The prevailing view among historians of science holds that Charles Darwin became a convinced transmutationist only in the early spring of 1837, after his Beagle collections had been examined by expert British naturalists. With respect to the fossil vertebrate evidence, some historians believe that Darwin was incapable of seeing or understanding the transmutationist implications of his specimens without the help of Richard Owen. There is ample evidence, however, that he clearly recognized the similarities between several of the fossil vertebrates he (...) collected and some of the extant fauna of South America before he returned to Britain. These comparisons, recorded in his correspondence, his diary and his notebooks during the voyage, were instances of a phenomenon that he later called the “law of the succession of types.” Moreover, on the Beagle, he was following a geological research agenda outlined in the second volume of Charles Lyell’s Principles of Geology, which implies that paleontological data alone could provide an insight into the laws which govern the appearance of new species. Since Darwin claims in On the Origin of Species that fossil vertebrate succession was one of the key lines of evidence that led him to question the fixity of species, it seems certain that he was seriously contemplating transmutation during the Beagle voyage. If so, historians of science need to reconsider both the role of Britain’s expert naturalists and the importance of the fossil vertebrate evidence in the development of Darwin’s ideas on transmutation. (shrink)

The article sums up a number of points made by the author concerning the response to Darwinism in the late nineteenth and early twentieth centuries, and repeats the claim that a proper understanding of the theory's impact must take account of the extent to which what are now regarded as the key aspects of Darwin's thinking were evaded by his immediate followers. Potential challenges to this position are described and responded to.

ABSTRACT This essay examines the exhibition of dinosaurs at the American Museum of Natural History during the first two decades of the twentieth century. Dinosaurs provide an especially illuminating lens through which to view the history of museum display practices for two reasons: they made for remarkably spectacular exhibits; and they rested on contested theories about the anatomy, life history, and behavior of long-extinct animals to which curators had no direct observational access. The American Museum sought to capitalize on the (...) popularity of dinosaurs while mitigating the risks of mounting an overtly speculative display by fashioning them into a kind of mixed-media installation made of several elements, including fossilized bone, shellac, iron, and plaster. The resulting sculptures provided visitors with a vivid and lifelike imaginative experience. At the same time, curators, who were anxious to downplay the speculative nature of mounted dinosaurs, drew systematic attention to the material connection that tied individual pieces of fossilized bone to the actual past. Freestanding dinosaurs can therefore be read to have functioned as iconic sculptures that self-consciously advertised their indexical content. (shrink)