An adult Ghost Slug, about 7cms long.

The Ghost Slug's blade-like teeth, each about half a millimetre long. These are much longer and sharper than those of herbivorous species.

Close-up of the Ghost Slug's head. The eyes, if present, would normally be at the tips of the two upper (longer) tentacles.

Verified Ghost Slug records received until Autumn 2013.

The bizarre Ghost Slug made headlines in 2008 when described as a new species from a Cardiff garden. When the first specimens were found, very little was known about this animal. The story since then connects our collections and specialist expertise with sharp-eyed members of the British public, recording networks, other taxonomists in Europe, and the media to show how a picture is emerging.

The species

Emphasizing its spooky nature, we gave the species the scientific name Selenochlamys ysbryda, based on the Welsh word ysbryd, meaning a ghost or spirit. The common name “Ghost Slug” soon became popular. Identifying it with the obscure genus Selenochlamys was a specialist task and required dissection of several specimens including our holotype. (Incidentally, Selenochlamys already combines the Greek words for a cloak, and Selene, goddess of the moon, but “Moon-Cloaked Ghost Slug” sounded a little too melodramatic.)

The Ghost Slug is strange in many ways. It is extremely elusive, living up to a metre deep in soil, only rarely visiting the surface. It seldom occurs in large numbers. This makes it an unusually difficult slug to look for, especially in other people’s gardens or other places that cannot be dug up.

It is also very distinctive. After having examined one, most agree that it is unmistakeable in future (haunting, perhaps?). The slug is ghostly white, and almost eyeless. It does not eat plants, but kills and eats earthworms, whose burrows it can enter with its extremely extensible body. This differs from that of most other slugs in having the breathing hole right at the tail, and in retracting like the finger of a glove, appearing to suck its own head inside-out. Unlike some British slugs, it can be identified with certainty from a good photograph. The photos here show some similar species often confused with it.

This combination of being elusive and distinctive makes the species perfect for a public recording project. We needed to know more, not just out of curiosity, but because the species might pose a threat to earthworm populations. It appeared to have been introduced from overseas, i.e. to be an alien or non-native species, whose spread might cause concern. We thank the then Countryside Council for Wales (now part of Natural Resources Wales) for funding early survey work and information dissemination in 2009, and others who have spread the word.

Contributions from the public

Since 2008, responses from over 300 people all over the UK (and a few from overseas) have been received and replied to. A large proportion were misidentifications, but many were correct and over 25 populations of Ghost Slugs are now known. These verified records have been submitted to the National Biodiversity Network via the Conchological Society of Great Britain and Ireland. We thank all respondents for their efforts, without which almost none of the populations would have been identified.

As the map shows, the Ghost Slug is widespread in south-east Wales, occurring in all the main Valleys and in the cities of Cardiff and Newport, and at two sites in Bristol. It remains, however, rare or absent in some nearby areas (such as Swansea) and by no means occurs throughout this region. Virtually all the records are from gardens, allotments, or nearby roads and riversides in populated areas. This is also true of an unexpected outlier, reported in May 2013 from Wallingford, Oxfordshire, which might indicate an eastward spread. The species is evidently firmly established in Britain and has survived the unusually cold, dry, or wet winters of the last five years.

Contributions from specialists

This species has had at least 10 years to be spread around Britain, but has not yet been seen elsewhere in Western Europe. The earliest records are from Brecon Cathedral in 2004 (in a 2009 paper by German-based taxonomists) and from Caerphilly in 2006 (on a pet invertebrates forum). We expected its origin to be in the Caucasus Mountains of Georgia and Russia or in northern Turkey, where other Selenochlamys occur. However, a 2012 paper by a Ukraine-based taxonomist described a museum specimen of S. ysbryda collected in Crimea in 1989. This makes some sense – Crimea has a number of endemic molluscs, and several alien species now in Britain were originally described from the region. The UK also has a history of conflict and trade with Crimea (there is even a Sebastopol near a slug population in Cwmbran!) making a direct, accidental introduction plausible.

DNA was sequenced from six specimens of the Ghost Slug, from Cardiff, Newport, Bristol, and Talgarth as part of our recent studies on British Slugs. The sequences were all but identical, supporting the theory that the species is not native to the UK.

If you are going to report a sighting, please ensure that your slug is a true Ghost Slug (Selenochlamys ysbryda). This can be done by looking at the mantle and the eyes. The mantle (indicated by the grey lines) looks like a layer of skin through which the breathing hole is often visible.

This Ghost Slug has a tiny, disc-shaped mantle at the rear end of its body. It has no eye spots on its tentacles (indicated by the arrow).

Other white or pale slug species have a large, cloak-like mantle over their “shoulders” near the front of their body. They have black eye spots at the tips of two of their tentacles.

The two shown here are the Netted Field Slug (Deroceras reticulatum) and Worm Slug (Boettgerilla pal lens). These species are very common in gardens, so there is no need to report them to us.

The media

The Ghost Slug was named one of the "Top 10 New Species of the Year" for 2009 by the US International Institute for Species Exploration. It has featured in exhibitions in Cardiff and Bristol, and even in school exam questions. It has also appeared in several books including Animal (Dorling Kindersley, 2011) and, most recently, in our own 2014 guide to the slug species of Britain and Ireland.

The most ambitious print project of the First World War

This exhibition presents the complete print series, The Great War: Britain’s Efforts and Ideals. These sixty-six prints were produced by the British government in 1917 as artistic propaganda with the aim of encouraging a war-weary public and raising support for the war effort.

Eighteen artists contributed to the series, including Augustus John, George Clausen and Frank Brangwyn – some of the most celebrated artists of the time.

As a government commission, the artists did not have full artistic freedom. They were given their subjects and each image had to pass censorship regulations.

The prints are divided into two sets of portfolios, ‘Ideals’ and ‘Efforts’. The ‘Ideals’ address the question of why Britain was at war and what it aimed to achieve. These images are dramatic and symbolic, such as The Freedom of the Seas and The Triumph of Democracy. The ‘Efforts’ illustrate some of the activities of the war effort, the means by which Britain was to achieve the ‘Ideals’. The Efforts are separated into nine subject headings, each depicting a different activity or theme.

Producing and Exhibiting

These prints were commissioned by Wellington House, a government department secretly set up to produce propaganda. The project was managed by the artist Thomas Derrick (1885–1954), and the printing carried out under the direction of the artist and contributor F. Ernest Jackson (1872–1945). The printer was Avenue Press, London.

The contributing artists were paid well, each receiving £210 (about £10,000 today) with the possibility of further royalties from sales. The prints were a limited edition of two hundred. The ‘Efforts’ were sold for £2 2s 0d (£100) each and the ‘Ideals’ for £10 10s 0d (£500).

As a government commission, the artists did not have full artistic freedom. They were given their subjects and each image had to pass censorship regulations.

The series was first exhibited at the Fine Art Society, London in July 1917, followed by regional art galleries around Britain. It was also shown in France and in America, where the majority of the portfolios were sent to be exhibited and sold.

Contemporary Reaction to Prints

“The very soul of the war is to be read in the set of sixty-six brilliant lithographs.”   
(The Illustrated London News, 1917)

These prints were commissioned as propaganda with the specific aim of raising civilian morale and manipulating public opinion towards the First World War in Britain and abroad. In 1917, after three years of hard fighting and unprecedented loss of life, the government needed a new way to maintain public support for the war. These prints were designed to remind people of the aims and objectives, and emphasise the importance of patriotic duty.

It is hard to know whether the prints were successful as propaganda. They were widely published when first exhibited in 1917. Some journalists supported the message, “To see these lithographs is a patriotic as well as an artistic duty” (Burton Daily Mail, Feb 15, 1918). Others were not so positive, “their efforts are in almost every instance sincere; yet the result is, on the whole, meagre and unsatisfying.” (The Daily Telegraph, 20 July 1917). In America, the reaction initially seemed positive, ‘they have been a revelation to American Fifth Avenue art patrons, dealer, critics…They put up British prestige’. However, prints sales there did not meet expectations and a loss was made on the project as a whole.

Lithography and the Senefelder Club

‘The most brilliant of the younger men are all now making remarkable lithographs…there is a genuine renaissance of the art’ (Joseph Pennell, 1914)

Lithography is a printing technique based on the principle that oil and water do not mix. An artist draws an image onto a smooth surface, traditionally a limestone, with a greasy material. Ink is then rolled onto the surface, it is attracted to the drawing, but repelled by the dampened un-drawn areas. Paper is laid down on the stone and run through a press. Different effects can be achieved using different greasy materials to draw. These can imitate a chalk or pencil drawing or even watercolour. Many of these prints were produced using a ‘transfer’ method, where a drawing made on special paper is transferred to the stone, rather than working on it directly. For colour lithographs, the artist begins with the design on a key-stone using one colour. Any further colours require a different stone, inked up and printed one on top of another.

Many of the contributing artists were members of the Senefelder club, a small club set up in 1908 to encourage and revive artistic lithography. It was named after the 18th century German inventor of the process. This portfolio was produced at a time of a revival of interest in the artistic opportunities of lithography.

Making Soldiers

Bringing in Prisoners - Eric Kennington

Over the Top - Eric Kennington

Into the Trenches - Eric Kennington

Ready for Service - Eric Kennington

The Gas Mask - Eric Kennington

Bayonet Practice - Eric Kennington

Showing soldiers in training and at the Front, one journalist described these prints as capturing ‘the spirit of our new, young army’. Kennington was probably chosen for this subject as he had himself enlisted with the 13th (Kensington) Battalion London Regiment and fought on the Western Front, France, 1914-1915. He was wounded and discharged as unfit in 1915. These prints do not attempt to depict the horror and tragedy of war; as in most of his war art, Kennington instead champions the common soldier.

Kennington was born in Chelsea, London, the son of a well-known portrait artist. He studied at St Paul’s Art School, the Lambeth School of Art and the City and Guilds School. He was appointed an official war artist from 1917-1919 and again in 1940-1943, painting portraits of sailors and airmen.

Making Guns

Lifting an Inner Tube - George Clausen

The Radial Crane - George Clausen

Turning a Big Gun - George Clausen

The Great Hammer - George Clausen

The Furnace - George Clausen

Where the Guns are made - George Clausen

Clausen researched this set of prints at the Royal Gun Factory, Woolwich Arsenal, London, which manufactured armaments, ammunition and explosives for the British Armed Forces. At its peak during the First World War it employed around 80,000 people and extended over 1,30 acres. Clausen was appointed an official war artist in 1917. As an older artist he did not go to the Front line, instead recording activities on the home front.

Clausen was born in London to George Clausen Senior, a decorative painter of Danish descent. He attended the Royal College of Art and South Kensington art schools, then the Académie Julian in Paris. He was a founding member of the New English Art Club and was elected Professor of Painting at the Royal Academy in 1904. He was knighted in 1927.

Building Aircraft

Swooping down on a Taube - Christopher Richard Wynne Nevinson

Banking at 4,000 feet - Christopher Richard Wynne Nevinson

In the air - Christopher Richard Wynne Nevinson

Acetylene Welder - Christopher Richard Wynne Nevinson

Assembling Parts - Christopher Richard Wynne Nevinson

Making the Engine - Christopher Richard Wynne Nevinson

Nevinson’s prints were particularly admired when first exhibited. He ‘contrives to make the visitor almost giddy’, one critic wrote, another that he possessed ‘the power of expressing sensations rather than visual facts’.

Nevinson studied lithography under Ernest Jackson in 1912. At the outbreak of war he volunteered as an ambulance driver, an experience which deeply affected him. He was appointed an official war artist in 1917. These prints follow the process of building aircraft from making parts to assembly and flight. Acetylene Welder and Assembling parts both show the growing contribution of women workers.

Nevinson was born in London to the war correspondent and journalist Henry Nevinson. He studied at the Slade School and in Paris. He is one of the most renowned war artists of the period. His work was influenced by avant-garde European art movements such as Cubism and Futurism, yet slowly moved to a more realist style as he attempted to portray conflict.

Tending the Wounded

Casualty Clearing Station in France - Claude Shepperson

Convalescence in England - Claude Shepperson

In Hospital in England - Claude Shepperson

Detraining in England - Claude Shepperson

On Board a Hospital Transport - Claude Shepperson

Advanced Dressing Station in France - Claude Shepperson

These prints follow the journey of a wounded soldier from the Front Line, through treatment, to convalescence back at home. The organisers initially asked the artist Henry Tonks (1867-1937), a surgeon before becoming an artist, to respond to the work of the medical services. However, Tonks found the paper supplied ‘entirely unsympathetic’for drawing and declined. Shepperson was later commissioned for the subject and produced a very well received series.

Shepperson was born in Beckenham, Kent, and was a successful water-colourist, pen and ink artist, illustrator and lithographer. Having given up law he studied art in Paris and London. He is well-known for his humorous drawings contributed to the Punch magazine between 1905 and 1920.

Transport by Sea

The Place of Safety - Charles Pears

Maintaining Forces Overseas - Charles Pears

Transporting Troops - Charles Pears

Supplying the Navy - Charles Pears

Maintaining Export Trade - Charles Pears

Maintaining Food Supplies - Charles Pears

The merchant navy undertook vital tasks during the war, supporting naval ships, transporting troops and carrying essential supplies. It was dangerous work and the fleet suffered great losses. Pears’ images capture the ships in great detail.

Pears was born in Pontefract, Yorkshire and, although he worked as a successful illustrator and lithographer, is best known for his marine paintings. During the First World War Pears was a commissioned officer in the Royal Marines, and worked as an official naval artist from 1914-1918, and again in 1940. Throughout his career he was also a popular poster designer, creating works for organisations including the London Underground.