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Doctor Thomas Monro 1759-1833 Physician, Patron and Painter Introduction Thomas Monro, art collector and doctor to the insane, was a unique figure in London society of the eighteenth anbd early nineteenth centuries. In his professional capacity as head of Bethlem Hospital, Bedlam, the Hospital for the Insane, he was summoned to treat George the Third, during his bouts of madness. His private passion was painting in watercolor, and amongst the artists he befriended and encouraged were J.M.W. Turner and Thomas Girtin. Monro appears to be the missing link in the change of style in watercolors that took place around the beginning of the nineteenth century. Many young men who became leading artists of their day were students at the informal meeting of artists held in his house on Adelphi Terrace, weekly on a Friday evening, from 1974. His house became a studio turning out endless sketches and coloured drawings by young artists, known as 'Monro School Copies'. They copied from drawings by Munro, J.R. Cozens, William ALexander, Henry Edridge and Thomas Hearn: also Monro's neighbour John Henderson had a known contemporary collection of drawings, as had Monro himself, which the students copied from. In addition to Turner and Girtin, John Linnell, John Sell Cotman, Peter de Wint, William Henry Hunt, Joshua Cristall and John Varley, among others, found their way to Monro's evening gatherings. Monro and his friends taught them accusracy in drawing, accompanying them on outdoor sketching trips, teaching them to see from Nature, as well as giving them the enjoyment of the company of other young artists, with an opportunity to share ideas. The as yet acknowledged Monro, played a key role in the development of the styles of these artists. The rise and establishment of watercolor painting, with the standards and ideals which Monro insisted upon, had much to do with the unrivaled position which the English School in Water-Colours had attained by the time of his death, whilst John Ruskin went so far as to say that Thomas Monro was "Turner's true master." So many papers are still held by family memebers, which is why so little correct information had appeared on Thomas Monro to date. With five children surviving him, much has been distributed to their descendants, so it is difficult to get a clear picture. Included in the story is a brief description of Bedlam, od the Bethlem, Hospital. Monro never kept a diary, but his son Edward Thomas (Tom) did, and these diaries and those of his artistic son Henry, and Sally his daughter, have been made available to me. THese form the basis for the book, and are held by a member of the family. Letters and descriptions, many of still in private hands, gave further insight.
From Simon & Schuster, Knowing Right From Wrong is Richard Moran's look at the insanity defense of Daniel McNaughtan. In this examination of the precedent-setting case, Moran looks through an enlightened humanitarian lens of judgments passed on mentally ill defendants by judges and juries as a result of political climate and considerations.
Throughout history, many doctors have worked outside the occupation for which they were originally trained. Not Your Ordinary Doctor reveals sixty such medical truants who found fame in fields other than medicine. Meet Sir Arthur Conan Doyle's inspiration for Sherlock Holmes; cringe as Stalin tortures each of his eight doctors; follow John Keats, who abandons medicine to pursue his literary career. Within these pages are doctors who attended rulers such as Elizabeth I, Napoleon and Alexander the Great; artists, musicians and writers such as Somerset Maugham and Anton Chekhov; sporting heroes and adventurers including W.G. Grace and Che Guevara; and on a darker note, mass murderers like Hastings Banda and Buck Ruxton. Not Your Ordinary Doctor is a titillating collection filled with historical curiosities, fascinating whimsy and fresh speculation. These stories are by turns heroic and absurd, dazzling and ghoulish, inspired and tragic and, in the hands of master storyteller Jim Leavesley, never dull.
Richard Dadd is a trickster, a pre-post-modern enigma wrapped in a Shakespearean Midsummer Night’s Dream; an Elizabethan Puck living in a smothering Victorian insane asylum, foreshadowing and, in brilliant, Mad Hatter conundrums, entering the fragmented shards of today’s nightmarish oxymorons long before the artists currently trying to give them the joker’s ephemeral maps of discourse. The author thinks of Bob Dylan’s “Ballad of a Thin Man,” that cryptic refusal to reduce the warped mirrors of reality to prosaic lies, or, perhaps “All Along the Watchtower” or “Mr Tambourine Man.” Even more than Samuel Beckett’s Waiting for Godot, which curiously enough comes off as overly esoteric, too studied, too conscious, Dadd’s entire existence foreshadows the forbidden entrance into the numinous, the realization of the inexplicable labyrinths of contemporary existence, that wonderfully rich Marcel Duchamp landscape of puns and satiric paradigms, that surrealistic parallax of the brilliant gamester Salvador Dali, that smirking irony of the works of Roy Lichtenstein, Robert Rauschenberg, John Cage, and Robert Indiana; that fragmented, meta-fictional struggle of Kurt Vonnegut’s Slaughterhouse Five. John Lennon certainly sensed it and couldn’t help but push into meta-real worlds in his own lyrics. Think of “Strawberry Fields Forever,” “I Am the Walrus,” and the more self-conscious “Revolution Number 9.” In “Yer Blues,” he even refers to Dylan’s main character, Mr Jones from “Ballad of a Thin Man.” If Lennon’s song is taken seriously, literally, then it is a dark crying out by a suicidal man, “Lord, I’m lonely, wanna die”; or, if taken as a metaphor for a lover’s lost feelings about his unfulfilled love, it falls into the romantic rant of a typical blues or teenage rock-and-roll song. However, even on this level, it has an irony about it, a sense of laughing at itself and at Dylan’s Mr Jones, who knows something is going on but just not what it is, and then, by extension, all of us who have awakened to the fact that the studied Western world doesn’t make sense, all of us who struggle to find meaning in the nonsense images, characters, and happenings in the song, and perhaps, coming to a conclusion that the nonsense is the sense.
In the late eighteenth century mental illness was treated with brutal and inhumane methods by ‘mad-doctors’, and the treatment of George III was no exception. George III’s Illnesses and His Doctors provides an insightful, forensic and sympathetic picture of how and why members of the royal family turned in desperation to an unqualified quack practitioner, James Lucett, in the hope of finding a cure for the king’s ‘insanity’. Much has been written in the past about ‘Mad King George’. This book brings fresh evidence and new understanding to the case of the ‘mad’ king. Lucett’s claims were tested in psychiatry’s first ‘therapeutic trial’ and science was invoked in an attempt to improve understanding of the roots of insanity. The results were mixed but nevertheless George III’s case and the subsequent career of the deeply flawed Lucett were important elements in the revolutionary change in attitudes to the treatment of the insane which came about as the nineteenth century progressed. Based closely on primary source material, George III’s Illnesses and His Doctors is a moving story of human suffering but also of efforts to challenge medical orthodoxy and to improve understanding of mental illness. Some of the issues raised in the early nineteenth century remain to be resolved now.
This book is a lively commentary on the eighteenth-century mad-business, its practitioners, its patients (or "customers"), and its patrons, viewed through the unique lens of the private case book kept by the most famous mad-doctor in Augustan England, Dr. John Monro (1715-1791). Monro's case book, comprising the doctor's jottings on patients he saw in the course of his private practice--patients drawn from a great variety of social strata--offers an extraordinary window into the subterranean world of the mad-trade in eighteenth-century London. The volume concludes with a complete edition of the case book itself, transcribed in full with editorial annotations by the authors. In the fragmented stories Monro's case book provides, Andrews and Scull find a poignant underworld of human psychological distress, some of it strange and some quite familiar. They place these "cases" in a real world where John Monro and othersuccessful doctors were practicing, not to say inventing, the diagnosis and treatment of madness.