The historic scientific collections of well-established University Museums—the Whipple at Cambridge and the Museum of the History of Science at Oxford, for example—have long served in university teaching and as objects of research for historians. But what is involved in starting such a museum from scratch? This paper offers some reflections based on recent experiences at the University of Leeds. In a relatively short period, the Leeds project has grown from a small volunteer initiative, aimed at salvaging disparate scientific collections (...) from all over the campus, to a centrally supported and long-term scheme to provide collections care, exhibitions, and public events, as well as material for teaching and research within history and philosophy of science. Recent work undertaken on a range of Leeds objects and collections, including a camera reportedly used to take the first X-ray diffraction photographs of DNA in the 1930s and the Mark 1 prototype of the MONIAC, built and designed at Leeds in 1949 to model the flow of money through the economy, highlights the national and international significance of the University’s scientific heritage as well as the project’s ambition of providing students with on-going collections care responsibilities and object-research experience. Sketching possible futures for the Leeds project, the paper considers challenges confronting the heritage sector more broadly, and how those involved with historic scientific collections can make use of new opportunities for teaching, research, and public engagement. (shrink)

What big questions and large‐scale narratives give coherence to the history of science? From the late 1970s onward, the field has been transformed through a stress on practice and fresh perspectives from gender studies, the sociology of knowledge, and work on a greatly expanded range of practitioners and cultures. Yet these developments, although long overdue and clearly beneficial, have been accompanied by fragmentation and loss of direction. This essay suggests that the narrative frameworks used by historians of science need to (...) come to terms with diversity by understanding science as a form of communication. The centrality of processes of movement, translation, and transmission is already emerging in studies of topics ranging from ethnographic encounters to the history of reading. Not only does this approach offer opportunities for crossing boundaries of nation, period, and discipline that are all too easily taken for granted; it also has the potential for creating a more effective dialogue with other historians and the wider public. (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)

The Children's Gallery in the Science Museum in London opened in December 1931. Conceived partly as a response to the overwhelming number of children visiting the Museum and partly as a way in which to advance its educational uses, the Gallery proved to be an immediate success in terms of attendances. In the Gallery, children and adults found historical dioramas and models, all of which aimed at presenting visitors with the social, material and moral impacts of science and technology on (...) society throughout history. Also, there were numerous working models with plenty of buttons to press, handles to turn and ropes to pull. Controversial visitor studies carried out in the 1950s revealed that the historical didacticism was more or less lost on the children who came to the Gallery. Consequently, the New Children's Gallery that opened in 1969 had to some extent abandoned the historical perspective in favour of combining instruction with pleasure in order to make the children feel that ‘science is a wonderful thing’. (shrink)

From the Victorian era to our own, critics of Herbert Spencer have portrayed his science‐based philosophical system as irrelevant to the concerns of practicing scientists. Yet, as a number of scholars have recently argued, an extraordinary range of reformist and experimental projects across the human and life sciences took their bearings from Spencer's work. This essay examines Spencerian science as practiced by the biologist, sociologist, and town planner Patrick Geddes (1854–1932). Through a close examination of his experimental natural history of (...) the late 1870s and early 1880s, his wider writings on the evolutionary process in the 1880s, and his efforts later in that decade to improve the slums of Edinburgh, this essay reveals Geddes's deep, unifying, and energizing commitment to Spencer's program. Recapturing that commitment can not only help historians rethink Spencerian science as practice but also suggest ways of overcoming the dichotomy between elite ideas and practical activity that bedevils much contemporary historiography of science. (shrink)

ABSTRACT While a great deal of scholarly attention has been given to the publication of serialized novels in early Victorian Britain, there has been hardly any consideration of the no less widespread practice of issuing scientific works in parts and numbers. What scholarship there has been has insisted that scientific part-works operated on entirely different principles from the strategies for maintaining readerly interest that were being developed by serial novelists like Charles Dickens. Deploying the methods of book history, this essay (...) examines the reporting of Richard Owen's celebrated paleontological reconstructions from the 1830s and 1840s in the serialized formats of the Proceedings of the Zoological Society, his own History of British Fossil Mammals, and, in particular, the Penny Cyclopaedia. It argues that Owen, along with his close friend William John Broderip, clearly recognized the affective possibilities of the serial format and that they exploited the Penny Cyclopaedia's sequential mode of publication to evoke suspense and expectation in their anonymous but collaboratively authored accounts of Owen's paleontological researches. (shrink)