In 1675, Burchard de Volder became the first university physics professor to introduce the demonstration of experiments into his lectures and to create a special university classroom, The Leiden Physics Theatre, for this specific purpose. This is surprising for two reasons: first, early pre-Newtonian experiment is commonly associated with Italy and England, and second, de Volder is committed to Cartesian philosophy, including the view that knowledge gathered through the senses is subject to doubt, while that deducted from first principles is (...) certain. On the surface, it is curious that such a man would bring experiments to university physics. After all, in demonstrating experiments to his students, he was teaching them through their senses, not reason. However, if we consider the institutional context of de Volder’s teaching, we come to see de Volder’s Cartesian experimentalism as representative of a certain form of pre-Newtonian Dutch Cartesian science, as well as part of a larger tradition of teaching through observation at the University of Leiden. Considering de Volder’s institutional context will help us see that de Volder’s experimentalism was not in spite of his Cartesianism, but motivated by it. This paper will describe de Volder’s physics curriculum, the Theatre in which it was taught and how his work predates similar efforts in other European Universities. The second part will consider three aspects of the culture at the University of Leiden: a tradition of teaching through observation, a particular reception of Cartesianism, and an eclectic approach to the New Philosophy. The concluding portion shows how de Volder would have understood his enterprise in Cartesian terms. (shrink)

ABSTRACT In 1730, shortly before his death, the Paris anatomist Joseph‐Guichard Duverney wrote his will, leaving his anatomical specimens to the Académie des Sciences, of which he was a member. But the will was disputed by Pierre Chirac, supervisor of the Jardin du Roi where Duverney, as professor of anatomy, had performed most of the dissections that produced the specimens. The ensuing debate between Chirac and René‐Antoine Ferchault de Réaumur, arguing for the Académie, reveals the tensions surrounding both the concept (...) of intellectual property in this period and the collective enterprise in natural philosophy. The differing roles and audiences of the Académie and the Jardin were central to this debate. In addition, this essay explores the origins and significance of the anatomical specimens themselves and their changing role in instruction and display, as well as the transition from the cabinet of curiosities to the natural history museum. (shrink)

The post-Civil War American natural history craze spawned a new institution -- the natural history dealer -- that has failed to receive the historical attention it deserves. The individuals who created these enterprises simultaneously helped to promote and hoped to profit from the burgeoning interest in both scientific and popular specimen collecting. At a time when other employment and educational prospects in natural history were severely limited, hundreds of dealers across the nation provided encouragement, specimens, publication outlets, training opportunities, and (...) jobs for naturalists of all motivations and levels of expertise. This paper explores the crucial role that specimen dealers played in the larger natural history community. After briefly examining the development of local taxidermy shops in the mid-nineteenth century, it then traces the history of four large natural history dealerships established in the United States during the latter half of the century: Ward's Natural History Establishment, Frank Blake Webster's Naturalists' Supply Depot, Southwick & Jencks' Natural History Store, and Frank H. Lattin & Co. By the early twentieth century, changing tastes in interior design, the growth of the Audubon movement, and the dramatic expansion of alternate training and job opportunities for naturalists led many specimen dealers either to shift their emphasis or to shut their doors. (shrink)

This survey outlines a history of museums written through biographies of objects in their collections. First, the mechanics of the movement of things and the accompanying shifts in status are considered, from manufacture or growth through collecting and exchange to the museum. Objects gathered meanings through associations with people they encountered on their way to the collection, thus linking the history of museums to broader scientific and civic cultures. Next, the essay addresses the use of items once they joined a (...) collection, whether classificatory, analytical, or in display. By thus embedding the study of scientific practice in material culture, this approach contributes to constructivist histories of science. The final section addresses the role of objects in the experience of the visitors, emphasizing how fruitful the history of museum objects can be in the study of the public engagement with science. (shrink)

‘Type’ in biology is a polysemous term. In a landmark article, Paul Farber (Journal of the History of Biology 9(1): 93–119, 1976) argued that this deceptively plain term had acquired three different meanings in early nineteenth century natural history alone. ‘Type’ was used in relation to three distinct type concepts, each of them associated with a different set of practices. Important as Farber’s analysis has been for the historiography of natural history, his account conceals an important dimension of early nineteenth (...) century ‘type talk.’ Farber’s taxonomy of type concepts passes over the fact that certain uses of ‘type’ began to take on a new meaning in this period. At the closing of the eighteenth century, terms like ‘type specimen,’ ‘type species,’ and ‘type genus’ were universally recognized as referring to typical, model members of their encompassing taxa. But in the course of the nineteenth century, the same terms were co-opted for a different purpose. As part of an effort to drive out nomenclatural synonymy – the confusing state of a taxon being known to different people by different names – these terms started to signify the fixed and potentially atypical name-bearing elements of taxa. A new type concept was born: the nomenclatural type. In this article, I retrace this perplexing nineteenth century shift in meaning of ‘type.’ I uncover the nomenclatural disorder that the new nomenclatural type concept dissolved, and expose the conceptual confusion it left in its tracks. What emerges is an account of how synonymy was suppressed through the coinage of a homonym. (shrink)

Displays of dead nonhuman animals are a common sight on the walls of many American homes and commercial establishments. Taxidermists are the individuals who preserve and attempt to re-create dead animals, birds, and fish so they can be displayed. Little is known about those employed in the profession, including characteristics of individuals who enter this line of work. Using a qualitative approach to data collection, this exploratory research examined motivations for becoming a taxidermist in Montana. Findings suggest that Montana taxidermists (...) entered the profession for one of five main reasons: an interest in wildlife, a desire to mount their own trophies, a hobby that became a job, the necessity of changing jobs, and miscellaneous motivations. (shrink)

For nearly a quarter of Darwin's Descent of Man , it is the singing bird whose voice presages the development of human aesthetics. But since the 1950s, aesthetics has had a perilous and contested role in the study of birdsong. Modern ornithology's disillusionment with aesthetic knowledge after World War II brought about the removal of musical studies of birdsong, studies which were replaced by work with the sound spectrograph, a tool that changes the elusive sounds of birdsong into a readable (...) graphic image called a spectrogram. This article narrates the terms under which the image, rather than the sound, of birdsong has become a sign of humanity's ability to reason objectively. Drawing examples from the strange evolutionary tales that exist at the juncture of ornithology, music history, illustration, and linguistics, this story suggests how it was that the human ear disappeared in the unbridgeable gap between the sciences and the study of aesthetics so tellingly termed "the humanities.". (shrink)