A Precious Package

Ninety-nine years ago today, a package arrived at the Smithsonian, dispatched by express train from Cincinnati.

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“Stone,” of course, is Witmer Stone, and the writer Charles Wallace Richmond, Associate Curator of Birds at the National Museum. Robert Wilson Shufeldt, dismissed from the Museum over the Audubon affair 17 years earlier, is the great osteologist and pioneering photographer of birds and other untamed organisms. William Palmer was a second-generation staff taxidermist at the Smithsonian.

And the pigeon? Her name was Martha.

Passenger Pigeon, Pauline de Courcelles Knip
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Here’s to You, Mrs. Robinson

Anna's Hummingbird

Anna’s Hummingbird

It’s no great revelation to point out that there are lots of birds named for women.

There are also lots of birds named for men.

Magnificent Hummingbird

Rivoli’s Hummingbird (remember?)

That seems only fair — but in fact there are some significant asymmetries in the ways that women and men have been assigned the role of eponym. The men thus honored have often collected or described or painted or identified the bird in whose name they are commemorated. It’s different for women: in the great majority of cases, the giving of their name to a bird is nothing more than a gallant gesture, a sentimental gift to someone who is thereby summed up as the wife or the daughter or the mother of an ornithologist or an artist.

To make matters worse, the men who named the birds almost invariably used only the first names of the women they meant to honor, infantilizing them and making it that much more difficult for us looking back to be sure in any given case that we’ve found the right Grace or Virginia or Anna.

Some of the brightest examples of such difficulties are provided by the names of hummingbirds. All through the nineteenth century, and into our own day, too, those feathered jewels have been more closely associated with the feminine than any other birds, a gendering that is immediately obvious just by a look at their nomenclatural history: there are dozens upon dozens of hummingbirds named for women, giving the family Trochilidae a higher percentage of female eponyms than any other.

Many of those women, too, are identifiable — if at all — only by their relationship to the namer. But every once in a while we run across one whose individuality has survived.

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In 1895, the National Museum of Natural History at the Smithsonian received a lot of 200 bird skins collected on Venezuela’s Isla Margarita. Among the birds were eight specimens of an Amazilia hummingbird apparently unknown to science. The collector, Wirt Robinson, later recounted the circumstances of his discovery: on July 4, 1895, such birds

became more abundant until when I had reached the perpetual clouds that hung about the peak and entered an atmosphere of mist, they were seen in all directions. The type specimen, a finely plumaged male, I shot from a mango tree as I sat in its shade drinking the milk of a cocoanut. It [the bird, I assume, and not the “cocoanut”] fell within a few feet of me and was at once seized by a wandering chicken which made off at full speed followed by me in hot pursuit. Fortunately there were no thorns to impede me, and although I broke down a banana plant in my headlong chase, I pressed the chicken so closely that it finally dropped my prize.

At the Smithsonian, Charles W. Richmond wrote the formal description of the new species, which he named Amazilia aliciae, “in honor of Mrs. Robinson.”

A few years later, Ernst Hartert reclassified Robinson’s discovery as just a subspecies of the Copper-rumped Hummingbird, and Alice’s Hummingbird and Alice Robinson alike slipped from birders’ memories.

2009 Top One Hundred Countdown # 1: Cabinet Card---Mrs. Wirt Robinson (Anita Alice Mathilde (Phinney) Robinson) [Brought Forward For Pure Greatness]

flickr photo: John van Noate

Anita Alice Mathilde Phinney Henderson (1860-1918) was thirty years old when she married Wirt Robinson; it was her second marriage. A woman of background and breeding — the New York Times regularly reported on her activities — she could have stayed at home while her husband, soldier, “ardent sportsman, fisherman, and naturalist,” traveled the Americas in search of birds.

She didn’t.

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In 1892, Robinson and her husband (in the old days, we’d have written “Alice”) set out on a voyage to South America. The trip was (if we are to believe Wirt) her idea: tired one evening of listening to him complain about how dull the birding was around West Point, she responded simply, “Well, why don’t we go to the tropics sometime?” Her brother-in-law, Cabell Robinson, joined the party, and on June 11, the trio embarked for Colombia.

Only the men were seasick. Once ashore, though, everyone shared in all the discomforts of travel on the frontier: in one ironically named inn, the Consuelo, the Robinsons

were given a little room in which were two wooden frames with cowhides stretched over them for beds. These we found to be swarming with fleas, bedbugs, and a kind of flying roach an inch and a half long, so we spent a wakeful night, tormented by bites.

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In those days before cipro, Cabell and Wirt were more or less continuously ill, but Alice, other than feeling faint and hungry after a sleepless, vermin-plagued night, seems to have been more robust — until, in mid-July, she contracted malaria. Quinine helped, as no doubt did the forced relaxation of the three days’ return voyage to Curaçao, and by the time the ship arrived there, she was well enough to join her husband on a sightseeing drive before reboarding for the homeward cruise.

At sundown on August 4, 1892, the Robinsons passed Barnegat Light, and their “flying trip” to South America ended in New York the next morning. Alice Robinson seems to have recovered from her fever, and it was back to society-page life as normal: dinner parties in Newport, visits to family, golf outings in Virginia.

I don’t know whether that normality included any more ornithological expeditions with her husband, and neither do I know how she died at so very young an age. Alice Robinson was not mentioned in her husband’s NYT obituary, most likely because he had remarried, and doesn’t appear to have merited one of her own. Only a little bird even reminds us that she lived.

Note that I have been able to find no evidence supporting Jobling’s identification of Alice Robinson as the eponym of another hummingbird, Aglaeactis aliciaeStay tuned for more about that one.

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Cranes

Common Crane
Common Cranes

Research, I used to teach my students, is systematic, methodical, orderly. Learn where to look and how to look, and more often than not you’ll find what you’re after.

The spice of the scholarly life, though, is finding what you’re not after. I was startled this morning on leafing through Alfred Bouchard’s 1878 glossary of theatrical language to find this entry, s.v. “Grues”:

Scientists claim that this is a bird of the wading order; others say that it is a mechanical construction intended to raise loads.

We are in quite a muddle, since the characteristics of the bird “crane” are to have half-naked legs, to love travel, and to have the top of the head bare and red; and the machine “crane” is made up of gears, pins, and winches, and can be fixed or mobile, single or double.

Now our grue shares something of both: it is single, and it often has red hair, many machinations, and bare legs — not to mention the rest; it sometimes has a fixed place of business on the street, but it is also mobile and loves to travel. It lives pretty much everywhere and is at home especially in the small theaters of Paris.

Does it belong to the realm of ornithology or of machinery? We’re at a loss.

Whatever could Bouchard be talking about?

Manet, Nana
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Point Breeze

After yesterday afternoon’s cold front, we thought we had it made this morning. The woods along the Delaware River would, we thought, be swarming with warblers and vireos and flycatchers and tanagers. All we needed to do, we thought, was get there.

Point Breeze. Charles Lawrence, before 1820.

“There” in this case is a very special place in the history of American ornithology.

Point Breeze was the country estate of Joseph Bonaparte, the elder brother of the first Napoleon and erstwhile king of Naples and of Spain. At the mouth of Crosswicks Creek in Bordentown, New Jersey, Point Breeze was also the home for some five years of Charles Lucian Bonaparte and his cousin-wife, Zénaïde, and it was here on the banks of the Delaware that the Prince of Musignano and Canino conducted much of the work that would lead Coues to call the 1820s “the Bonapartian Period” in American ornithology.

Bonaparte had better luck with the birds than we did. But still we enjoyed treading the same paths trod almost two hundred years ago by the man Coues styled “the princely person.”

Point Breeze

Back in Bonaparte days, the marsh at the bottom of the hill was a lake, formed by damming Thornton Creek. The view down Crosswicks Creek to the Delaware is still impressive, and this would be a great place to simply set up and wait on a day when migrants really did decide to show up.

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The house Joseph built above the lake for his daughter and son-in-law is long gone, replaced by tall beeches and tulip trees.

Point Breeze

The tangled banks held chipping Northern Cardinals and mewling Gray Catbirds; on a warbler day, the edges could be lively.

The most evocative spot we discovered was this crumbling stretch of carriage road.

Point Breeze

The only intact structure from Bonaparte’s day is the old Garden House, a modest building now overlooking lawns and a sparse orchard but once guarding the entrance to Joseph Bonaparte’s formal gardens.

Point Breeze

This little house, too, has its place in ornithological history. You can read about that, and more about Charles Bonaparte and American ornithology, tomorrow at the newly remodeled ABA Blog. See you over there!

Point Breeze

Thanks to Alison and to Hidden New Jersey‘s Sue and Ivan for the excellent birding company, and to the Divine Word Mission in Bordentown for allowing us access to their grounds. 

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The Unexpected Wilson

Alexander Wilson’s accomplishments were manifestly great, but any real understanding of the man and his works will have to wrestle with the question of his influence on American culture: Did Wilson — does Wilson — matter?

I think he did, at least if we are to judge by bits of evidence such as this.

This painting of Niagara Falls by the American “primitive” Edward Hicks resides in a conspicuously inscribed frame, dated 1825. The verses, it turns out, are from The Foresters, a poem written by Alexander Wilson following his own visit to the Falls in 1804.

According to Alice Ford, Hicks’s brother had financed a reprint of the poem sometime before 1819, when the painter and his companions traveled to Niagara.

I know no more than that. But isn’t that enough to raise big questions about Wilson and the utopians (Thomas Say, Philadelphia, New Harmony!), Wilson and Quakerism, Wilson and the construction of the American landscape before the Hudson River School, Wilson’s religious co-optation, and on and on?

Who’s working on this out there?

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