctive seasons. By predicting weather and carrying out seasonal tasks according to the weather signs, the northern way of life gave birth to the northern state of mind: a mentality which imitates nature. Nature is in a constant state of change, simultaneously in the present season while on the way to the next. This is also true of humans: we are constantly in a state of flux; always moving on and preparing for tomorrow. The structures and institutions of society may change, but mentalities, moulded by nature, remain practically unchanged through generations. In this way, the eight seasons have also remained. In a number of ways, they still influence the things we do, what we feel and how we think, all the time. How to start my own business? Skip to content. What is Fell Lapland? Eight seasons Four seasons did not suffice for Laplanders and the Sami people in the olden days. The New Year festivities have come to an end, and it is dark, cold and quiet until March or April when, soon after the 1. The amount of light increases significantly, even though it is still dark and cold at night. With increased light, everything in nature begins to awake. At the first sign of spring, The first stoneflies begin to crawl on the snow near the waterfront. Once the sun no longer sets, With 24 hours of daylight, the entire ecosystem lives in ecstasy. This is followed by And then… the The last season, ending the yearly cycle, is The long polar nights are followed by the greatest celebration of the year: Christmas — a celebration of rebirth, light and letting go of the old. How to contact us? Send message.

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