Botany – Page 5 – Hoopoe

The NHBS Guide to UK Seaweed Identification

Seaweeds, or marine macroalgae, are plant-like organisms that live in coastal areas, usually attached to rocks or other substrates. They are divided into three taxonomic groups: brown, red and green. Broadly speaking, species fall into the group that most closely matches their colour. However, the groups also differ in more complex structural and biochemical features, such as their photosynthetic pigments and cell structure. While green and red seaweeds are classified in the Kingdom Plantae, which also includes all of the world’s land plants, brown seaweeds belong to the Kingdom Chromista and are more related to algae, diatoms and protozoans.

British and Irish seas are home to more than 600 species of seaweed; this is more than 6% of the known species globally. They are incredibly important ecologically and provide both food and shelter for numerous other creatures. In fact, one of the great pleasures of studying seaweeds is the many other species that you find along the way.

If you find yourself enjoying your seaweed studies, why not contribute to the Natural History Museum’s Big Seaweed Search. It only takes around an hour and will provide valuable data that can be used to research the effects of environmental change on our seashore communities.

When and where to find seaweed

Seaweed is present all year round. At low tide, more of the shore will be exposed which means that you are likely to find a greater range of species. This is also the only time that you are likely to spot a glimpse of those seaweeds that thrive in the lower intertidal zone. Sheltered shores tend to provide a better location for many species, as most cannot survive the battering of the waves in more exposed locations. However, there are a few species that are specially adapted to live on exposed shores so it’s always worth a look there. Similarly, as most species require a firm substrate to anchor to, rocky shores will be home to more seaweeds than sandy or muddy ones.

Ten common species to look for

Brown seaweeds:

**Bladder wrack (Fucus vesiculosus)**

Bladderwrack from the Dr. Mary Gillham Archive Project via Flickr.

ID notes: An olive-brown seaweed that has branching fronds with smooth edges. Paired air-filled bladders run along the length of the fronds on either side of the central rib. 15-100cm in length. The number of bladders present is related to the exposure of the shore; in very exposed places this species may grow without any bladders and will also be much reduced in length.

Distribution: Found on rocky shores between the high and low water line.

**Knotted wrack (Ascophylum nodosum)**

Knotted wrack from the Dr Mary Gillham Archive Project via Flickr.

Also known as: Egg wrack

ID notes: This yellow-brown seaweed has long fronds reaching up to two metres in length. Single large air bladders appear at regular intervals along its length.

Distribution: Found on the mid-shore on sheltered rocky coasts. Knotted wrack is very long-lived (up to 15 years) in comparison to other algae; this allows it to become dominant on many sheltered coastlines. When the tide goes out it often forms huge piles.

**Spiral wrack (Fucus spiralis)**

Spiral wrack from the Dr Mary Gillham Archive Project via Flickr

Also known as: Twisted wrack

ID notes: Spiral wrack is generally a pale olive-brown and grows up to 40cm. As the name would suggest, fronds are generally (although not always) twisted and have smooth edges and a distinct central rib. When mature, fronds have yellowish, paired swollen tips; these are the reproductive structures.

Distribution: Found high on the rocky shore, just below the high-water mark.

**Serrated wrack (Fucus serratus)**

Also known as: Toothed wrack or saw wrack

ID notes: This brown seaweed forms branched fronds 50 to 80cm in length. Edges are serrated.

Distribution: Found on sheltered and semi-exposed rocky shores just above the low water mark. Fucus serratus is often the dominant algal species found at this point on the shoreline.

**Oarweed (Laminaria digitata)**

ID notes: Oarweed has dark brown-green fronds that are up to two metres in length and split into long finger-like blades. Attaches to the rock with a claw-like holdfast which allows it to survive in rough subtidal conditions.

Distribution: Grows in dense beds in the lower intertidal and shallow subtidal zones (at a depth of up to 20m). Often all that can be seen of this species are the tops of the fronds during low tide.

**Sugar kelp (Saccharina latissimi)**

Also known as: Sea belt

ID notes: Forms long undivided blades that are yellow-brown in colour and have ruffled sides. Grows up to five metres in length.

Distribution: Found on the lower shore and in deep rock pools. Mostly on sheltered shores and can be found up to a depth of 30m.

Green seaweeds:

**Sea lettuce (Ulva lactua)**

ID notes: Sheet-like light green seaweed which grows up to 25cm in length and 30cm in width. Very delicate and almost translucent; almost like floppy lettuce leaves.

Distribution: Found attached to rocks or floating in rock pools.

**Gutweed (Ulva intestinalis)**

Also known as: Grass kelp

ID notes: As the Latin name would suggest, gutweed resembles the intestines of mammals and consists of inflated hollow fronds which have bubbles of air trapped along them. Bright green and grows up to 40cm in length.

Distribution: Occurs in a wide range of intertidal habitats including rockpools and on sand or mud. Can also be found growing on shells or other seaweeds.

Red seaweeds:

**Carrageen (Chondrus crispus)**

Carrageen from the Dr Mary Gillham Archive Project via Flickr

Also known as: Irish moss

ID notes: Dark reddish-purple branching seaweed which appears iridescent when submerged. Turns green with exposure to bright sunlight.

Distribution: Rocky shores and estuaries, on rocks and in pools in the lower intertidal and upper subtidal zones.

**Purple laver (Porphyra umbilicalis)**

Purple laver from the Dr Mary Gillham Archive Project via Flickr

ID notes: Forms fronds of variable shape which are thin and membranous. Olive to purple-brown in colour and up to two metres in length.

Distribution: Found in the mid to upper shore, generally on mussel-covered rocks. Common on exposed coastlines.

Palace of Palms: Tropical Dreams and the Making of Kew: an Interview With Kate Teltscher

Daringly innovative when it opened in 1848, the Palm House in Kew Gardens remains one of the most beautiful glass buildings in the world today

In Palace of Palms, Kate Teltscher tells the extraordinary story of its creation and of the Victorians’ obsession with the palms that filled it: a story of breathtaking ambition and scientific discovery and, crucially, of the remarkable men whose vision it was.

Cultural historian and author, Kate Teltscher kindly took some time to answer our questions about her new book.

Can you tell us something about your background and what motivated you to write Palace of Palms?

I’ve visited Kew since my childhood and have always loved the Palm House. It’s such a magnificent building, and just astounds you, the moment that you enter the Gardens. It’s so sleek and elegant, and modern-looking. As soon as you push open the door, the heat hits you, and you’re inside this tropical world. The architecture and plants combine to form this astonishing spectacle. The whole Gardens are landscaped around the Palm House, and the three long vistas at the back mean that you’re always catching sight of the Palm House as you walk the grounds. I wanted to find out why the Palm House was at the centre of Kew. Why was it the first building to be commissioned when Kew became a public institution? As a cultural historian, I was interested in the story that the Palm House could tell about Britain and botany, about palms and empire. And then in the course of my research I became fascinated by the characters that I discovered: the ambitious first Director, the self-taught engineer, and the surly yet devoted Curator.

The historical period in your book has been described as ‘The Golden Age of Botany.’ Do you think this description is justified?

The period certainly saw the birth of modern botany and many plant collecting expeditions, but the idea of a ‘golden age’ seems outdated now. The phrase tends to obscure or gild botany’s connection with commerce and empire. From its very foundation as a public garden, Kew had close links with colonial gardens across the empire. John Lindley, the botanist who wrote a government report on Kew, proposed that the colonies would offer up their natural resources to Britain to aid ‘the mother country in every thing that is useful in the vegetable kingdom’. Kew was seen as the co-ordinating hub of a network of colonial gardens in India, Australia, the Indian Ocean and the West Indies, that would exchange information and plants across the globe. Transplanting medicinal plants, economic and food crops across continents, Kew engineered environmental and social change worldwide.

Why were palms so important to the Victorians?

The Victorians inherited the great Swedish botanist Carl Linnaeus’ notion that palms were the ‘princes of the vegetable kingdom’. They were regarded as the noblest of all plants, far surpassing all European vegetation. For the public educator, Charles Knight, they combined ‘the highest imaginable beauty with the utmost imaginable utility’. They provided every necessity of life: food, drink, oil, clothes, shelter, weapons, tools and books. They were so bountiful that Linnaeus imagined that early humanity had subsisted entirely on palms. As Chambers’s Edinburgh Journal put it: the question is not ‘What do they afford us? But what is there that they do not?’

Your book is full of intrigue, exploration and innovation. During your research was there one fact or event that stood out as been particularly remarkable?

I was particularly struck by the change in status of palm oil between the 1840s and today. Industrial chemists had recently discovered the properties of palm oil that would, in our own time, make it one of the most ubiquitous of vegetable oils. In the nineteenth century, palm oil was used as axle grease on the railways and, combined with coconut oil, as a constituent of soap and candles. The oil palm grew in the areas of West Africa previously dominated by the slave trade. The trade in palm oil, it was argued, was the most effective means to combat human trafficking. In contrast to current fears that palm oil production is a major cause of deforestation and involves child and forced labour, the Victorians viewed palm oil as an ethical product, with unlimited manufacturing possibilities.

How do you envisage the future of the Palm House, the finest surviving Victorian glass and iron building in the world?

I understand from Aimée Felton, the architect who compiled a report on the Palm House, that despite the constant humidity of the interior, the actual structure is in reasonably good shape. These days, I guess, the Palm House does not look so big. Some of the tallest palms can never reach maturity because the Palm House roof is not high enough; they have to be cut down so that they don’t break through the glass. Obviously modern plant houses, like the Eden Project biospheres or the Norman Foster-designed Great Glass House at the National Botanic Garden of Wales may be larger or wider. But what I find interesting is that these plant houses, like the Palm House, are daring, experimental structures. The Palm House really functioned as the model for glasshouses across the globe throughout the nineteenth century: in Copenhagen, Adelaide, Brussels, San Francisco, Vienna and New York. From a contemporary point of view, the Palm House is often seen as a forerunner of twentieth-century modernism. It offers a perfect union of form and function, with its clean lines and organic shape. In recent years, the Palm House has provided the inspiration for one of London’s current icons: the London Eye. I expect that it will go on inspiring architects and engineers for years to come!

Are you working on any new projects you can tell us about?

I’m hoping to work more with Kew, in particular a project to digitise an early record book that documents all the plants that were received and sent out from Kew at the end of the eighteenth century. Since Kew was the first point of entry for many plants into Britain, and also sent plants to colonial botanic gardens all over the world, this record book is central to our understanding of the circulation of plant species, both nationally and globally. Kew really is a place of infinite riches, for the visitor and historian alike!

Palace of Palms: Tropical Dreams and the Making of Kew
By: Kate Teltscher
Hardback | July 2020| £19.99 ~~£25.00~~

The extraordinary history of the magnificent Victorian Palace of Palms in the Royal Botanic Garden, Kew.

The NHBS Guide to UK Tree Identification

Trees are a vital part of our ecosystems and essential to all life. As well as providing homes and food for a wide range of wildlife, they also provide us with oxygen and clean air, and they help to conserve water and stabilise the surrounding soil. As such, trees are invaluable both to our environment and for human well-being.

In the UK there are more than 60 native tree species, each with its own distinctive features that can help with identification. In this blog we will focus on ten of our most common native trees and provide you with the key characteristics you need to look out for – soon you’ll be confident in recognising oak from elder and silver birch from ash.

How to identify a tree:

The best time to identify a tree is when it is in leaf. By looking at the size and shape of the leaves/needles, the structure of the bark, and any other features present such as seeds, berries or flowers, you have a great chance of working out what the species is. It can be a bit more tricky if you’re looking in winter when the tree is bare, but there are several good books that will help you out (take a look at our recommended reading list at the bottom of this post for our top suggestions).

Ten common British trees and how to identify them:

**1. Pedunculate oak (Quercus robur)**

Where to find: Also known as common or English oak, this ancient tree is one of Britain’s most iconic species, standing tall for hundreds of years. It can be found across the country in both urban and rural areas. (Not to be confused with the sessile oak which is our other native species of oak – see below for tips on distinguishing between the two).

How to identify: The pedunculate oak is a large deciduous tree growing up to 40m tall. It has grey bark when young which becomes darker brown and develops long vertical fissures as it ages. Leaves have familiar deep-lobed margins with smooth edges. Acorns hang from the tree on long stalks.

Pedunculate oak leaves have smooth-lobed edges and acorns grow singly at the end of long stems. Image via Wikimedia Commons.

Look out for: If you aren’t sure whether you’re looking at a pedunculate oak or a sessile oak, there are a couple of things you can check for. Pedunculate oak leaves have quite a short stem and more pronounced lobes at the bottom of the leaf. Acorns grow singly at the end of a long stem. Sessile oak leaves have a shorter stem and do not have lobes near the stem. Their acorns grow in clusters that are attached directly to the outer twigs.

2. Ash (Fraxinus excelsior)

Where to find: Ash is a common, widespread tree often found among British hedgerows and in many mixed deciduous woods in the UK.

How to identify: Ash grows up to a height of 30–40m. The bark is pale brown and fissures as the tree ages. Leaves are pinnately compound, usually comprising three to six opposite pairs of light green, oval leaflets. The buds are a sooty black with upturned grey shoots.

Ash leaves showing a small black bud at the base. Image via Wikimedia Commons.

Look out for: Sadly, ash is also identified by a serious disease called ash dieback (or chalara) that is a substantial threat to the species. The fungus appears as black blotches on the leaves and affected trees usually die within a couple of years.

**3. Common Lime (Tilia x europaea)**

Where to find: The sweet smelling lime is native to much of Europe. Although rare in the wild, it is commonly found in parks and along residential streets.

How to identify: Common lime is a tall, broadleaf tree with dark green heart-shaped leaves which are are mostly hairless, except for cream or white hairs on the underside of the leaf between the joints of the veins. It is known for its sweet smelling white-yellow flowers, that hang in clusters of two to five and that develop into round, oval fruits with pointed tips.

Lime leaves are heart shaped and delicate. Image via Wikimedia Commons.

Look out for: The common lime can be distinguished from other lime varieties by the tufts of white hair at the end of its twigs (in small-leaved lime hairs are red, and large-leaved lime has them all over the underside).

**4. Hawthorn (Crataegus monogyna)**

Where to find: An ancient tree steeped in mythology and folklore, hawthorn is most commonly found growing in hedgerows, woodland and scrub.

How to identify: Hawthorn has dense, thorny foliage and, if left to fully mature, can grow to a height of 15m. The shiny lobed leaves are among the first to appear in spring. It’s five-petalled flowers are white or pink and grow in flat topped clusters. In autumn and winter, trees are covered in deep red fruits known as haws.

Hawthorn flowers have five petals and are white or pale pink. Image via Wikimedia Commons.

Look out for: This species often hybridises with the UK’s other native hawthorn, Midland hawthorn (Crataegus laevigata). They look very similar and can be hard to tell apart.

**5. Hazel (Corylus avellana)**

Where to find: Used regularly for coppicing, hazel can be found in a range of habitats, including woodlands, gardens and grasslands.

How to identify: A small shrubby tree with smooth, grey-brown bark, hazel can reach up to 12m in height if left uncoppiced. Its leaves are oval, toothed, and have soft hairs on their underside. In late winter, before the leaves have grown, it produces long yellow catkins that hang in clusters. These later develop into hazelnuts.

Hazel produces long yellow catkins which hang in small clusters. Image via Wikimedia Commons.

Look out for: Easily confused with English elm, they can be distinguished by the shape and feel of the leaves. Elm leaves have an asymmetric base and have rough feeling hairs. Hazel leaves are symmetrical at the base and feel soft and downy.

**6. Common Alder (Alnus glutinosa)**

Where to find: Common alder enjoys moist ground and so can be found along riversides, fens and wet woodlands, often providing shelter to fish. Interestingly, alder wood does not rot when it becomes wet, but instead becomes stronger and harder.

How to identify: Alder is a deciduous tree that grows to 25m. It is broadly conical in shape, and the bark is dark and fissured. Leaves are racquet-shaped and tough. Female catkins are present on the tree all year round and look like small green or brown cones. Male catkins also appear on the same tree and are longer and thinner. Alder can also be recognised by its purple buds and purple twigs with orange markings in winter.

Female catkins become woody and cone-like towards the winter when they open up to release their seeds. Image via Wikimedia Commons.

Look out for: Can be confused with hazel – they can be told apart by the appearance of the leaves which are shiny and leathery in comparison to the soft downy leaves of the hazel.

**7. Holly (Ilex aquifolium)**

Where to find: A favourite in Christmas decorations, holly is widespread and found commonly in woodland, scrub and hedgerows.

How to identify: This easy-to-recognise evergreen tree has smooth bark with small warts and dark brown stems. Its shiny, leathery leaves usually have prickles along the edges, but can also be smooth in older trees. It can grow up to 15m in height and produces scarlet berries that remain on the plant throughout the winter.

Holly leaves on younger trees have sharp prickles around the edge of their tough, leathery leaves. Image via Wikimedia Commons.

Look out for: Although holly leaves usually have prickles, those on older trees or that are on the upper parts of the plant often have smoother edges.

**8. White Willow (Salix alba)**

Where to find: The weeping, romantic willow can be spotted growing in wet ground, often along riverbanks and around lakes where it trails its branches into the water.

How to identify: White willow is a the largest species of willow in the UK, growing up to 25m with an irregular, leaning crown. Its foliage appears silvery due to its pale, oval leaves that carry silky, white hairs on the underside. In early spring look out for its long yellow catkins and in winter try to spot the green-yellow narrow buds that grow close to the twig.

White willow leaves appear silvery due to the downy hairs on the underside. Image via Wikimedia Commons.

Look out for: There are several species of willow in the UK, including white willow, grey willow, weeping willow, goat willow and crack willow. These often hybridise in the wild.

**9. Silver Birch (Betula pendula)**

Where to find: A pioneer species, silver birch is a popular garden tree, and thrives in moorlands, heathland and dry and sandy soils.

How to identify: Silver birch can be easily recognised by its silver, papery bark which sheds like tissue paper. It has drooping branches and can reach 30m in height. Leaves are triangular-shaped with toothed edges and grow from hairless leaf stalks. In spring, flowers appear as yellow-brown catkins that hang in groups. Once pollinated, female catkins thicken and darken to a crimson colour.

Birch catkins are often described as ‘lambs tails’. Image via Wikimedia Commons.

Look out for: Silver birch is monoecious, meaning that both male and female catkins are found on the same tree. In April and May, try to distinguish the long yellow-brown male catkins from the short, erect green females ones.

**10. Elder (Sambucus nigra)**

Where to find: Historically known for its magical properties and hugely favoured by foragers, elder appears in hedges, scrub, woodland, waste and cultivated ground.

How to identify: Elder can grow to around 15m and has a short, greyish-brown trunk that develops deep creases as it ages. It has compound leaves; each leaf divided into five to seven leaflets. In summer, elder is recognised by its creamy, sweet-smelling white flowers that hang in sprays. In the autumn these develop into bunches of deep, purple berries.

In the spring the elder tree features sprays of fragrant white flowers. Image via Wikimedia Commons.

Look out for: In winter, elder twigs are green and have an unpleasant smell. They have a white soft pith inside.

The NHBS Guide to UK Wildflower Identification

Germander speedwell (Veronica chamaedrys). Image by L Wilkes

Plants and fungi are not only beautiful and interesting to study, but they also provide the building blocks on which all of our other wildlife (and ourselves) depend. Monitoring their abundance and diversity is key to understanding the health of our habitats. Plus, there are numerous studies that suggest that being around plants has benefits for our mental wellbeing, including improved concentration and memory as well as a better overall mood.

Spring and early summer are the perfect time to study your local plants as many will be in flower at this time, making them much easier to identify. (For other times of the year, a guide such as the Vegetative Key to the British Flora is invaluable – but it may take a bit of practice. For beginners, we suggest starting during the flowering season).

In this article we’ve featured a number of wild flowers that you’re likely to find, either in your garden or when out walking. These are separated into Town and Country/Woodland, but bear in mind that there will be some overlap, so it’s worth looking at both lists. Chances are that you’ll also find a few species that aren’t included here – you can find lots more information on the Plantlife website, including ways to submit your findings to their records. Or why not check out one of our wild flower ID guides listed at the bottom of the post?

Town

Here you will find nine of the most common species that you’re likely to encounter in urban areas. Pay particular attention to parks, waste ground and walls, and don’t forget to check the pavement cracks too.

LOOK OUT FOR:

1. Daisy – Bellis Perennis
Flowers March-October.
Easily recognisable flower with a yellow centre and numerous white petals. Abundant in short grass such as parks and garden lawns.

2. Silverweed – Potentilla anserina
Flowers May-August.
Common on bare or well-walked ground such as the sides of tracks. Easy to recognise due to the silver-white underside of leaves.

3. Bramble – Rubus fructicosus
Flowers May-October.
Very abundant on waste ground as well as on heaths and in hedgerows and woodland. Thorny shrub with white or pale pink flowers.

4. Scarlet Pimpernel – Anagallis arvensis
Flowers April-October.
Commonly found in gardens as well as arable fields, dunes, cliffs and heathland. Low growing and sprawling. Flowers are red with a purplish base.

5. Rosebay Willowherb – Chamerion angustifolium
Flowers June-September.
Abundant on disturbed ground, verges and railways. Produces tall spires of purplish flowers. Often found in dense stands.

6. Ivy-Leaved Toadflax – Cymbalaria mularis
Flowers May-September.
Often found on old walls and in pavement cracks. A straggly plant with ivy-like leaves and small lilac flowers with a yellow spot.

7. Buddleia (Butterfly Bush) – Buddleja davidii
Flowers June-October.
Likes dry, disturbed places such as waste ground, railways, walls and roofs. Long sprays of purple, white or lilac flowers; a favourite of butterflies.

8. Feverfew – Tanacetum parthenium
Flowers July-September.
Found in walls, pavement cracks and on waste ground. Flowers similar to a daisy but with shorter, broader petals. Aromatic leaves.

9. White Clover – Trifolium repens
Flowers May-September.
Found in most types of grassland as well as on waste/disturbed ground. Globular clusters of flowers on long stalks; usually off-white or pale pink. The leaflets usually have a pale chevron shape near the base.

Country/Woodland

This list features nine species commonly found in the countryside and wooded areas. Hunt along the hedgerows and meadows as well as on river banks and in woodland clearings.

look out for:

1. Cow Parsley – Anthriscus Sylvestris
Flowers late April-June.
Extremely common during May on roadside verges and in woodland rides and clearings. White flowers radiate out from the stem on spokes. Fern-like leaves.

2. Germander speedwell – Veronica chamaedrys
Flowers March-July.
Common in grass and roadside verges. Bright blue flower with a white eye on a sprawling stem. Leaves oval and toothed.

3. Meadowsweet –Filipendula ulmaria
Flowers June-Sept.
Likes damp ground such as roadside ditches and wet woodland. Long stems with clusters of cream, fuzzy flowers which smell of honey or almonds.

4. Herb Robert – Geranium robertianum
Flowers April-October.
Likes banks, woods, gardens and walls. Purple flowers with lighter stripes on petals. Whole plant may sometimes turn red.

5. Bugle – Ajuga reptans
Flowers April-June.
Common in damp deciduous woodland and other shady places as well as unmanaged grassland. Forms long stems with rosettes of green-purplish leaves and blue flowers marked with white.

6. Red Campion – Silene dioica
Flowers April-October.
Likes hedgerows and woodland clearings. Five-petalled pink/red flowers on long stems with opposite leaves.

7. Greater Stitchwort – Stellaria holostea
Flowers late March-June.
Common in hedges and verges as well as in woodland. White flowers with five petals, split halfway to the base. Sprawling with narrow leaves.

8. Yellow pimpernel – Lysimachia nemorum
Flowers May-September.
Fairly common in moist, shady woodland (deciduous). Low growing/sprawling with yellow star-shaped flowers.

9. Lesser Celandine – Ficaria verna
Flowers February-May.
Likes slightly damp soil in woods, fields and churchyards. Yellow flowers on long stalks and glossy heart-shaped leaves.

The Vegetative Key to the British Flora: an interview with author John Poland

With re-written keys, additional species, phenology and many new identification characters, this second edition of The Vegetative Key to the British Flora will be an essential tool for anyone wishing to identify plants when no flowers or fruits are available.

Author John Poland has taken time to answer a few question about the making of this eagerly waited update.

Could you tell us a little about your background and how you got interested in botany?

I grew up in urban Lancashire but luckily nature and ‘weeds’ are everywhere. The Lake District was a weekend camping haunt as a child so my curiosity of the natural world never disappeared.
I think the i-spy/Find 50 books that adorned bookshops at the time fostered this interest as I was always hunting for the rarities, sometimes even successfully! Later, local natural history societies and national societies such as the BSBI and Wild Flower Society were great at mentoring and developing more advanced ID skills.
My day job is in ecological consultancy which combines a passion for the natural world with protecting it for others to enjoy. Botany doesn’t always get the prominence it deserves but it plays such an important role in our environment.

Why did you consider producing a second edition of The Vegetative Key to the British Flora and how long has it been in preparation?

The second edition was started the day the first edition was in my hands in 2009! It was a good first attempt, but there is always much to learn and many diagnostic characters were overlooked. This volume aims to correct this by evolving a more definitive ID guide based on 10 years of extensive testing by many botanists. Writing The Field Key to Winter Twigs gave me a new perspective on key-designing concepts so some of these have been applied to the new Veg Key to make it easier for users.

Can you advise on the best ways to use this book?

Always read the keys and never try to pre-empt a question! In this edition, every key has been revised to make ID easier and more accurate.

What kit or equipment can you recommend to aid identification of plants in the vegetative state?

It’s mostly very basic (and inexpensive). A x20 hand lens is best in the field and an x15 LED magnifier is great when working indoors. A measuring loupe is a handy tool and easier to use than a microscrope for fine measurements.

Is there one easy mistake that can be made when identifying plants in their vegetative state?

Perhaps overlooking hair type or presence/absence of latex and stomata. These need careful interpretation but it gets much easier with practice, honest! The key works using obvious characters to start with before getting down to the nitty-gritty. I try to give both simple and technical characters to give the user confidence of getting a correct answer.

Have you got any future projects planned that you can tell us about?

There is always plenty to do in botany. I’m already working on including the entire British Flora. Neophytes are hitching a ride all the time and hortal plants constantly jumping over the garden wall. Perhaps a book on evergreen trees and shrubs would be useful for winter botany but I’m only on the bare bones of that key at the moment…

The Vegetative Key to the British Flora: A New Approach to Plant Identification
Paperback, published January 2020 £24.99

The second edition of this go-to identification guide is much revised, with re-written keys, additional species, phenology, and many new identification characters.

The Field Key to Winter Twigs: A Guide to Native and Planted Deciduous Trees, Shrubs and Woody Climbers (Xylophytes) found in the British Isles
Paperback, published November 2019 £19.99

A unique identification guide to winter twigs, allowing for rapid species identification.

Marjorie Blamey

Marjorie Blamey 1918 – 2019

We recently received the sad news that the prolific and talented botanical artist, Marjorie Blamey had died, aged 101.

Author and naturalist Peter Marren, looks back her achievements and her invaluable contribution to botany.

Marjorie Blamey, who died in September, aged 101, will be well-known to many as the artist of distinguished botanical field guides. Her paintings of wild flowers, trees and ferns are not only scientifically accurate but a joy to see in their fresh colours and lifelike arrangements. Her main aim, she once said, was to make plants look alive, and she achieved it by painting freshly gathered specimens, not, as many botanical artists did, by trying to breathe life into pressed ones.

Locating and painting around 2,000 different species for each field guide was quite a task. Marjorie and her husband Philip used to tour Europe in a motorised caravan, getting up at dawn to begin painting specimens gathered the previous afternoon, kept fresh in boxes lined with damp paper (at home she used the fridge or even the bath). In her prime she could get through a dozen watercolour paintings by lunch. Few botanical artists have worked so fast, and yet maintained such consistent quality.

Her big break was the Collins Guide to Wild Flowers of Britain and Northern Europe (1974) – known as ‘Fitter and Blamey’ – which was translated into many European languages and sold a million copies. It was followed by field guides to alpine flowers and Mediterranean flowers, vital identification guides to green tours ever since, and the large-format Illustrated Flora of Britain and Northern Europe (1989) which she wrote with her friend and mentor Christopher Grey-Wilson, and considered her best work. Her last field guide was the ambitious Wild Flowers of Britain and Ireland (2003) – or ‘Fitter, Fitter and Blamey’ – whose 4,000-odd colour illustrations she completed at the age of 85 (adding yet more paintings to the revised edition ten years later).

Despite her extraordinary output, Marjorie came to botanical painting surprisingly late. Although she had shown obvious talent in her youth – where she also became an accomplished actress, photographer and, after the outbreak of the Second World War, nurse and ambulance driver – she had largely given up painting to run a dairy farm in Cornwall with her husband, by whom she had four children. She was in her 40s when she began to paint local wild flowers. A friend persuaded her to exhibit, and one thing led to another: a book of magnolias, followed by the first of her field guides.

Marjorie Blamey was modest about her talent. She seems to have loved the life of botanical travel, working all hours to complete her assignments. When you consider that the latest Collins Flower Guide took four artists a number of years to complete, and it took Keble Martin a whole lifetime to finish The Concise British Flora, her total of around 12,000 flower paintings for five major field guides, plus other work, begun in her 50s and ending in her 90s, is a record that will, I suspect, never be exceeded.

Marjorie Blamey 1918 – 2019

Peter Marren, 26th September 2019

Author Interview: Jens H Petersen and Thomas Læssøe, Fungi of Temperate Europe (2-Volume Set)

Authors, Thomas Læssøe and Jens H Petersen have spent the last five years creating the wonderful two volumes set: Fungi of Temperate Europe. They have taken the time to answer our questions about this monumental and daunting project.

Could you tell us a little about your backgrounds and how you got interested in mycology?

We both dived into the mycological forest sometime in the late seventies and subsequently studied mycology at the Danish universities of Aarhus and Copenhagen. Since then, we have both tried to make mycology accessible to a broader audience, both through countless excursions and mycology courses and through books and photography (the present work includes photographs from the very first years of this 40 years period). Check also the book, The Kingdom of Fungi by Jens H. Petersen.

Two volumes, totalling over 1,700 pages must have a been a considerable undertaking; can you let us know a little of the process and how long it has taken for this book to come to fruition?

We have worked with the books for five years. Firstly, we made a long list of taxa we wanted to include and Jens started to develop the first identification wheels. We had the first dummy layout in summer 2015 and made the first version of the wheels for the Basidiomycota during autumn 2015. The asco wheels and the layout of the species pages followed in 2016. By summer 2017 we had a layout ready, but without text.

While Jens did wheels, layouts and photo-shopping Thomas produced the Danish texts online in our Danish Fungal Atlas database (www.svampeatlas.dk) and these were more or less finished during spring 2017. Then followed the long process of proofreading texts and editing them into the layouts. By summer 2018 this was finished and we started to do the translation into English. Fortunately, we had a couple of skilled UK copy editors who corrected mistakes and improved the language. The English edition was ready in April 2019.

The whole process was terrifying with respect to size which no one involved realised before they were deeply immersed in the books. The solution was to keep a tunnel vision most of the time, and just try to finish the one little piece of the puzzle in question and only on rare occasions emerge to the surface to look around and consider the distance to the goal line.

Who do you envisage using Fungi of Temperate Europe – what readership is it aimed at?

Everyone with a basic knowledge of fungi.

The book uses ‘form group’ to identify and present the fungi rather than exclusively strict taxonomic groups; what influenced you to use form groups and fungi wheels?

Scientists using modern DNA methods tend to split fungal genera into more and more narrow entities. As these are based on base pairs they may be absolutely devoid of morphological characteristics and thus impossible to work with for non-scientists. Thus any attempt to approach fungal identification in a strictly phylogenetic way will fail. It is for example impossible to construct a well functioning identification key to genera of fungi (we have been there several times, tried that and failed). This lead us to develop the multi-access computer key MycoKey (www.mycokey.com) and now later to try to convert the learning from MycoKey into book form.

What was your most surprising discovery whilst researching Fungi of Temperate Europe?

That fungi are difficult but beautiful.

What is the biggest challenge when studying fungi?

That fungi are mostly invisible to the naked eye unless they develop fruitbodies and when they do, the morphological plasticity of these fruitbodies is baffling. Thus good pictures are often worth more than detailed, lengthy descriptions.

After such an endeavour you surely deserve a rest, but have either of you got any future projects planned that you can tell us about?

We are working on a book with new identification keys to Danish Basidiomycota. The overall structure of this will be built on the form group identification wheels from the present work but the species keys will be dichotomous, analytical keys with lots of illustrations. We believe that the two projects will supplement each other.

We would both like to dive deeper into the world of Ascomycota and possibly return to tropical mycology.

Fungi of Temperate Europe
(2-Volume Set)
Hardback | Aug 2019
The culmination of five years work from authors, Thomas Læssøe and Jens H Petersen

The NHBS Guide to Hand Lenses

The possession of a hand lens is one of the defining characteristics of a naturalist.

We use them for everything from peering at beetle genitalia and examining floral characters, to examining the arrangement of teeth in small mammal jaw bones. There are a wide variety of hand lenses on the market so how do you decide which lens is best for you? This article contains all the information you need to make an informed choice.

Glass versus plastic lens?

The optic in a hand lens can be made from glass or plastic. Serious naturalists and professionals will always choose a glass lens. Plastic lenses are generally more affordable and lighter but are of lower optical quality and are more difficult to clean. Plastic hand lenses and magnifiers, however, can be a good choice for schools and young children, for these users have a look at the Hand Held Magnifier.

How many optical elements?

An element is an individual piece of glass within a lens. When you look through a high quality camera lens you will typically be viewing what’s in front of the lens through four to six lens elements, as well as other elements used for focusing and zooming (see image below right).

Hand lenses are constructed with one (singlet), two (doublet) or three (triplet) lens elements. Each one is specially shaped to correct for a particular type of optical distortion, so the more elements, the higher quality the image.

The highest quality lenses that we offer are the triplet products made by Kite and Belomo. These offer a bright, crystal clear and undistorted view of your subject. The images afforded by these optics will impress the user whatever their field of work is, be it geology, entomology or botany.

N.B. There is a brand of hand lens / loupe called “Triplet”. Please note that despite the brand name this popular product has one lens (singlet).

If you are interested in obtaining a doublet hand lens you should consider those that are manufactured by Opticron and also Kite. Opticron will be a familiar name if you have ever researched the purchase of a pair of binoculars and their hand lenses provide excellent distortion free magnification at 6x, 10x and 15x.

Magnification

A 10x magnification hand lens will be more than adequate for most purposes. Higher magnification lenses tend to be harder to use but are very useful for viewing extremely small objects. If you are unsure of which magnification you need, or think you may need several different lenses, you might consider the Triple Hand Lens (x3, x4 and x5).

Lens diameter

Large diameter lenses provide a wider field of view which means that they are easier to use but they are slightly more expensive to produce.

How hand lenses are named

Hand lenses are named in the same way as binoculars, with both the lens diameter and the magnification included in the name. For example, the Opticron Hand Lens, 23mm, 10x Magnification has a 23mm diameter lens and provides 10x magnification.

LED Option

Some hand lenses such as the LED Triplet Loupe Hand Lens 10x 21mm possess LED lighting in order to illuminate the object that you are viewing. This option can greatly improve your viewing experience and can be particularly valuable in low light conditions. Bat workers have expressed how useful these can be when looking for the key identifying features of a specimen held in the hand. Using a lens with LED can reduce stress on the bat because it means that you do not have to point the beam of your head torch directly at the animal.

Using your hand lens

Finally, a quick note on hand lens technique. To use your hand lens correctly, hold the lens close to your eye and then either a) move the subject closer to your eye until it comes in to focus or b) move your head (and the hand lens) closer to the subject until it comes into focus. The magnification of your lens will affect your positioning, as the higher the magnification, the smaller the focal length (the distance between the lens and the object) will be.

Getting the light right is also an important part of using your hand lens. You need a good source of light. Ideally, bright daylight but other bright light sources such as ceiling lights are sufficient. The light should be between your lens and the object, pointed at the object and not the magnifier. Any reflection on the lens can obscure the focus. This may require a little experimenting with your positioning until you get it right. It’s easy with a little practice so don’t get put off if you find a new hand lens difficult at first. Expect to get close up to what you’re examining – it’s quite common to see naturalists crawling around on the ground to get close to a plant they’re identifying.

Keeping your hand lens safe

It can be very hard to find a much-loved hand lens dropped in long grass or woodland. To prevent this happening, we recommend a lanyard for your hand lens – if you have it round your neck you won’t drop it!

For storage and transport purposes most hand lenses come equipped with either a storage pouch or a plastic case. These enable you to keep your optic safe and reduce the risk of scratches or knocks occurring, especially when it is being carried in a pocket or bag. Spare leather pouches are available for the Triplet Loupe 10x 21mm but these may fit other lenses as well – we are happy to check before you buy.

Our full range of lenses and magnifiers can be found at nhbs.com.

Start to Identify Grasses: An Interview With Faith Anstey

Faith Anstey is the author of the Pocket Guide to Wildflower Families and Flowers in the Field: How to Find, Identify and Enjoy Wild Flowers. In her latest book, Start to Identify Grasses, Faith turns her attention to grasses.

Faith has coined the word ‘kleidophobia’ to mean ‘a fear of keys’, and it surely applies to many enthusiasts who would like to become more proficient at identifying plants, but are put off by the complexity of the customary botanical system of keys. So she has developed new ways of approaching ID that keep those daunting keys to a minimum.

To mark her new book and to encourage more people to discover the botanical wonders around them, we asked Faith a few questions about her writing and her life-long passion for botany.

What makes your books different from the usual field guides?

My books are not field guides at all. A field guide gives you a list of plant names, with pictures and descriptions, sometimes with a brief introduction. My books are all introduction: to field botany in general, to plant families and to grasses (maybe sedges and rushes next year . . .). A beginner armed only with a field guide has either to work their way from scratch through complicated keys, or to play snap: plant in one hand, book in the other; turn the pages until you find a picture that matches – ‘snap!’ By contrast, my books lead you into plant identification by logical routes, showing you where to look and what to look for. Their aim is to show you how to do ID for yourself.

What field guides would you recommend to use with your own guides?

My personal favourite for beginners and improvers is the Collins Wildflower Guide (2016). This covers the whole range of wild plants including grasses, sedges and so on. It has keys that are well-organised and relatively easy to follow, and the ‘pics and scrips’ are accurate and helpful. Of course, Stace (3rd edition) is the botanists’ bible but it is rather daunting for beginners. I am also a great fan of Marjorie Blamey’s paintings in, for example, Wild Flowers of Britain & Ireland. For more detailed help with grasses & co, Francis Rose’s Colour Identification Guide has excellent keys and illustrations, suitable for most levels of experience.

What would be your best advice to anybody wishing to take their first steps towards identifying plants?

If you possibly can, go on a workshop for a day, a weekend or even a whole week. Having a real live person giving enthusiastic teaching, someone to answer all your questions and fresh plants to study is the best thing you can do. Look for a local botany or natural history group you can join, and go on their field meetings. When you get even a little more serious about your study, join Plantlife and/or the Botanical Society of Britain & Ireland. Identiplant is a very good online course but it is not really suitable for absolute beginners. Be a bit careful with apps and websites: some are incredibly complex, some seem to be aimed at five-year-olds, others are just inaccurate and misleading. The best ID websites I am aware of are run by the BSBI, the Natural History Museum and The Open University.

What are the easiest mistakes a beginner can make when trying to identify plants?

The most common mistake is to look only at the ‘flower’ – the showy bit with colourful petals – to try and identify it. To really pin it down, you need to study the whole plant: how the flowers are arranged, characteristics of the leaves and stem, how and where the plant is growing, and even what time of year it is. So long as there is plenty, please don’t be afraid to pick some to take home and study. The general rule on public land is: if there are 20 of the plant in question you can pick one, if 40, two and so on. Try to take the complete plant from ground level up – but don’t uproot it: that’s how the Victorians brought so many species to their knees. Photographs can be a big help, but remember to take several: whole plant, close-up of the flower, details of a leaf and so on.

What is the main threat to the diversity of wild flowers and grasses and what can be done to mitigate any decline?

The main threat is not people picking a few to study, or even simply to enjoy at home. Climate change is, of course, a threat in one sense, but I believe we shouldn’t necessarily dread the rise of ‘aliens’ from warmer climates which are now able to establish themselves here. Every plant in Britain was once an alien, after the last Ice Age ended, and I would rather learn to live with change than blindly try to turn the clock back. There may be a few exceptions like Japanese Knotweed, but their evils are often exaggerated and some natives like bracken can be equally invasive. The real problem we face is habitat loss: to house-building and industry, land drainage, vast monocultural fields without headlands, destruction of ancient forests and so on. And this is an area where watchfulness and action really can make a difference.

Have you ever had any bad or unusual experiences while out identifying plants?

Well, I nearly drowned once. I was botanising on my own in Glen Lyon, beside the rushing ‘white water’ of the River Lyon. There were plenty of large rocks above the water level that I thought I could use as stepping stones across the river. But I lost my footing on a slippery rock and was instantly immersed in the icy torrent. Luckily I was obeying the three-holds rule and my two hands were still clinging firmly to rocks. I quickly realised that, with heavy boots on, if I didn’t get up on a rock fairly soon I was likely to be swept to my doom. No good screaming either: the roar of the water would make that a fruitless exercise. Twice I heaved on my arms and failed to get clear of the water, but on the third try I managed to haul myself out and eventually get back to the bank. The first thing I examined was the sodden notebook in my waterlogged pocket, but my botanical notes were still legible, so it was a happy ending!

Faith’s new book Start to Identify Grasses is available now from NHBS

Start to Identify Grasses
Paperback | May 2018
£3.50

Also by Faith Anstey…

Pocket Guide to Wildflower Families
Paperback | January 2016
£5.99

Flowers in the Field: How to Find, Identify and Enjoy Wild Flowers
Paperback | May 2010
£12.99

Great offers on further reading for improvers and experts alike…

Collins Wild Flower Guide: The Most Complete Guide to the Wild Flowers of Britain and Ireland
Paperback | 2016 | £18.99 ~~£24.99~~
Hardback | 2016 | £29.99 ~~£39.99~~

Wild Flowers of Britain and Ireland
Paperback | May 2013
£13.99 ~~£18.99~~

New Flora of the British Isles
Paperback | 2010
£59.99

Colour Identification Guide to the Grasses, Sedges, Rushes and Ferns of the British Isles and North-Western Europe
Paperback | 1989
£39.99 ~~£49.99~~

Enjoy your time in the field discovering and identifying the wild plants around you…

Please note that all prices stated in this blog post are correct at the time of publishing but are subject to change at any time.

A Natural History of Churchyards

Earth to Earth: A Natural History of Churchyards, an interview with Stefan Buczacki

The unique features of churchyards mean that they offer a valuable niche for many species. Enclosed churchyard in particular provide a time-capsule and a window into the components of an ancient British landscape. Well known botanist, mycologist and broadcaster Stefan Buczacki has written a passionate call-to-arms for the future conservation of this important and vital habitat.

Stefan has answered a few questions regarding the natural history of churchyards and what we can do to conserve them.

You refer to a Modern Canon Law, derived from an older law of 1603 that all churchyards should be ‘duly fenced.’ How important was that law in creating the churchyards we’ve inherited?

Hugely important because although some churchyards had been enclosed from earlier times, the Canon Law making it essential was what kept churchyards isolated/insulated from changes in the surrounding countryside.

I was fascinated by the ‘ancient countryside’ lying to the east and west of a broad swathe from The Humber, then south to The Wash and on to The New Forest: could you expand on that division you describe?

The division into Planned and Ancient Countryside has been known and written about since at least the sixteenth century but the geographical limits I mentioned really date from the area where the Enclosure Acts of the eighteenth and nineteenth centuries were so important. The more formal Planned Countryside landscape has been described as having been ‘laid out hurriedly in a drawing office at the enclosure of each parish’ whereas the fields of Ancient Countryside have ‘the irregularity resulting from centuries of ‘do it yourself’ enclosure and piecemeal alteration’.

If cemeteries, particularly enclosed cemeteries offer a ‘time capsule’ are there any current development or initiatives you can think of that future generations will consider as a similar natural heritage?

A difficult one but I suppose the closest might be SSSIs and comparable wild life reserves. National Parks might be thought candidates, but they are too large and too closely managed.

Managing a cemetery in a way that keeps everyone happy seems an impossible job. Last August I was photographing a meadow that had sprung up at a cemetery, when another photographer mentioned how disgusting it was. I was slightly bemused until the man explained he was a town councillor and was disgusted that the cemetery was unmaintained – “an insult to the dead” was how he described it – I thought it looked fantastic! whatever your opinion, how can we achieve common-ground between such diametrically opposed views?

Only by gentle education and by informed churchyard support groups giving guidance and instruction to the wider community. The other side of the coin to that you describe – and equally damaging – is where a churchyard support group itself believes that by creating a neat and tidy herbaceous border in their churchyard to attract butterflies they are doing something worthwhile! A little learning is a dangerous thing.

A whole chapter is devoted to the yew tree; such a familiar sight in so many churchyards. There are many theories as to why yews were so often planted within churchyards. From all the theories in your book, which one do you think has the most credence?

That Christianity inherited and then mimicked pre-Christian/Pagan activity without knowing – as we still do not – what its original significance might have been. There is so little documentary evidence from pre-Christian times.

All the significant flora and fauna of churchyards their own chapters or sections; from fungi, lichen and plants, to birds, reptiles, amphibians and mammals? Which class, order or even species do you think has the closest association with churchyards and therefore the most to gain or lose from churchyard’s future conservation status?

Without question lichens; because there are just so many species largely or even wholly dependant on the churchyard environment – the gravestones and church buildings.

With church attendance declining and the future of churchyard maintenance an increasingly secular concern; could you give a brief first-steps outline as to how an individual or a group might set about conserving and even improving the natural history of their local churchyard?

Without doubt, the first step should be to conduct a survey of what is there already; and be aware this is not a task for well-intentioned parishioners unless they have some specialist knowledge. The County Wildlife Trusts would be my first port of call as they will have all the necessary specialist contacts. Then it will be a matter – with the specialist guidance – of developing a conservation management plan.

If someone, or a group become custodians of a churchyard what five key actions or augmentations would you most recommend and what two actions would you recommend against?

Discuss the project with your vicar/priest/diocese to explain your goals and obtain their support. Show them my book!
By whatever means are available [parish magazine, website, email…] contact the parish community at large to explain that you hope [do not be too dogmatic or prescriptive at this stage] to take the churchyard ‘in hand’ and ask for volunteers – but do not allow well-meaning mavericks to launch out on their own. And continue to keep people informed.
See my answer to Question 7 – and undertake a survey.
As some people will be keen to do something positive straightaway, use manual/physical [not chemical methods] to set about removing ivy that is enveloping gravestones and any but very large trees. It should be left on boundary walls and to some degree on large old trees – provided it has not completely taken over the crown – but nowhere else.
Use a rotary mower set fairly high to cut the grass; again until the management plan is developed.
Set up properly constructed compost bins for all organic debris – and I mean bins, not piles of rubbish.

Do not plant anything either native or alien unless under proper guidance – least of all do not scatter packets of wild flower seed. You could be introducing genetic contamination of fragile ancient populations.
Stop using any chemicals – fertiliser or pesticide – in the churchyard; at least until the management plan has been developed.

Stefan’s book Earth to Earth: A Natural History of Churchyards was published in March 2018 is currently available on special offer at NHBS.

Earth to Earth: A Natural History of Churchyards
Hardback | March 2018
£12.99 ~~£14.99~~

Further reading on lichen in churchyards…

A Field Key to Common Churchyard Lichens
Spiralbound | Jan 2014
£9.99

Guide to Common Churchyard Lichens
Unbound | Dec 2004
£2.99

Please note: All prices stated in this article are correct at the time of posting and are subject to change at any time.

When and where to find seaweed

Ten common species to look for

Brown seaweeds:

Bladder wrack (Fucus vesiculosus)

Knotted wrack (Ascophylum nodosum)

Spiral wrack (Fucus spiralis)

Serrated wrack (Fucus serratus)

Oarweed (Laminaria digitata)

Sugar kelp (Saccharina latissimi)

Green seaweeds:

Sea lettuce (Ulva lactua)

Gutweed (Ulva intestinalis)

Red seaweeds:

Carrageen (Chondrus crispus)

Purple laver (Porphyra umbilicalis)

Further reading

Further Reading

How to identify a tree:

Ten common British trees and how to identify them:

1. Pedunculate oak (Quercus robur)

2. Ash (Fraxinus excelsior)

3. Common Lime (Tilia x europaea)

4. Hawthorn (Crataegus monogyna)

5. Hazel (Corylus avellana)

6. Common Alder (Alnus glutinosa)

7. Holly (Ilex aquifolium)

8. White Willow (Salix alba)

9. Silver Birch (Betula pendula)

10. Elder (Sambucus nigra)

Recommended reading and guides:

Town

LOOK OUT FOR:

Country/Woodland

look out for:

Further reading:

Marjorie Blamey 1918 – 2019

The possession of a hand lens is one of the defining characteristics of a naturalist.

Great offers on further reading for improvers and experts alike…

Earth to Earth: A Natural History of Churchyards, an interview with Stefan Buczacki

**Bladder wrack (Fucus vesiculosus)**

**Knotted wrack (Ascophylum nodosum)**

**Spiral wrack (Fucus spiralis)**

**Serrated wrack (Fucus serratus)**

**Oarweed (Laminaria digitata)**

**Sugar kelp (Saccharina latissimi)**

**Sea lettuce (Ulva lactua)**

**Gutweed (Ulva intestinalis)**

**Carrageen (Chondrus crispus)**

**Purple laver (Porphyra umbilicalis)**

**1. Pedunculate oak (Quercus robur)**

**3. Common Lime (Tilia x europaea)**

**4. Hawthorn (Crataegus monogyna)**

**5. Hazel (Corylus avellana)**

**6. Common Alder (Alnus glutinosa)**

**7. Holly (Ilex aquifolium)**

**8. White Willow (Salix alba)**

**9. Silver Birch (Betula pendula)**

**10. Elder (Sambucus nigra)**