This is the second in a series of blog posts highlighting heirloom plants growing in our Victory Garden at the National Museum of American History with ties to the FOOD in the Garden theme of the week. Every Thursday in September we are exploring one of four key maritime regions with connections to the War of 1812: the Long Island Sound, the Chesapeake Bay, the Great Lakes, and New Orleans. We hope to see you tomorrow evening in the Victory Garden as we enjoy garden-fresh food, cocktails and hard cider from New Columbia Distillers and Distillery Lane Ciderworks, and learn more about two hundred years of Chesapeake Bay foodways. This week’s event is sold out, but you can follow @amhistorymuseum on Twitter for live updates. Tickets for the programs on September 18th and 24th can be purchased here.
This spicy heirloom pepper has deep roots in African-American history, the fishing industry, and the food traditions of the Chesapeake Bay region. The fish pepper is both a decorative and culinary treasure; beautiful variegated foliage provides an attention-grabbing backdrop for the striated peppers that range from white to green to deep oranges and reds. It’s a workhorse plant that’s pretty enough to show off in the front yard as an ornamental and produces peppers with a mellow heat all summer long.
The origins of the fish pepper (Capsicum annum, the same species as the Tabasco pepper) are mysterious, but it likely arrived in North America by way of the Caribbean. A possible genetic mutation caused the plant to produce the prized spicy, light-colored peppers. African-American slaves and freedmen in Antebellum Maryland used the pepper to add an unanticipated heat to fish, shellfish—and even terrapin—stew. It was a prized “secret” ingredient in white sauces. The creamy, green young peppers added undetected heat to a white sauce without muddying the color. According to the authors of Chasing Chiles: Hot Spots along the Pepper Trail, the decline of the fish pepper (and its brush with extinction) is closely tied to the decline of the fishing industry in the Chesapeake Bay, though this heirloom is now is making a culinary comeback in the Baltimore area and is available from some seed companies.
Here are two past blog entries from Smithsonian Gardens and the National Museum of American History on the history of fish pepper. Enjoy!
-Kate Fox, Smithsonian Gardens educator
This month we are collaborating with the National Museum of American History to present the second annual FOOD in the Garden evening series. Every Thursday in September we will explore one of four key maritime regions with connections to the War of 1812: the Long Island Sound, the Chesapeake Bay, the Great Lakes, and New Orleans. Join us tomorrow for a relaxed evening in the Victory Garden & enjoy fresh food and cocktails as we discuss the foodways and waterways of the Long Island Sound. Every week we’ll highlight a different plant from the Victory Garden with ties to the past and present agricultural heritage of the featured region.
The ‘Long Island Cheese’ pumpkin is a little-known heirloom with a mild, sweet flavor, making it a longstanding regional favorite for pies. This cream-colored pumpkin can be found peeking through its light-green leaves in our Victory Garden at the National Museum of American History. It was a popular variety in the Long Island Sound area in the 1800s, mentioned frequently in cookbooks and farmers’ almanacs, but is less common and harder to find in today’s modern markets. A member of the Cucurbita moschata species, this vine originated in Central or South America and made its way via trade and commerce to European and North American gardens as early as the 1500s. By the time of the Revolutionary War it was commonly found in gardens and markets up and down the Atlantic seaboard. In 1807, Bernard McMahon of Philadelphia introduced cheese pumpkin seeds to the commercial market. Cheese pumpkins made their way into seed catalogs and were popularly cultivated in the Long Island region.
The ‘Long Island Cheese’ pumpkin does not, in fact, taste like cheese at all—though we think it would make an excellent filling for ravioli. The flattened shape and the ribbed, light skin of the pumpkin resemble a wheel of cheese, a common sight in early American markets. Connecticut and the New England states were famous for their dairy production, exporting their delicious cheeses to other states and territories.
The medium-sized cheese pumpkins have deep orange, stringless flesh and a sweet taste, a perfect choice for pumpkin pie. According to one D.D. Tooker in an 1855 issue of the Michigan Farmer, cheese pumpkins were the pick of the pumpkins for any self-respecting pie baker:
The ‘Sweet pumpkin,’ alias ‘Cheese pumpkin’ or ‘pie squash,’—is the only true article, in my opinion, for making that most delicious of ‘yankee notions’—pumpkin pie—and I am not alone in my opinions, for I have yet to see the individual who would not agree with me in this matter . . . The shape and color of the fruit resembles that of a small sized dairy cheese, its flesh is very firm, fine grained and brittle, is of a rich orange color, and very sweet. They will keep all winter in a cool dry cellar if picked and stored before ‘Jack Frost’ touches them.
Seeds are still available from a variety of heirloom seed companies. Or be on the lookout for one in your local farmer’s market or pumpkin patch for the upcoming Thanksgiving baking season. As Tooker observed, this pumpkin stores very well in a cool, dry place.
Tomorrow evening, September 4th, FOOD in the Garden attendees will have the opportunity to sample spirits from Westford Hill Distillers, learn about the process of salt-making from Amagansett Sea Salt, and chat with the Smithsonian Gardens horticulturists who keep the Victory Garden growing. The evening’s panelists include Cindy Lobel, author of Urban Appetites: Food and Culture in Nineteenth-Century New York, Stephanie Villani, co-owner of Blue Moon Fish, and Diana Whitsit of Terry Farms.
More information about the program and how to purchase tickets for “Long Island Sound: Human Impact” can be found here.
Up next week: a pepper to spice up your seafood stew just in time for “Cultural Connections: The Chesapeake” on September 11th.
-Kate Fox, Smithsonian Gardens educator
We are kicking off the start of the new school year with a guest blog post by Michael Torguson, a teacher in Medford, Oregon who spent the summer teaching school at a juvenile detention facility. He used soil as a jumping off point for his students to study the science, history and geography of locations across the globe, widening their world.
Teaching is a challenge under the best of circumstances. Teaching summer school at a juvenile detention facility, the challenge gets kicked up a notch (or two!).
When I asked the kids what they wanted to learn over the summer, they said they wanted to learn botany. So we did the usual: planted an herb garden, studied water ecology and how pollution affects the land (and by extension, plants), and the properties of soil. In a regular school setting, the usual procedure would be for students to scatter around the school grounds, locate their patch of soil, mark it on a school map, and do their analysis.
But how do you teach soil and plant biology when students cannot leave the building? Answer: bring the soil from outside . . . in. I was originally going to take a weekend, drive around town, and collect soil from different areas. Then I had an idea: why not collect soil from all over the country? I reached out to various “famous places” and requested soil from their grounds for the kids to analyze. I got some very interesting responses, from “This is unprecedented!” to “You just want … dirt?”
I also got some happily unexpected responses, from “Soil from the Trinity Nuclear Test Site will always be radioactive” to the one from my new friend, Smithsonian Gardens’ own Supervisory Horticulturist Brett McNish. McNish said he did a similar project a while back and offered to send some soil that he was able to collect from overseas. So Brett sent me soil from the U. S. Embassy Grounds in Kabul, a Forward Operating Base in Iraq, sand from Omaha Beach, as well as from the garden near the National Museum of the American Indian.
In all, we received and tested soils from:
- Arecibo Observatory, Puerto Rico
- Central Park, New York
- Dodger Stadium, California
- Forks, Washington (We had a Twilight fan in class!)
- Haleakala, Hawaii
- Harvard Yard, Massachusetts
- Los Angeles Coliseum, California
- Monticello, Virginia
- Mt. Vernon, Virginia
- Old North Church, Massachusetts
- Pike’s Peak, Colorado
- The Smithsonian Institution, Washington, D.C.
- Trinity Nuclear Test Site, New Mexico
- Very Large Antenna Array, New Mexico
- White Sands Missile Testing Range, New Mexico
A Social Studies teacher by training (and excitable by nature), I decided not to limit the science project just to science; I decided to add geography and history to the mix. The project was getting really interesting!
The project evolved, and ultimately each student:
- Learned the Scientific Method and proper observation and documentation methods;
- Performed Soil Properties Classification (all students classified all soils);
- Conducted Nitrogen, Phosphorous, Potassium (NPK) and pH testing;
- Researched what each of the above tests mean in terms of soil health;
- Researched the climate and geography of the region;
- Researched the history of the location where they received the soil;
- Created and presented their report to the class.
Best of all, the students rose to the challenge! Not only did they follow correct analysis procedures, but they also wrote very good historical and scientific summaries. As a bonus, they got to keep their dirt as a souvenir. (Except for the Trinity Soil – I didn’t want to have to answer questions about why I was giving radioactive material to students!)
In the end, the students had fun, learned a few things, and got to “visit” places they otherwise would not have been able to go. I also learned an important lesson about creatively teaching across the curriculum.
Oh, and in case you are wondering, the student who analyzed the Smithsonian soil reports that:
“The soil was dark brown, with lots of small roots. It was rich and healthy. The Phosphorous level was low (0-50lb/acre), there were trace amounts of Nitrogen and Potassium, and the pH level is 7.0.”
-Michael Torguson. During school year Michael is a substitute teacher at Central Medford High School in Medford, Oregon.
Of the four birds currently on display as sculptures in the Enid A. Haupt Garden, the Labrador duck is the one about which we know the least. Despite this—or perhaps because of this— the bird has spawned different theories about how it lived and how it eventually became extinct.
The sculpture is part of The Lost Bird Project, which seeks to create awareness about our fragile bird species. The creation of artist Todd McGrain, the project has been sponsored by the Smithsonian and other organizations. Four birds will remain in the Haupt Garden until spring 2015; a fifth bird is in the garden of the National Museum of Natural History, on the corner of 12th Street and Constitution Avenue.
The Labrador duck lived along the east coast of North America, from Canada to the Chesapeake. A small bird, it was a good diver and swimmer. It had a flat, square bill that allowed it to scoop up small fish and shells, on which it lived.
Unlike other birds that became extinct because of specific practices or even a single cataclysmic event, the Labrador duck declined for unknown reasons. Its meat did not taste good, so the duck was not hunted widely. Nor was its plumage unique or particularly desirable. There is some speculation that the number of ducks began to decline when their main source of nourishment, a specific mollusk, was depleted by overfishing. Another possibility is that its eggs were widely hunted by predators, thereby reducing the number of birds. The story of the Labrador duck therefore underscores the interconnectedness of the natural world: change in one element can trigger further changes, eventually jeopardizing the existence of unique species.
Interestingly, the extinction of the Labrador duck has inspired both research and whimsy. Biologist Glen Chilton embarked on an 82,000-mile journey to explore the bird’s history, which he captured in his book The Curse of the Labrador Duck (2009). More recently, A Birder’s Guide to Everything (2013), a movie starring Ben Kingsley, centers on a group of teenagers’ quest to find the duck, which they do not think is extinct.
-Annette B. Ramírez de Arellano, Smithsonian Gardens volunteer
The Lost Bird Project is a companion exhibit to “Once There Were Billions: Vanished Birds of North America” on view at the Smithsonian Institution Libraries through October 2015.
This monocarpic, herbaceous banana is a wonderful specimen in any garden. Monocarpic describes plants that flower, set seed, and then die. Ensete superbum, or cliff banana, is native to India and has a conical pseudo-stem made up of overlapping leaf sheaths. Its bright green leaves, reaching six feet in length, drop during winter. The plant may reach ten to twelve feet while blooming. The inflorescence (or flower head) is a curved terminal spike with triangular oblong fruits and reddish brown bracts that persist for some time to add ornamental value. This banana, unlike many others, does not produce suckers and only reproduces by seed. In some extraordinary cases, plants in the wild can go into a three to four year dormancy period.
This rare plant in now on display in the Enid A. Haupt Garden. You can see it for a limited time just inside the west entrance to the garden, close to the entrance to the S. Dillon Ripley Center.
-Matt Fleming, Smithsonian Gardens horticulturist
In major urban landscape such as Washington, D.C., a place like the Smithsonian Institution’s Butterfly Habitat Garden serves a valuable purpose as a rich and rewarding refuge, not only for butterflies, but also for bees. With so many flowers in bloom at the end of July, it’s easy to see that bees are very important for pollination. A bee moves from flower to flower searching for nutrient-rich nectar, which it laps up with its hairy tongue. In this process, pollen will collect on the bee’s body and be transferred from one flower to another, providing for the production of the seeds that sustain many gardens and wild-flower populations. On the hind legs of some bees, there are corbiculae, or pollen baskets. These serve a function similar to suitcases, allowing the bees to pack lots of pollen into the baskets for the flight back home to their colony where they share their newfound resource with many others. Solitary bees do not have pollen baskets, but species like leaf-cutter bees have very hairy abdomens, which collect a large amount of pollen. Recently the Butterfly Habitat Garden was abuzz with a large number of bee species, including bumble-, leaf-cutter, honey, and sweat bees, all collecting resources and pollinating flowers.
-Lisa Horth is a Smithsonian Gardens Enid A. Haupt Fellow and an Associate Professor of Biology at Old Dominion University in Norfolk, Virginia, where she studies plant-pollinator interactions.
As a Structural Entomologist, I primarily deal with pests found in any typical urban environment, including cockroaches, ants, flies and rodents; however, working in a museum, I also encounter a completely different classification of pests that provide their own unique challenges.
Wood infesting insects, stored product pests and fabric and paper pests can destroy museum objects in a relatively short amount of time. A carpet beetle or clothes moth that might put a few holes in a $40 sweater could completely decimate an artifact like a wool cap from the Civil War. It’s important to identify pests correctly and to know the early signs of an infestation before an object is irreversibly damaged.
Museum pests are not a topic that is typically covered at pest management conferences or in industry journals or websites. This is why I was so excited to have the opportunity to attend “Museum Pests 2014: Integrated Pest Management for Museums, Libraries, Archives and Historic Sites” in Colonial Williamsburg, thanks to the Smithsonian Gardens travel grant program earlier this year.
There was an overwhelming number of presentations, workshops and tours to choose from during the two day conference including topics such as pest identification, treatment options, record keeping, Integrated Pest Management policy, and health and safety. Workshops that I attended included tours of the Colonial Williamsburg Historic Area and the Collection and Preservation Facilities.
It was reassuring to meet with museum professionals from all over the world and to learn that all of us experience the same basic challenges regardless of whether we work in large complexes or small, historic homes. The information that I gathered in two short days has been indispensable in my encounters with museum pests.
-Allison Dineen, Smithsonian Gardens Entomologist