Patchouli: What Was Once Old Becomes New Again…and Again

By Amy Forsberg

In 2001 when I was the National Herb Garden intern, my internship project was to research the plants in the Fragrance Garden and write the copy for the permanent display labels. I was delighted to get to research the Fragrance Garden, because so many of my favorite plants are fragrant plants, and I love them, both for their wonderful scents, but also for their often romantic and beguiling histories. So many of those stories could not fit on those small labels, but they stayed with me all these years nonetheless. My favorite was the story of how patchouli became known in the West, a story that involves French fashion, mistaken identity, and Napoleon Bonaparte.

You may have a strong reaction to just hearing the word “patchouli.” It seems to be one of those love-it-or-hate-it smells. I love it, but I understand disliking it. It is very strong and musky and extremely persistent (more on that later). Or maybe you dislike it because of its strong association with that other love-them-or-hate-them topic, the hippies. American and European young people flocked to India in the late sixties and early seventies and brought patchouli back home with them, along with other Indian goods and practices now associated with the hippie counterculture, like marijuana, incense, mala beads, colorful printed cottons, yoga, meditation, sitar music, and vegetarianism.

Patchouli oil is distilled from Pogostemon cablin, an herbaceous shrubby perennial in the mint family. The scent is variously described as musky, woodsy, earthy, sensual, and camphoraceous. Those who dislike it may agree more with this quote from an 1856 Ladies Home Companion article: “It is far from agreeable, having a sort of mossy or musty odor, analogous to Lycopodium; or, as some say, it smells of ‘old coats’.”

Nevertheless, it is an essential ingredient in the perfume world, where it is an extremely common base note found in a majority of perfumes today, at least in small quantities. It is found in Opium, Coco Mademoiselle, Paloma, Tabu, Arpege, Miss Dior, and many others. The oil is both very strong and long lasting and is also an excellent fixative, which means that it “fixes” whichever scents it is blended with, making the more volatile top notes last longer. It is said to have the rare property of deepening and improving with age, becoming richer and more complex, unlike most essential oils, which degrade over time (the same is said of sandalwood, vetiver, and frankincense). In small amounts and blended with other scents, it isn’t necessarily discernible as patchouli, but it lends the perfume a rich, warm, well-rounded base. It is also used in very low concentrations in the flavor industry to flavor beverages, food, and candy! In India, it is used to scent tobacco. Interestingly, there is no synthetic version.

Fun side note: Regarding patchouli’s fixative properties, one source I encountered suggested that it may have had the unfortunate effect of fixing (rather than masking) the smell of body odor when worn by unwashed hippies and thereby amplifying their body odor. So when some people say they dislike the smell of patchouli, it may actually be the blended scent of patchouli and body odor that they are remembering as so objectionable! 

Although India is where many Americans first encountered patchouli, Pogostemon cablin is not native there, and was probably not introduced to India until about 1834, around the time it was first described in the West. Pogostemon cablin is believed to be native to the Philippines, and grows wild in Malaysia, Indonesia, and Singapore. But the name “patchouli” derives from a Tamil word meaning “green leaf” and was, since ancient times, applied to several related plants with similar strong camphoraceous scents, including Pogostemon heyneanus and other Pogostemon species, Microtoena patchouli, and Agastache rugosa, all of which were used medicinally and as insect repellents. When Pogostemon cablin was introduced to India, it was also called patchouli and used in similar ways, being the most potent of all. Pogostemon heyneanus is known as Java patchouli and is grown commercially on a much smaller scale than P. cablin.

Pogostemon cablin is a tropical and subtropical crop that prefers warm, humid weather, loamy, well-drained, fertile, and slightly acidic soil, and full sun or partial shade. Today, it is cultivated in Malaysia, Indonesia, China, India, Vietnam, and the Caribbean and is often grown as an understory crop with tree crops such as coconut (Cocos nucifera), rubber (Hevea brasiliensis), and oil palm (Elaeis guineensis). It is generally pest free and easy to propagate from cuttings.

And now for the story that so tantalized me. As a lifelong seamstress, I love textile history and lore as much as all things herbal, and this story has both! The history of patchouli arriving in the West is inextricably bound up with the history of Kashmiri shawls. Beautiful, ornate, woolen shawls have been woven in the Kashmir valley on the border of India and Pakistan for many centuries (documented to the 11th century, and believed to go back to the 3rd century AD), and have been widely known as a luxurious status symbol for just as long. They were woven from yarn spun from the soft undercoat hairs of the Changthangi goat, which have to be raised at high altitudes in order for the goats to produce such delicate silky fibers. The hair–and resulting yarn–is extremely fine textured and is known as cashmere (a variant spelling of Kashmir) or as pashmina (a term originally referring only to the very finest grade of cashmere but now diluted to near meaninglessness). One shawl could take a team of weavers many months up to a couple of years to produce, and the finest shawls cost the equivalent of about $10,000 in today’s dollars. They were gifted to and worn by royalty and the ruling elite throughout India, the Middle East and Near East, and beyond. By the mid-1700s, the shawls were finding their way into Europe, brought home to England and France by officers with the East India Company as gifts for their wives, and by the late 1700s, there were also textile factories in Scotland, England, and France creating imitations from fine merino wool and eventually from cashmere yarn imported from the East.

Around 1800, Napoleon Bonaparte acquired one of these shawls while in Egypt and gave it to Empress Josephine as a gift. The shawls then exploded in popularity and were highly sought after. Josephine herself eventually collected hundreds of them. Those “in the know” considered it essential to acquire an authentic imported Kashmiri shawl and not one of the inferior domestic imitations. A reliable way to tell them apart, at least prior to about 1830, was by their scent! For when the shawls were packed for shipping in Kashmir, they were layered with dried patchouli leaves to repel moths. The enduring scent infused the shawls and added greatly to their mystique and glamour. The fragrance became as fashionable as the shawl, but for years, no one in the West knew its source. By 1826, French perfumers figured out that the source of the scent was the crumbled brown packing material, and eventually plants were located, imported, and grown in greenhouses. However, the plant that was imported was Pogostemon cablin, while scholars now believe that it is far more likely that it was actually the milder Pogostemon heyneanus that was being used for packing. The leaves were steam distilled for their oil, which was used on shawls, scented handkerchiefs, and in perfumes. The dried leaves were used in potpourri to scent parlors and drawing rooms in England.

The shawls, and the scent of patchouli, were an essential item of fashion from 1800 up to about the early 1870s. Many women of high society had their portraits painted wrapped in their shawls. The shawls paired well with the clingy Empire style gowns worn in the early part of the century (think Jane Austen movies) and also with the full crinoline and hoop skirts of mid-century. However, they did not go as well with the bustled dresses coming into fashion in the 1870s and so fell out of fashion in favor of fitted jackets. Economic and geo-political changes also hurt imports. Additionally, the scent of patchouli also gradually fell out of favor as it became associated with licentiousness and marital infidelity, as its persistence would often betray the guilty parties, and among “respectable” women, lighter floral scents like violets and lilac came into style.

One last fun side note: The curvilinear motif so common on the borders of the shawls is an ancient Indian motif at least 2000 years old but became known in the West as “paisley,” because the Scottish town of Paisley was such a major center for European production of these shawls that all such shawls eventually became known as “paisley shawls,” regardless of their geographic origin. Thus, the word “paisley” eventually came to refer to the motif itself. The pattern endured in European fashion and decorative arts, coming in and out of style over the years, and eventually exploding in popularity once again in the 1960s, right along with patchouli oil as perfume!

References

Bradford, Isabella & Holloway Scott, Susan. 2009. Wrapped in Luxury: Cashmere Shawls. Two Nerdy History Girls. Accessed July 1, 2022. Available from: https://twonerdyhistorygirls.blogspot.com/2009/12/wrapped-in-luxury-cashmere-shawls.html

Herb Companion Staff. 2002. Herb to Know: Patchouli. Mother Earth Living. Accessed July 1, 2022. Available from: https://www.motherearthliving.com/gardening/plant-profile/HERB-BASICS-TO-KNOW-Patchouli

Murugan, Ramar & Livingstone, C.. 2010. Origin of the name ‘patchouli’ and its history. Current Science. 99. 1274-1276. Accessed July 1, 2022. Available from: https://www.researchgate.net/publication/279905001_Origin_of_the_name_’patchouli’_and_its_history

Pallardy, Richard. 2018. The Mysterious Origins of Patchouli. Earth.com: Nature-Science-Life. Accessed July 1, 2022. Available from: https://www.earth.com/news/patchouli-origins/

Patel, Maneesha. 2017. In Pursuit of Patchouli. Balbac Beauty blog. Accessed July 1, 2022. Available from: https://balbecbeauty.com/blogs/news/in-pursuit-of-patchouli

Ramya H G, Palanimuthu V and Rachna. 2013. An introduction to patchouli (Pogostemon cablin Benth.) – A medicinal and aromatic plant: It’s importance to mankind. Agricultural Engineering International: CIGR Journal, 15(2): 243 －250. Accessed July 1, 2022. Available from: https://www.academia.edu/25578500/An_introduction_to_patchouli_Pogostemon_cablin_Benth_A_medicinal_and_aromatic_plant_Its_importance_to_mankind

Photo Credits: 1) Painting by Pierre-Paul Prud’hon, 1805, The Empress Josephine (Public Domain); 2) Satya Patchouli incense, 1960s classic (www.hippieshop.com); 3) Patchouli leaves, Pogostemon cablin (Wikimedia Commons); 4) Painting of shawl makers in Kashmir, 1867, by William Simpsom (Wikimedia Commons); Painting by John Singer Sargent, Cashmere, 1908 (Public Domain); 5) Shawl from Kashmir, mid-19th century (Wikimedia Commons, Honolulu Museum of Art); 6) Pashmina goats (Wikimedia Commons); 7) Painting of Empress Josephine, 1808, by Antoine Jean Gros (Public Domain); 8) Image depicting women wearing shawls of early 19th-century France (Wikimedia Commons); 9) Painting of “Madame Riviere,” 1805, by Jean Auguste Dominique Ingres (Wikimedia Commons); 10) Image depicting the paisley design on the edge of fabric (Wikimedia Commons, Aukland Museum).

Medicinal Disclaimer: It is the policy of The Herb Society of America, Inc. not to advise or recommend herbs for medicinal or health use. This information is intended for educational purposes only and should not be considered as a recommendation or an endorsement of any particular medical or health treatment. Please consult a health care provider before pursuing any herbal treatments.

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Amy Forsberg follows her dual passions of gardening and sewing in Maryland. Previously, she gardened at the U.S. National Arboretum, the U.S. Botanic Garden, and the Hillwood Estate Museum and Gardens. She was the 2001 National Herb Garden intern.

Award-Winning Four Elements Organic Herbals: An Interview

By Chrissy Moore

To continue my periodic series on The Herb Society of America’s business members, I’d like to introduce our readers to Jane Hawley Stevens, owner of Four Elements Organic Herbals in North Freedom, Wisconsin. I first heard Jane speak at an Herb Society annual meeting in Madison, Wisconsin, a few years ago. She has a thriving business and has herbal insight to share!

When did you first encounter herbs? Have you always known you wanted to work with plants/herbs?

JHS: Yes, I chose horticulture as a career path when I turned 18. This was inspired by picking berries with my grandmother out in the north woods. This is where I felt in heaven, so I knew I needed a career outdoors. My first job after receiving my degree, I was requested to install an herb garden. 

Do you have formal training in horticulture and/or herb use? Did you have any mentors that particularly inspired or encouraged you? 

JHS: I received a Horticulture degree from the University of Wisconsin-Madison in 1981. After establishing my first herb garden for a research facility in 1982, I gained experience in growing herbs, then using them for crafts and cooking. When my son was born in 1987, I started using herbs for medicine. I found herbs way more effective than conventional medicine. Before too long, I was making products for herb events and health food stores. The market was way different back then! I began when there were very few herb books, but always loved herbalists and authors Rosemary Gladstar and David Hoffmann.

How did you go about establishing an organic herb farm?

JHS: I say my land was a gift from Gaia. I was able to secure 130 acres in a protected land area as a single mom with an herb business. This seemed like a miracle. Eventually, my husband and I teamed up. He is a horticulturist that has the same vision, and although he is the curator at the University of Wisconsin Arboretum-Longenecker Gardens, he puts in full time here, too, during our long summer days. 

(To see Jane describe her farm in action and business philosophy, please watch this great video she has provided.)

How many different herbs do you grow, and do you grow everything you use in your products?

JHS: We grow about 80 species of herbs. We aim to grow everything we use in our products, but sometimes fall short and must source out herbs from other organic growers. Our recipes are designed to be made with herbs that we can grow in my region.

Which herbs do you find the most challenging to work with and why?

JHS: Our beloved lavender is a challenge due to our cold winters and wet springs. It is hard to get the best-scented varieties to survive our winters. It is [also] difficult to grow some native perennials from seeds, like black cohosh and ginseng, due to the double dormancy of the seeds. 

How did you learn about the methods for drying and processing the herbs you use to make teas, tinctures, salves, etc.?

JHS: Not only have I gone through state certifications for commercial kitchens, but I also have occasional visits from the FDA. This fine-tunes us to all the regulations. I have been on the working group for the state of Wisconsin to create standards for herb drying and processing.

For many business owners, they must sacrifice a lot in terms of personal time and preferences. But, there are also rewards in being the curator of your own products/services. What has been your driving philosophy as you’ve grown Four Elements Organic Herbals?

JHS: Not only do herbs provide a plethora of uses and delights, but my experience using plants for food and medicine makes me believe [that] everyone should try herbs as remedies, because they are so effective with so few side effects. This is where my inspiration comes from. I want to connect people to plants for their wellbeing and the health of the planet. Even pharmaceutical companies look to nature for the wonders of their healing potential to get various molecules to patent. I get inspired by “Cultivating Nature’s Wisdom.” I also feel the sense of family created among the Four Elements employees. We are really a team and make working there, even after 35 years, easy.

Four Elements received the 2020 MOSES (Midwest Organic Sustainable and Education Service) Farmers of the Year Award. That must have been a joyous recognition of everyone’s hard work at 4E.

JHS: Yes, it was wonderful to see this award go to a value-added herb company instead of a typical dairy, field crop, or noble Community Supported Agriculture farm. This was a first!

What advice would you give someone interested in starting their own herbal product line? 

JHS: Start out by trying your products at farmers markets. Then, you can fine-tune your recipes and packaging. Make sure and put enough for you in your pricing to honor all your hard work. [Ask yourself], what aspect of herbalism excites you?

Photo Credits: All photos courtesy of Jane Hawley Stevens except 5) Lavandula angustifolia, English lavender (blumenbiene, Creative Commons license).

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Chrissy Moore is the curator of the National Herb Garden at the U.S. National Arboretum in Washington, DC. As steward of the NHG, Chrissy lectures, provides tours, and writes on various herbal topics, as well as shepherds the garden’s “Under the Arbor” educational outreach program. She is a member of the Potomac Unit of The Herb Society of America and is an International Society of Arboriculture certified arborist.

“Hazards” of the Job: Dealing with Plant Defenses in the National Herb Garden

By Chrissy Moore

I’ve never been much of a daredevil. Overactive amygdala, perhaps, or maybe I’m just a ninny. (Usually, the latter.) And yet, I’ve always admired those individuals who brave dangerous situations for the good of others: firefighters running toward the flames; avalanche search and rescue teams; Alaska’s Coast Guard members that jump into frigid waters during gale force winds…you get the idea.

Today, I had an epiphany while watering our myriad plants in the greenhouses. Most people think that herb gardening is a quaint, bucolic endeavor, which, admittedly, has a ring of truth to it. But, those people have never worked in the National Herb Garden (NHG), where we, too, face dangerous situations on a regular basis, just of the botanical sort.

For example, every year, twice a year, the NHG staff and coworkers haul many large containerized plants into and out of the greenhouses, where they spend the winter months. Many of these plants are loathsome creatures, not just because of their size (try hauling and lifting hundreds of pounds of “dead weight” for hours at a time…hope you didn’t water them the day before!), but because of the physical hazards they present. It is not unusual for plants to employ natural defenses to protect themselves from malevolent insects or browsing animals, etc. That’s understandable. Yet, when we—the benevolent humans assigned to be their nurturing handlers—are subjected to that very same botanical weaponry, it seems just a wee bit like unnecessary punishment. But, no one ever said life was fair.

Let’s look at our beloved Citrus plants. These shrubs have beautiful flowers with a glorious scent and delectable fruit. What’s not to love? Most people only get the occasional painful squirt of acidic juice in their eye when peeling the fruit. Yeah, not us. We are repeatedly stabbed by the plants’ two- to three-inch long thorns all over our bodies and, heaven forbid, in or around our eyes. To paint the picture for you better, our method for moving all of the plants in and out of the greenhouses is by a hand truck. So, the whole upper half of our bodies is engulfed by the plant’s canopy. For the Citrus, one puncture wound is bad enough; multiple punctures is just plain mean.

A few years ago, I was visiting friends in Málaga, Spain. It was interesting to see large, in-ground specimens of plants that we can only grow in containers in the NHG. One of them, Phoenix dactylifera (date palm), is one of our more hated plants to move in the garden. (If only we could grow ours in the ground!) Like many palms, the fronds have sharp points at the end of every leaflet.

And like the Citrus plants, our date palm gets hauled around on the hand truck, with all the fronds right at face level. Death by a thousand stabs. To get the plants into their final positions, we need to navigate the narrow greenhouse walkways, which takes a lot of coordinated effort between the one hauling the plant and the person doing the guiding; more often than not, the person doing the hauling can’t see past the plant and must navigate by auditory cues rather than visual ones. As you might imagine, this only adds to the danger!

Moving the date palm

My personal “favorites” each have minor variations on the armament theme just to keep you from getting complacent: pineapple (Ananas sp.) has upward-facing prickles along its leaves; Agave sp. has outward-facing prickles; and cascalote (Tara cacalaco) has downward-facing prickles. These are what I consider the plant versions of the Chinese finger torture: the more you dive in or pull back, the more caught you become. And, by default, the more stabbing you experience. Agave plants, in particular, are awkward to maneuver on a good day, but ours range in size from three to four feet across and two to three feet tall. Given their sprawling nature, there’s not even the remote chance of using a hand truck to move them.

Ananas sp. (pineapple)

Agave sp. (agave)

You must fully embrace the pain by lifting them from the ground just under their “waists,” like a child that’s really just too big to be picked up anymore. “Bend with your knees!” has little bearing on this activity. If we’re being honest, we’re just trying to fling that thing to its final resting place as fast as we can and from whatever “reasonable” posture we can attain, wrecked clothing and hairdo be damned. How do those folks at the Desert Botanical Garden in Arizona do this day in and day out? No thanks…trying to quit. My assistant, Erin, is the smart one; before handling an agave, she nips the spines off with her pruners. Duh! Why didn’t I think of that?

Cascalote, while sporting dainty, pinnately compound leaves, is actually a botanical death trap. Like the agave, pineapple, and Citrus combined, its prickles are not only curved for maximum entrapment, but they also cover the entirety of the plant, nearly from head to toe. The only thing in its favor (at least for our specimen) is that it has a generally upright growth habit rather than being wild and ungainly like the pineapple and agave. Thank goodness for small blessings, short-lived though they may be. Getting caught in the cascalote is like getting sucked into quicksand—the more you move, the worse your situation becomes. I did say Chinese finger torture, didn’t I? (Side note from Erin on moving our cascalote: “Man, after moving that Tara this go around, I got home that night and had a thorn still stuck in my leg. It had worked its way through jeans and a thermal layer to hitchhike and irritate me all day. I still have a little scar!” See! We’re really telling the truth.)

The last, but certainly not least, plant on my list is sugarcane (Saccharum officinarum)—and, frankly, most species in the grass family (Poaceae). If you’ve never worked with a grass of sugarcane’s magnitude, then you haven’t met the devil incarnate…yet. It hides its weaponry really well, so you’re more likely to forget rather than be vigilant. Sugarcane is replete, not only with irritating hairs (called trichomes) at the joints along the stem that wiggle under your clothing and irritate your skin to no end, but the leaves themselves sport razor sharp edges in a pattern similar to a sawmill blade. The leaf edges slice human skin with the accuracy of a piece of notebook paper. Yep, paper cuts are my fa-a-a-vorite! “What? You don’t enjoy paper cuts? Hmmh, go figure!” Handling sugarcane takes a bit of forethought and a deft hand. The trick is to pick up the plant so that the leaves are directed away from your own body and hopefully not toward your coworkers who are naïvely standing nearby. Invariably, though, someone will get a little too spirited in their moving, and suddenly, we’re all running for cover like kids at a piñata party.

While not all of our plants create perilous situations (parsley and oregano are pretty benign…or are they?), we certainly hear a lot of grousing and grumbling from our coworkers and volunteers when moving day arrives…sometimes under muffled breath and sometimes hollering from the top of their lungs. That’s when you shrug your shoulders and say, “Just another day in the life of the National Herb Garden! Someone get the First Aid Kit.”

Author’s Note: I regret to inform our readers that the Phoenix dactylifera has moved on to greener pastures (pun intended). We finally decided that it was getting too big for safe handling and preferred to start anew with a smaller specimen. Our bodies are grateful for that decision.

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Chrissy Moore is the curator of the National Herb Garden at the U.S. National Arboretum in Washington, D.C. She is a member of the Potomac Unit of The Herb Society of America and is an International Society of Arboriculture certified arborist.

Herbal Superhero: A Tribute to Steven Foster

Photographer, Author, Mentor, Friend

By Chrissy Moore

If you’ve spent time in the herb world, you’ve likely come across the name Steven Foster, one of the greatest luminaries of and advocates for herbs in our generation. Sadly, Steven passed away earlier this month. He touched many lives and influenced thousands more with his writing, his impeccable photographs, and his expert knowledge of herbs. If you haven’t “met” Steven yet, we hope that these remembrances will inspire you to learn more about him and his many personal, artistic, and academic herbal contributions.

The American Botanical Council’s founder and Executive Director Mark Blumenthal, says of Steven, “[He] was one of the most brilliant people in the entire American and international herb community. The author or co-author of 19 books and hundreds of articles, and a true master of the herbal literature, especially the Eclectic medical literature of the late 19th and early 20th century, Steven was also a renowned photographer of herbs and medicinal plants with an eye for beauty in every leaf and flower who was unparalleled in the global botanical community.

“A self-taught botanist, and without any higher education, Steven knew as much or usually more about botany and the history of the literature on herbal medicine than many academics with numerous advanced degrees. His knowledge and memory of the botanical literature was almost photographic, and he had a beautifully eloquent way to explain and communicate his herbal wisdom” recounts Blumenthal (2022).

Mr. Foster was “an author with [more than] 15 herb-related books published (the first when he was 25), an associate editor for HerbalGram and other botanically-oriented publications, a board member, a consultant, and a self proclaimed ‘life-long student of medicinal and aromatic plants’” (Lindner, 2008).

Foster co-authored the Peterson Field Guide to Medicinal Plants with the late Dr. James Duke (The Green Pharmacy), providing the photography for over 500 herbs within the text. Erin Holden, herbalist, horticulturist, and co-blogmaster of The Herb Society of America’s blog, stated that she “was sorry to hear about Steven Foster’s death. The Peterson Guide he did with Jim Duke was the first plant ID book that really helped me get into plants. As a newbie to plant ID, his photos helped me easily figure out what I was looking at in the woods, and from there, I was able to build a solid foundation before moving on to more detailed field guides. It was a gateway book, and I’m not sure I’d have stayed on the ‘plant path’ if I hadn’t found it.” Thankfully, Erin did stay on the “plant path.” She earned a Master’s in Herbal Medicine and, later, joined the staff of the National Herb Garden at the U.S. National Arboretum. 

Tina Marie Wilcox of the Ozark Folk Center shares that, “Steven Foster began mentoring me for my position as head gardener and herbalist for the Ozark Folk Center’s Heritage Herb Garden in Mountain View, Arkansas, in 1986. His book, Herbal Bounty, the Gentle Art of Herb Culture, had been in circulation for two years. The plant kingdom planted me firmly at the feet of the master. Steven’s intellect would have been too intimidating had he not been such a patient and kindred spirit. He explained Latin plant classifications, plant identification, and introduced me to the chemistry of plants.” 

James Duke singing with Ozark Folk Center musicians with Steven Foster’s photographs in the background

“Steven Foster lectured for herb events at the Ozark Folk Center many times over the decades, twice with Dr. James A. Duke. For the Heritage Herb Spring Extravaganza in 2009, during the evening concert, as Dr. Duke performed songs from “The Herbalbum” with Ozark Folk Center musicians, Steven’s photographs depicted the herbs on the silver screen behind the musicians. I could not have transcended any higher in those moments. I believe his spirit lives on in his work and in the next realm.”

Holly Shimizu, Director of the US Botanic Garden (Ret.) in Washington, DC, and first curator of the National Herb Garden, recalls, “I got to know Steven in the last several years while serving on the Board of the American Botanical Council in Austin, Texas. I was amazed at Steven’s intelligence, loved his witty sense of humor, and we both shared a passion for plants. I turned to Steven for his opinions, thoughts, and support because I recognized his intuitive wisdom. One can always tell when an herb photograph has been taken by Steven because of its excellence, detail, and extraordinary beauty. His books and articles are beautifully written, accurately researched, and trusted reference material. We once had a conversation about herbals, it turned into a long conversation, because his knowledge and collection of old herb references is absolutely amazing.”

Author, chef, and herb connoisseur, Susan Belsinger, shares the following:

“Over the years, I have been at many herbal events when Steven was there—sometimes he was presenting or getting an award, or we were both presenting—and occasionally we were there for pleasure. As much as we both loved herbs and made them our life’s work, we also loved good food and libations. 

Susan Belsinger, Rosemary Gladstar, Tina Marie Wilcox, Steven Foster

However, what I enjoyed most with Steven was heading out into nature with our cameras, botanizing with him was the best! I learned a lot from him about identifying plants and taking photos of botanicals while out on walks—and I took a photography course with him at IHS (International Herb Symposium). He had a brilliant mind and such an artistic eye—I have never seen such exquisite botanical photographs as his. Steven was a thoughtful teacher, and he guided so many of us in so many ways. It didn’t matter if you were a novice or had a number of degrees—he listened and was patient and helpful. And, of course, there was his quirky sense of humor, not to mention that impish grin, and oh, how he made us laugh! 

Steven Foster was a serious academic and a savvy businessman; he was down-to-earth and had a heart of gold, and he shared his knowledge willingly. He was a man who lived through his senses and knew them intimately; his appreciation and knowledge of herbs and spices led him around the world. His keen eye and awareness of detail in his photography makes him unrivaled in capturing botanical images. He was truly an epicurean and shared his delight in smell and taste and the pleasures of the table. [He had a] big heart—it overflowed with his love and joy for his family and friends—you could see it in his soulful eyes.

The past few days, I have read countless tributes and memories about Steven—and all of them reveal what a sensitive, creative, and caring man he was. He was a family man—proud of every member of his tribe–and adored Donna and loved his kids and grandkids. Our hearts are broken and the herbal world has been rocked with the loss of Steven. We are thankful to have shared the time that we had with him…. He has left us too soon, though he has given us his herbal legacy in his wonderful books and photographs.”

If you have the opportunity, we encourage you to invite Steven Foster–and his work–into your life. Let him be an herbal mentor and friend to you, if only posthumously. You will be richer for it. Thank you, Steven, for all that you have done for the advancement of herbal knowledge in our world. You will be missed.

Photo Credits: 1) Steven Foster (Susan Belsinger); 2) Steven Foster and Mark Blumenthal (Holly Shimizu); 3) Peterson Field Guides Eastern/Central Medicinal Plants (Public Domain); 4) Harvesting saw palmetto berries (Steven Foster); 5) James A. Duke singing with Ozark Folk Center musicians and Steven Foster’s images showing on the screen (Tina Wilcox); 6) Steven Foster cover photo of HerbalGram (American Botanical Counsel); 7) S. Belsinger, R. Gladstar, T. Wilcox, and S. Foster (S. Belsinger); 8) Steven Foster wearing silly hat (S. Belsinger); 9) Donna and Steven Foster (S. Belsinger).

References

Blumenthal, Mark. 2022. Herbal Medicine Community Mourns the Death of Steven Foster. American Botanical Counsel. https://www.herbalgram.org/news/press-releases/2022/herbal-medicine-community-mourns-death-of-steven-foster/. Accessed 25 Jan 2022.

Lindner, Kelly E. 2008. Meet ABC Board Member Steven Foster: Noted Herbal Expert, Photographer, Author. HerbalGram. Issue 80, pp. 14-15. American Botanical Counsel. https://www.herbalgram.org/resources/herbalgram/issues/80/table-of-contents/article3321/. Accessed 25 Jan 2022.

All other quotations via personal communication. January, 2022.

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Chrissy Moore is the curator of the National Herb Garden at the U.S. National Arboretum in Washington, D.C. She is a member of the Potomac Unit of The Herb Society of America and is an International Society of Arboriculture certified arborist.

Who Was That Guy?

By Chrissy Moore

We’ve likely all had the experience of never having heard of something your whole life, and then suddenly you hear about that thing everywhere. A while back, I was putting together a presentation on cacao research but couldn’t find a photo of the botanist I would be discussing. So, I had to use a placeholder image of some random fellow who happened to be looking at plants with a couple of Indigenous tribesmen in the Amazon. “That’ll have to do for now!” I thought, as I had no idea who the stand-in fellow was and didn’t have time to research him prior to delivering the presentation. But, I acknowledged my photographic hack to the audience and moved on, not giving it another thought.

A week later, one of the audience members emailed me the exact picture I had used, which she stumbled upon in an old copy of The Herbarist (No. 53., 1987), the annual publication of The Herb Society of America. What a coincidence! Come to find out, that “random fellow in the Amazon” was Dr. Richard Evans Schultes. But, still…who was that guy? Clearly, he was someone of importance, but for what? I tabled the inquiry for the time being. Shortly thereafter, one of my volunteers happened to forward me a link to a blog post about the Oakes Ames Herbarium at Harvard University. And whose name appeared in the post? Yep. Richard Evans Schultes. Him again? I decided it was time to go on my own hunt, and lo’ and behold, I found his name practically everywhere in the botanical world. Little did I know that Schultes was a famous 20th century taxonomic botanist and ethnobotanist; Harvard University professor of economic botany; curator, then executive director, of the Botanical Museum of Harvard University; and the one who is considered the father of modern ethnobotany. In other words, plantsman extraordinaire! How had I not come across his name after all these years in the herb world? Boy, did I feel silly. But, you don’t know what you don’t know until you know it! 

Schultes was born in 1915 in Boston, Massachusetts, but spent many years of his life studying plants used by Indigenous peoples, primarily in the Americas. He is known for his work on medicinal and toxic plants, particularly those with hallucinogenic and entheogenic properties. (Hallucinogenic “refers specifically to plants or drugs which induce true hallucinations through the action of deleriant anticholinergic substances such as naturally occurring tropane alkaloids,” while entheogenic refers to “plants and substances which can induce transcendent mystical or spiritual experiences nearly always involving visions….It is associated with a range of psychoactive plants, specifically when used in religious or spiritual…contexts, be they hallucinogens, psychedelics, dissociatives, or others” (Hay et al., 2012).) His deep dive into Amazonian plants began while seeking out wild, disease-resistant Hevea (natural rubber) species in the Western Hemisphere for the United States government during World War II. (During the war, the Southeast Asian rubber sources were cut off, and new sources were needed.) Though he worked for the U.S. Department of Agriculture for twelve years, Dr. Schultes’ research branched out to include many other plants with varying economic or ethnobotanical uses. All the while, he maintained a focus on hallucinogens of plant origin. During his career, Schultes collected over 24,000 herbarium specimens and is credited with introducing 300 plants not previously known to science. 

In one of his papers, Schultes notes, “In view of the number of plant species, variously estimated at from 400,000 – 800,000 species, those that have been used as hallucinogens are few; probably no more than 60 species of cryptogams [spore-producing] and phanerogams [seed-producing]….Only 20 may be considered important” (Schultes, 1969).

Some of his most well-known research subjects were peyote cactus (Lophophora williamsii), used for ritual by the Kiowa tribe in Oklahoma; ayahuasca, an entheogenic botanical brew used by Indigenous tribes of South America; and the numerous plants used to make curare, “a mixture of naturally occurring alkaloids found in various South American plants and used as arrow poisons” (ScienceDirect, 2021). After decades of research into its mode of action by many scientists around the world, curare was applied to surgical procedures in the 20th century, along with anesthesia, as a muscle relaxant during operations until safer synthetic analogues were discovered (Burr and Leung, 2014).

“I have tried several of the Indian hallucinogens, in part because the Indians consider them sacred plants and it would have been an unpardonable rudeness to refuse them when the Indians were kind enough to offer them to me during a ceremony” (Schultes, 1994).

By all accounts, Schultes was a die-hard ethnobotanist, who defined it thusly:

 “[It is] the complete registration of the uses of and concepts about plant life in primitive societies… comprising aspects of botany, anthropology, archeology, plant chemistry, pharmacology, history, geography, and sundry other tangential fields of the sciences and arts” (Schultes, 1988).

His knowledge of the field went beyond just the cultural or botanical, but also landed squarely in the geographical as he sought to document the locations of plants and people. His journal notes and maps were indispensable for recording hard-to-get-at information, including language documentation of the tribes with whom he worked.

After living with and learning from the Indigenous populations in Amazonia for more than ten years (he concentrated on the northwest Amazon region of Colombia), Dr. Schultes returned to the United States and taught economic botany classes at Harvard University for decades, inspiring hundreds of students with his understanding of people and the plants they use. He also contributed hundreds of papers to various scientific publications, as well as authored eight books.

During his career, Schultes noted the rapid destruction of the Amazon rainforest and strongly advocated for its conservation, not just for the plants themselves, but for the knowledge that the Indigenous peoples held of those plants, both of which were disappearing at an alarming rate.

“It is therefore our responsibility – nay, our duty – to put ourselves in the forefront of ethnobotanical conservation. We cannot allow such precious funds of knowledge to become extinct” (Schultes, 1988).

He also understood the potential loss of knowledge yet to be discovered and encouraged continued botanical, pharmacological, and ethnobotanical research throughout the Amazonian basin.

Schultes was a lover of people, whether they were the tribespeople with whom he forged friendships or the students he mentored at university. His knowledge was profound, and scores of plants share his name. His conservation efforts were acknowledged through numerous awards during his lifetime, including the World Wildlife Fund’s Annual Gold Medal in recognition of ethnobotanical conservation, as well as a 2.2-million-hectare tract of land in Colombia. Dr. Schultes was also an honorary member of the New England Unit of The Herb Society of America! Not surprisingly, his impact has been felt the world over. I may have only recently heard of this tremendous ethnobotanist, but he’s definitely taken me on a botanical journey I’ll not soon forget.

Photo credits: 1) R.E. Schultes in South America (Wade Davis/Earth Aware Editions); 2) Turbinia corymbosa (syn. Rivea corymbosa) botanical illustration (R.E. Shultes); 3) Lophophora williamsii (peyote cactus) (Wikimedia Commons); 4) Schultes’ hand drawn map in his field notebook (Harvard University Botany Libraries); 5) Schultes with Salvador Chindoy (left), a renowned Kamëntsá healer from Sibundoy Valley of Colombia (Archives of the Economic Botany Library of Oakes Ames, Harvard University).

References

Burr, S.A. and Y.L. Leung. 2014. Curare (d-Tubocurarine). Encyclopedia of Toxicology (Third Edition). Academic Press.

Curare – An Overview. https://www.sciencedirect.com/topics/veterinary-science-and-veterinary-medicine/curare. Accessed 14 June, 2021.

Davis, Wade. The Lost Amazon: The Photographic Journey of Richard Evans Schultes. San Francisco: Chronicle Books, 2004. 160 pp. ISBN# 0-8118-4571-0

Hay, A., Gottschalk, M., & Holguín, A. 2012. Huanduj: Brugmansia. Royal Botanic Gardens, Kew: Richmond, United Kingdom

Kahn, E. J. “Jungle Botanist [Richard Evans Schultes]”. The New Yorker. v. 68: pp. 35-58. 1992.

Schultes, Richard Evans. “Burning the Library of Amazonia.” Sciences 34, no. 2, pp. 24. 1994.

Schultes, Richard Evans. “Hallucinogens or Plant Origin.” Science, New Series, Vol. 163, No. 3864 (Jan. 17, 1969), pp. 245-254. www.jstor.org/stable/1725088, accessed 08 Jan 2020.

Schultes, Richard Evans. “The Medicine Man: Herbalist Superb.” The Herbarist, No. 53. 1987.

Schultes, Richard Evans. “Primitive Plant Lore & Modern Conservation”. Orion Nature Quarterly; v. 7, No. 3, Summer 1988. New York, NY: Myrin Institute, 1988b.

https://news.harvard.edu/gazette/story/2003/09/richard-evans-schultes/. Accessed 3/31/2021.

https://blog.biodiversitylibrary.org/2020/08/richard-evans-schultes.html. Accessed 3/31/2021.

Medicinal Disclaimer: It is the policy of The Herb Society of America, Inc. not to advise or recommend herbs for medicinal or health use. This information is intended for educational purposes only and should not be considered as a recommendation or an endorsement of any particular medical or health treatment. Please consult a health care provider before pursuing any herbal treatments.

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Chrissy Moore is the curator of the National Herb Garden at the U.S. National Arboretum in Washington, DC. She is a member of the Potomac Unit of The Herb Society of America and is an International Society of Arboriculture certified arborist.

One Man’s Road to Herbal Success: An Interview

By Chrissy Moore

I have always been fascinated by people’s life stories, particularly those in the herb world. How did they end up where they did? What circumstances led them down their chosen path? Some people take decades—and numerous career maneuverings—before they settle into their career of choice; others know their life’s calling from an early age. For Bill Varney, owner of URBANherbal in Fredricksburg, TX, his life’s work encompassed all those things and more. I recently asked Bill to give me a glimpse into his world as an herbal enthusiast and business owner and what it takes to succeed. Here’s what he said:

When did you first encounter herbs?

BV: I first discovered plants and gardening when I was very young! When I was eight years old, my parents had a greenhouse built for me, and I would start all kinds of plants from seeds and cuttings. Later as my love for all things green grew, I developed a love of herbs. That was about 1985, when I opened a small herbal apothecary shop and small herbal nursery, Varney’s Chemist Laden.

What is your technical background (education or otherwise)?

BV: I grew up tending to people’s gardens, worked for a number of nurseries, then received a B.S. in Business with a Minor in Horticulture from Oklahoma Panhandle State University. I went there because I had volunteered to help my elderly grandparents who lived in the area. Later, I became a Texas Certified Nurseryman.

Have you always known you wanted to work with plants/herbs?

BV: Yes, I have always had a “green thumb.” I have always been intrigued by plants, their use, their contribution to the world, whether they are reproduced by seed, rooted cuttings, etc. After I finished college and had a one -year agriculture stint in Tasmania, Australia, I returned to Houston, Texas, where my family was living and went to work for a well known nursery as their landscape buyer. Later, I wanted to “get out of the big city” and moved to Fredericksburg, Texas, to manage a local nursery. It was soon after that that I started Varney’s Chemist Laden, which later grew into the Fredricksburg Herb Farm. I sold that operation in 2007 and simplified my life to URBANherbal.

Give me a synopsis of your road to URBANherbal. 

BV: When I owned the Fredricksburg Herb Farm, it was a very high end, labor intensive business with acres of manicured gardens, a day spa, bed and breakfast, two retail stores, a James Beard recognized restaurant, and wholesale operation that sold our products all over the world. Life was kind of crazy for me with “fires” to put out daily! I revamped and started URBANherbal. My son had finished his undergraduate degree and came home to help me for a year to open URBANherbal. A much simpler life: a laboratory, greenhouse, smaller gardens, and art galleries. For the most part, a one-man operation with a little help here and there. I make colognes, aromatherapy products, skin care for both men and women, candles, and gourmet foods. I also do landscape consulting and public speaking.

Can you describe your herb gardening style for those who are unable to visit your establishment in person? 

BV: I always try to build gardens that use as many natives as possible, that attract pollinators, and are drought tolerant. I have studied Frederick Olmstead and Adelma Simmons (and got to visit with her a few times) and, of course, Madalene Hill from here in Texas.

What inspired you to start the apothecary shop segment of your herb garden, and how did that lead to the skin care/fragrance lines and the culinary products?

BV: Well, originally, our first store was an herbal apothecary store, Varney’s Chemist Laden. We sold “old fashioned” scents and skincare from old, reputable companies and finally realized we could do better, and our products ended up selling faster than the ones we were retailing. I ended up hiring an elderly retired founding chemist of a manufacturing skincare company to come for a few months and help formulate. Many of our products got recognized by the media and some received awards. I really enjoy custom making things for clients.

From what do you draw the most inspiration, both in your gardening and in your product development?

BV: I always am inspired daily if I can just bring a bit of happiness to one or two people either through products, plants, or foods through all of our senses. My personal life is inspired through faith, hope and love with friends, family, and anyone I meet.

Is there a fragrance profile or collection of herbs that you gravitate toward more than others?

BV: Personally, I love woody scents, citrus scents, masculine scents, lavender, lemon verbena, peppermint, eucalyptus, patchouli, musk, just to name a few. But I am always drawn to white flowers and night blooming flowers, not for myself on my body, but just to smell them and make PRODUCTS WITH THEM.

Which herbs/profiles do you find the most challenging to work with and why?

BV: Sweet woodruff and French tarragon because it is too hot here in Texas to grow them.

Who were your biggest herbal influences (alive or deceased), both in your younger years and as an adult? Do you have any herbal superheroes today that provide you with encouragement along your herbal journey?

BV: Well, as I said previously, I was really inspired by reading about Frederick Olmstead and his visions in landscapes. Walafrid Strabo, who around 840 A.D., wrote a beautiful poem called “Hortulus,” in which he lovingly describes clearing a garden of stinging nettles and preparing the soil to plant sage, southernwood, wormwood, fennel, poppy, clary, mint, pennyroyal, celery, betony, agrimony, tansy, catmint, and radish. Strabo introduces his herbs the way a mother might speak of her children, praising their qualities without neglecting their occasional blemish. In my life, Adelma Simmons, who founded Caprilands Herb Farm in Coventry, Connecticut, and Madalene Hill, who founded Hilltop Herb Farm and later built the gardens at Round Top, Texas. In Madalene’s book, Southern Herb Growing, I was really proud that she had a few pictures in the front of her book of my first herb gardens. After her book came out, she came to my place and did a class and book signing. I have always admired Emelie Tolley and all of her books, and she and I have been friends for many years. In my book, Herbs: Growing and Using the Plants of Romance, Emelie wrote the forward. She came many times over the years and did stories on my gardens and business, and I was thrilled to visit her in New York City at her country home in NY. I have also always been inspired by Jeanne Rose. She came years ago and did a class and book signing at my place, and I have visited her in San Francisco. Betsy Williams has always been an inspiration to me. I think that my biggest inspiration is everyday herb gardeners whom we meet and we can share with. As James Beard, the famous chef, said, “We learn from each other and end up teaching ourselves.” Also, I have always been inspired by Lady Bird Johnson. She came into my store many times over the years and would have me make things for her to give as gifts. Her love of nature and wildflowers has done so much for our island home, Earth.

For many business owners, they must sacrifice a lot in terms of personal time and preferences. But, there are also rewards in being the curator of your own products/services. What has been your driving philosophy as you’ve grown URBANherbal?

BV: Yes, having your own business is a huge sacrifice, personally in man hours and struggles. My biggest driving philosophy is: “Touching all of your senses, daily. Hearing, Touching, Seeing, Tasting, Smelling and our Sixth Sense, our Spirit.” I strongly feel that these things are where herbs can really affect our lives in spirit, balance, texture, space, and love.

What brings you the most joy in your herbal day?

BV: Making something that will help someone! Be it a small plant, a cologne, a room freshener, a cream to make someone feel better, or a simple herb vinegar or seasoning that will enhance someone’s food.

Herbs have many stories to tell, from historical uses to modern industries. Do you have a favorite herb story that you find yourself telling over and over again?

BV: I think that hearing people tell me that they can’t handle being around scents. I find that it is because they have been around “commercial scents” that are not good for you, and they are not natural! So many people tell me that they can wear my scents, and they don’t have a negative reaction. Herbs and flowers are nature’s courtesans. They elevate our moods, fragrance the air around us, and so many are edible and medicinal. For instance, rosemary and lavender can be used for fragrance, in foods, and in healing. You should have herbs and flowers around you daily!

Herbs aren’t the first thing people think of when they hear “Texas.” What do you think people are most surprised to learn about herbs or herb growing in your neck of the woods?

BV: I think that when they find out how easy most herbs are to grow around here and then find out how much they can enhance our lives and they are really surprised! The fact that they attract butterflies, bees, birds, and release beautiful scents in your gardens and in pots, and trigger so many memories through your senses. The air you breathe affects not just your health but also your mood.

I’m not going to ask you your favorite herb, because that is often like picking a favorite child. Instead, what handful of herbs would you recommend every new herbie explore (for various reasons/uses)?

BV: Lavender for scent, Beauty, healing, and flavor.

Rosemary for scent, beauty, healing, and flavor.

Thyme for scent, beauty, healing, and flavor.

Roses for beauty, scent, healing, and flavor.

Rose geraniums for healing, scent, and cooking.

Chives for flavor and the beauty of their flowers.

Sage for beauty, scent, flavor, and healing.

Basil for flavor, fragrance, healing, and beauty.

Lemon verbena for fragrance, aromatherapy, scent, beauty, and magnificent flavor for foods and drinks.

These are just a few of my favorite herbs…….

How would you characterize your road to herbal admiration and its impact on your life?

BV: Working with herbs and plants, one gets to know their essence and understand they are not just a commodity. The gardener and herbalist becomes rooted to the ground with them as part of God’s creation. We are trying to be stewards of our environment. It is not an accident that the humus, or the soil, comes from the same word. It’s the base from which everything grows. Gardening and my spiritual life go together. I just can’t imagine a day in my life that I’m not using herbs in some way. I really relate to this simple quote from the designer and architect, Ettore Softass, “basil-flavored architecture,” as a way of expressing the idea of achieving much with little.

Lastly, if you were to give advice to someone embarking on their own herbal “quest,” such as starting a business or a garden, etc., what key elements have you found to be the most important for successful endeavors? 

BV: Make sure you are passionate about what you want to do with herbs! Do everything you can to educate yourself about herbs. Get to know other herb lovers through organizations like The Herb Society of America or garden clubs, or online groups, because that is one of the best ways to learn. Be creative about what you are going to do. Remember, you are going to have to work hard! Have a strategy, write it down. Bounce your ideas off of friends and family. 🌺

Many thanks to Bill Varney for sharing his time and talents regarding his road to herbal success!

Photo credits: 1) Bill Varney in his greenhouse (B. Varney); 2) BV as young horticulturist (B. Varney); 3) Chef Bill (B. Varney); 4) BV with Madalene Hill (B. Varney); 5) Map of Bill’s garden (B. Varney); 6) Calamondin (⨯Citrofortunella microcarpa) fruit and flowers (C. Moore); 7) BV with Adelma Simmons (B. Varney); 8) URBANherbal gardens (Theresa Wylie, Hey,Traveler blog); 9) Herbal salad (B. Varney); 10) Dinner at URBANherbal (Theresa Wylie, Hey, Traveler blog); 11) Garlic chives (Allium tuberosum) (C. Moore); 12) Rose blossom (Rosa sp.) and bee (C. Moore); 13) BV in URBANherbal greenhouse (Theresa Wylie, Hey, Traveler blog).

 

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Chrissy Moore is the curator of the National Herb Garden at the U.S. National Arboretum in Washington, DC. She is a member of the Potomac Unit of The Herb Society of America and is an International Society of Arboriculture certified arborist.

Sensory Herb Gardens for Special Needs Children

By Candace Riddle

Ever since Beatrix Potter wrote The Tale of Peter Rabbit, children and gardens have had a special friendship. That friendship is even stronger between children with special needs and special gardens called “sensory gardens.” 

The difference between a sensory garden and a “regular” garden is the human factor— regular display gardens are designed primarily for visual beauty, while a sensory garden is designed to stimulate all the senses: sight, sound, scent, touch, and taste. A display garden is meant to be viewed or seen from either a short or long distance, whereas a sensory garden is meant to be experienced close and personal using all five of the human senses.  

Educators describe a sensory herb garden as peaceful and calming with the ability to draw kids into the moment; even non-verbal kids can show their feelings about their garden experience.

When we use the term “children with special needs” in this writing, we are painting with a broad brush including physical, mental, emotional, and educational disabilities. When planning a sensory herb garden, consideration must be given to not only the garden plan—both hard and soft scaping—but also how children with any of these special needs can interact with the garden.  

As with any garden plan, sensory herb gardens start with the lay-out and hardscape: the beds should be narrow enough for children to reach into (from any side, the depth should be no more than 24 to 30 inches; that is one of the advantages of the tiered square design–it allows access on four different sides at three different levels, see photos), and the paths must be wide enough to accommodate wheelchairs and walkers, which would preclude the use of gravel or a soft ground cover and mandate concrete, bricks, or flagstones. Mulch can also be used as part of the sensory experience. Pine needles, for example, have a sweet scent; wood chips have a tactile feel; and oyster shells have a scent of the sea and a smooth or sharp feel. A water feature can bring several things to the sensory garden: trickling sounds, the sensation of feeling water or wetness, even taste (usually happens when you are not looking!). Windchimes can be a pleasant addition for both the sound they provide and the visual appearance of wind moving through the garden.  

Once the hardscape has been planned, it is time to move on to the plant material, which is, of course, the fun part. Plants should be chosen for the special values they possess to enhance the sensory experience of the children. Below are some examples of plants that may be used in a sensory garden: 

Salvia (Sage)

Bee Balm

Garlic Chives

Purple Coneflower

Basil

Sight: lavender, nasturtiums, English thyme, anise hyssop, sage, and other Salvias 

Sound: pollinator plants, including Mondarda spp. (bee balm), that will encourage bees to make their happy buzzing sounds (of course, special instruction and close supervision must be in place to protect children and bees!). Balloon flowers and false indigo could be included for sound, as their seed pods make popping and rattling noises as they mature.  

Smell: Any strongly scented herb would be a good addition. Some of the most popular are rosemary, hop, fennel, thyme, sage, basil, chives, and, of course, scented geraniums.

Touch: lamb’s ear, yarrow, coneflowers, rosemary, and lemongrass 

Taste: basil, dill, and anise hyssop 

As you can see from the examples above, there is a lot of crossover as far as the plants go; they can provide multiple sensory experiences. Children should be supervised closely when in the garden to ensure their safety. While you want the fullest experience, the safety of the children is the most important factor. 

While the best way to provide a sensory garden experience is outdoors, children can have a satisfactory adventure using enclosed areas such as an enclosed courtyard or even a container garden. These are both good options for populations of students with a tendency to bolt or elope from the area.

The photograph depicts a newly created sensory garden in Maryland’s northern Baltimore County farmland. This garden was designed to be a part of the agricultural tourism initiative that is taking hold in rural areas. “The Farmyard” is a new agriculture venture started by a local farming family to introduce children to all aspects of a working farm, not the least of which is allowing children to sponsor farm animals and help in their care throughout the year. “Farm School” runs all year long offering classes in animal care and upkeep, crop growing, food preservation, and self-sufficiency. As part of the farm school, a class on herbs and their uses is taught. The sensory herb garden is a part of the education of students in the knowledge of herbs in daily life. All students are encouraged to touch all the herb plants, smell them, and taste them. An herbal educator is available during public events to guide children through the garden and explain the uses of the different plants. The focus in this garden is useful herbs in everyday life. (Though all of the senses are considered in this garden, touch, taste, and smell probably are better represented than sight and sound.)

The design of this garden was limited to the structures already in place, which worked out well as the terraced beds allow children of all heights to view at different levels, and the beds are also shallow enough to allow visitors to reach into the entire garden—all tiers are accessible. To increase the visual appeal of the gardens, snapdragons and zinnias, with their colorful flowers, were added to each garden section. Some of the other plants that were included in the gardens are: 

Rosemary

Sage

Fennel

Dill seed

Lamb’s Ear

Marigold

Basil

Rosemary—scent, touch, taste 

Sage—scent, touch, taste (The turkey in the pen next to the garden was a bit uncomfortable with the Thanksgiving herb right next door!) 

Fennel—scent, sound (for the wind moving the fronds and the pollinators that they welcome); visitors were invited to dig up the bulbs and taste them in the fall

English thyme—scent, sight (pointing out that the little flowers are used for baby fairies’ sleep!)

Dill—scent, sight (the full seed pods are beautiful!), and of course, the taste (just like dill pickles)

Lamb’s ear—touch, sound (the bees love this herb) 

Marigolds—sight, smell 

Basil (sweet and Thai)—scent, taste, sight 

This sensory garden is a work in progress, and it is expected to welcome children of all ages and circumstances for years to come. It is the long-range goal to have schools target this farm and garden as a field trip destination once schools resume a normal schedule.  

While the herb sensory garden at The Farmyard is on private property and maintained by dedicated volunteers, this is not the case in most public gardens. While public gardens often attract groups to plan and build sensory gardens, ongoing maintenance during the planning stages, as well as after the garden is established, is often performed by staff of the public facility. 

Gardens are an important element in many people’s lives, and sensory gardens, in particular, can add an immeasurable richness to the lives of children and especially children with special needs. We encourage you to explore supporting a sensory garden in your area.

Photo credits: 1) Sensory garden at The Farmyard (Candace Riddle); 2) Children in the National Herb Garden (Chrissy Moore); 3) Herb collage (Chrissy Moore); 4) Tiered sensory garden, The Farmyard (Candace Riddle); 5) Herb collage (Chrissy Moore); 6) Children and chaperones visiting the sensory garden (Candace Riddle).

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Candace Riddle is a retired educator and an herbal enthusiast for forty years. She has been a member of The Herb Society of America for over twenty years and is a founding member of the Mason-Dixon Unit. She lives in Maryland.

Making More Little Herbalists

By Andrea Jackson

When we love something, it’s impossible not to share it with others, particularly those we care about most. Herbs and children are such a natural combination, it’s easy to draw a child in by offering them a smell or a taste or by telling them a fascinating story about the plant. Then, before you know it, you are making all manner of herbal goodies together.

My granddaughter, Marin, lives about three hours away, but each time she comes to visit, she wants to explore my herb room and I’m thrilled to oblige her. We smell and taste and put things together. Each time she comes, she wants to make a potpourri, and so, has ended up with quite an array in her bedroom. From there, we graduated to making lotions, which she loves to slather on and share with her mom. When she was seven, she wanted to have an herbal birthday party. She invited ten of her friends, and we made rose lavender potpourri and lavender lotion. It was quite hands on for the group, but they all were excited to participate. They loved the way everything smelled, and each little girl went home with a little bottle of lotion and a small bag of potpourri. Now, she is almost a teenager and her interests have waned somewhat, but she still wants to make potpourri each time she comes.

My niece, Gabby, seems to have a natural affinity for plants. From a young age, she was pulling weeds in the parking lots of restaurants. And now, she loves herbs and frequently calls with questions. Her mom grows a wide variety of them, and she sent me a video of Gabby with a necklace of intertwined herbs answering the question, “How can you tell something is in the mint family?” She confidently shouted, “Square stems.” We make jams together whenever we can.

Then along came my granddaughter, Gemma, who not only lives locally but whom I babysit weekly. That provides lots and lots of time for herbal teaching. Since she was eighteen months old, she’s been out in the garden tasting and rubbing leaves and smelling the wonderful scents. On the way to the playground there is a field of weeds, and we always take time to tell their stories. One day my daughter called  to tell me that Gemma was “eating the landscape,” so we instituted the rule never to eat a plant unless I gave it to her.

We plant a tiny container garden each year, which she tends, and she is thrilled when the plants come up and she has something new to taste and share. In addition to caring for her garden, she has been making potpourri with me. She is four now and can distinguish between some mints, and she loves lavender.

When she was three, we took a walk and passed a field of plants. Gemma said, “Look at all the burdock.” I can certainly die happy. 

Photo credits: 1) School children visiting the National Herb Garden (Jeanette Proudfoot); 2) Potpourri (Monfocus, Pixabay); 3) Child gathering wildflowers (SMBlake, Pixabay).

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Andrea Jackson is a member of the Western Pennsylvania Unit of the Herb Society of America. When she lived in Baltimore, she was a founding member of Partners in Thyme. She also belongs to the American Herbalists Guild, and the American Botanical Council. Herbs aside, Andrea is a registered nurse and a Master Gardener and lectures extensively to groups ranging from professional organizations to garden clubs. Her particular interests lie in the medicinal uses of herbs, herbal lore, and weeds, which she considers to be the first herbs. When she is not spreading the herbal gospel, she is tucked away in her herb room formulating various concoctions.

Backyard Butterfly Weed

By Kaila Blevins

I, like many other people preparing for the COVID-19 lockdown, frequented my local garden center to purchase vegetable seeds and buy plants for the different backyard projects intended to keep myself occupied as the weather warmed. One of the projects that I tasked myself with involved creating a pollinator garden in a wonky, pain-in-the-butt-to-mow patch of grass in my backyard. While walking through the garden center’s aisles, looking for plants to complement the coneflowers (Echinacea) and bee balm (Monarda) I had already placed in my cart, I came across butterfly weed (Asclepias tuberosa).

Originally, I was drawn to the numerous orange flowers that would bloom from mid-summer through the fall that would potentially allow me to see a variety of butterflies, moths, and maybe even a hummingbird, when I peer out of the kitchen window while washing dishes. But, once I got home, I researched butterfly weed’s uses outside of being pollinator friendly. I was pleasantly surprised to learn that several Native American tribes in the eastern and southwestern portions of the United States used butterfly weed medicinally.

Based on the historical texts I read, the seeds and roots of butterfly weed were used in numerous treatments. The seeds harvested from the ripened pods were used to treat diarrhea and dysentery. However, most of the different tribes primarily used the roots, which were applied externally to tighten the skin or smashed to create a paste to treat bruises, cuts, sores, and bites. In addition to topical use, the roots were ingested or steeped to create beverages. Raw roots were consumed to treat pulmonary and respiratory issues; dried roots were administered to treat chest pains as well. Drinks were given to women after childbirth to ease the pain and bring comfort to the new mothers. Lastly, individuals believed that rubbing their legs and running shoes with butterfly weed would enhance their running capabilities.

Since planting the garden back in May, it has been a delight watching the different insects interact with the butterfly weed, but it was also fun learning how people used it in ways other than just adding pops of orange to their garden. For more information on other native herbs and native herb gardening, check out The Herb Society of America’s Notable Native^TM and GreenBridges^TM web pages.

 

Photo Credits: 1) Butterfly weed flowers; 2) Butterfly weed developing seedpod; 3) Butterfly weed in author’s garden. All photos courtesy of the author.

Sources

Moerman, Daniel E. Native American Medicinal Plants: an Ethnobotanical Dictionary: Timber Press, 2009.

Medicinal Disclaimer: It is the policy of The Herb Society of America, Inc. not to advise or recommend herbs for medicinal or health use. This information is intended for educational purposes only and should not be considered as a recommendation or an endorsement of any particular medical or health treatment. Please consult a health care provider before pursuing any herbal treatments.

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Kaila Blevins is the 2020-2021 National Herb Garden intern. She graduated from the University of Maryland, College Park, with a B.S. in Environmental Science and Technology and a minor in sustainability. This fall, she will pursue a Master’s in Landscape Architecture at Morgan State University while also interning in the National Herb Garden. She hopes to expand her knowledge of plants, and how they benefit human health and life. In her spare time, she likes to read, paint, brew kombucha and experiment with its flavors, as well as spend time with her family and pets. Kaila also likes to stay active in the community through volunteering.

Dr. Faith Mitchell on Hoodoo Medicine

By Paris Wolfe

Gullah slaves, circa 1790

When author and medical anthropologist, Faith Mitchell, Ph.D., was an undergraduate studying anthropology at the University of Michigan in the 1970s, she spent three summers in the Sea Islands. Numbering more than 100, the Sea Islands are a chain of tidal and barrier islands on the Southeastern Atlantic. While they’re home to luxury estates today, they were still very rural in the 1970s.

At that time, Sea Island residents were mostly African-American descendants of plantation slaves. Known as the Gullah people, they had been geographically isolated from the mainland for generations. Because of that, combined with the effects of racial discrimination, Mitchell says, “They had a lot of African traditions that were maintained through oral tradition, more so than in any other parts of the south.”

Among these traditions was folk medicine that had originated in Africa and merged with Native American and European practices. Interestingly, it bears some resemblance to Jamaican folk medicine, but that’s another story.

As a student, Mitchell was fascinated by the use of plants and natural materials in healing, so she started collecting information about what locals called “roots” medicine. It’s important, she says, to distinguish between what people term good and bad “roots” medicine. “Good roots” is the use of plants, mud, and other natural materials with healing powers, she explains. Meanwhile, “bad roots” is the use of natural materials – plants, blood, bones, candles, feathers and more – for magical purposes, akin to voodoo.

To capture this cultural treasure, Mitchell wrote Hoodoo Medicine: Gullah Herbal Remedies, which was first published in 1978 and then republished in 1999.

The book starts with a brief history of the area and then details medicinal roots, herbs, and plants used in Gullah culture. Artist Naomi Steinfeld produced more than 50 drawings of various medicinal plants to illustrate the book.

Practices described include using elderberry tea to treat colds, mud to cast bone breaks, and tree leaves to draw out headaches. Healing properties were also attributed to mint, Spanish moss, gum tree leaves, and much more. The healing practices remain relevant today for people interested in new pathways to health.

Unfortunately, says Mitchell, much of this tradition has been threatened over the years by the commercial development of the Sea Islands, the exodus of younger generations in search of work, and reduced isolation from the mainland and mainstream. Fortunately, there is renewed interest among Gullah descendants in preserving their unique history and culture.

Cotton flower used medicinally on the Sea Islands

Today, Mitchell is the recently-retired CEO of Grantmakers In Health and is a fellow at the Urban Institute in Washington, DC, working with the Center on Nonprofits and Philanthropy and the Health Policy Center. She is also developing the Urban Institute’s American Transformation project, which will look at the implications—and possibilities—of this country’s racial and ethnic evolution.

 

Dr. Mitchell has a doctorate in medical anthropology from the University of California, Berkeley. She has written or edited numerous policy-related publications as well as Hoodoo Medicine. For more information and to purchase her book, visit Dr. Mitchell’s website.

 

Medicinal Disclaimer: It is the policy of The Herb Society of America, Inc. not to advise or recommend herbs for medicinal or health use. This information is intended for educational purposes only and should not be considered as a recommendation or an endorsement of any particular medical or health treatment. Please consult a health care provider before pursuing any herbal treatments.

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Paris Wolfe is an award winning writer of business, food, and travel articles.