Farlow Library exhibit on deadly Amanita mushrooms and mycological illustration

The Farlow Library's new online exhibits highlight the death cap mushroom and mycological illustration.

Image courtesy of the Harvard University Herbaria/The Farlow Library of Cryptogamic Botany

Image courtesy of the Harvard University Herbaria/The Farlow Library of Cryptogamic Botany

Image courtesy of the Harvard University Herbaria/The Farlow Library of Cryptogamic Botany

Image courtesy of the Harvard University Herbaria/The Farlow Library of Cryptogamic Botany

Image courtesy of the Harvard University Herbaria/The Farlow Library of Cryptogamic Botany

Image courtesy of the Harvard University Herbaria/The Farlow Library of Cryptogamic Botany

North Americans on rambles through the woods may come upon any of thousands of species of wild mushrooms. A very few are delicious. Probably none is more lethal than Amanita phalloides, the death cap. Ingesting it causes cell necrosis, especially in the liver and kidneys. Although scientists have learned the formulas of its toxins, no antidote exists. Death occurs in 20 percent to 30 percent of cases. Although now widespread in North America, the mushroom is not indigenous and may have been imported from Europe among cork or oak tree seedlings. It is a mycorrhizal fungus, often found growing among the roots of oaks. Campers, do not sauté a mess of these for dinner.

Instead, see an online exhibit devoted to the death cap at www.huh.harvard.edu/ libraries/Amanita_exhibit/ intro.htm. Consisting of materials from the Farlow Library and Herbarium of Cryptogamic Botany, the exhibit explores the naming of the fungus, poisonings by it from Australia to Alabama, the way it has been shown in botanical illustration from 1727 onward, and its appearances in literature and even music. The culprit is shown at left in Thomas Taylor’s Student’s Hand-Book of Mushrooms of America Edible and Poisonous (Washington, D.C., 1897).

The library has also mounted an online exhibit of images documenting the history of mycological illustration (see www.huh.harvard.edu/libraries/ mycology/illustration.htm). It begins with the very first published depiction of a fungus, a woodcut from 1491, and goes on to show how advances in the technology of image reproduction led to in­creasing precision in illus­tra­tion. Among the earliest works to be printed using lithography was Illustrations of the Fungi of Our Fields and Woods (London, 1864-65), by Sarah Price (at right), and one of the finest was Émile Boudier’s Icone Mycologicæ (Paris, 1905-10). Its image of Cortinarius is reproduced here (at top). Several species in this huge genus are poisonous, but if you’re thinking of doing someone in, you might as well stick to amanita, remembering Isaac Asimov’s advice, in Ellery Queen’s Mystery Magazine, that “A salad with diced amanita/Will kill with the speed of a cheetah.”

Read more articles by Christopher Reed

You might also like

Tk tk Iran

Artist Azadeh Akhlaghi reconstructs moments of Iranian political upheaval in a series of meticulously staged images.

Science and art capture the microscopic natural world.

George Washington’s Sash on Display at Peabody Museum Starting May 25

A famous American fashion statement helps bring Revolutionary history to life.

Most popular

A new proposed structure, layoffs, and a five-day-a-week in-person work mandate will take effect by fall.

China’s Excess Wind Energy

Rather than shutting down turbines, China can harness surplus wind energy to make “green” hydrogen fuel and industrial chemicals.

The Secrets of Haiti’s Living Dead

 A Harvard botanist investigates mystic potions, voodoo rites, and the making of zombies.

Explore More From Current Issue

Two figures stand before a large, colorful pixelated face against a yellow background.

Harvard scientists identify hundreds of genes under selective pressure.

Singer performing on stage with a guitar, wearing a hat, and surrounded by band instruments.

Singer Elisa Smith’s whiskey-soaked voice and subversive feminism is part of the genre’s urban shift.

Five individuals are posed in a monochrome outdoor setting near a cinderblock building, some standing, some seated.

Photographer and writer Morgan Smith chronicles life beyond the violence in Ciudad Juárez and other Mexican towns.