ABSTRACTShelley’s “Letter to Maria Gisborne” is a playful improvisational verse epistle, widely praised for its urbanity and its display of the poet’s invention. The verses turn on a catalogue of the collection of odd scientific and mechanical objects that Shelley found scattered around him in the place he composed the letter, the Livorno workshop of Gisborne’s son, a young engineer who was building a new-model steamboat at the time. In the context of that space, the poem reads as a response (...) to competing notions of invention. For Shelley, the engineer’s workshop is an attractive alternative to the poet’s tower—which was uncomfortably close to a Grub Street garret. Verbal and visual images of poets’ and scientists’ workshops, from Hogarth and Mary Robinson, to Joseph Wright of Derby and Frankenstein, illustrate the tensions embodied in the physical location and poetic performance of Shelley’s celebrated “Letter.”. (shrink)

ABSTRACT After a productive start in the 1980s, laboratory history is now surprisingly neglected—not lab science, but the lab as social institution. To restart interest, I suggest that we see labs as period specific (early modern, modern, postmodern) and of a piece with each era's dominant social institutions and practices. In the modern era, for example, labs have become powerful and ubiquitous because their operating principles are those of the nation-state and its consumerist political economy. Their educational function is crucial: (...) labs have authority because they are an effective vehicle for educating en masse for life in modern states; they provide general entry to careers in scores of disciplines and a thousand occupations; and they embody prevailing ideals of a meritocracy of competence, transparency (through publication), and a universalistic logic of objectivity. An older microhistory of laboratory practices may thus be reborn as a systematic, macrosocial history of the lab. (shrink)