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Jeremiah Barker practiced medicine in rural Maine up until his retirement in 1818. Throughout his practice of fifty years, he documented his constant efforts to keep up with and contribute to the medical literature in a changing medical landscape, as practice and authority shifted from historical to scientific methods. He performed experiments and autopsies, became interested in the new chemistry of Lavoisier, risked scorn in his use of alkaline remedies, studied epidemic fever and approaches to bloodletting, and struggled to understand epidemic fever, childbed fever, cancer, public health, consumption, mental illness, and the "dangers of spirituous liquors." Dr. Barker intended to publish his Diseases in the District of Maine 1772-1820 by subscription - advance pledges to purchase the published volume - but for reasons that remain uncertain, that never happened. For the first time, Barker's never before published work has been transcribed and presented in its entirety with extensive annotations, a five-chapter introduction to contextualize the work, and a glossary to make it accessible to 21st century general readers, genealogists, students, and historians. This engaging and insightful new publication allows modern readers to reimagine medicine as practiced by a rural physician in New England. We know much about how elite physicians practiced 200 years ago, but very little about the daily practice of an ordinary rural doctor, attending the ordinary rural patient. Barker's manuscript is written in a clear and engaging style, easily enjoyed by general readers as well as historians, with extensive footnotes and a glossary of terms. Barker himself intended his book to be "understood by those destitute of medical science."
Early American painter Gilbert Stuart has long been mistakenly represented as a hard-drinking rogue, habitual liar, and inexplicable financial failure. To explain his stylistic unevenness as an artist, he is assumed to have had an inferior assistant, but the documentary evidence for an assistant who painted on his portraits is non-existent-in fact, there is evidence to the contrary. This ground-breaking study demonstrates that Stuart suffered from a hereditary form of manic depression, leading him to create pictures that contain peculiar lapses characteristic of a manic-depressive, or bipolar, artist. Using documentary and empirical evidence-from diaries and letters to x-radiographs of paintings-this book fills important gaps in our knowledge of Stuart, and connects the strange visual effects in some of Stuart's paintings with cognitive deficits attendant with the disorder. In addition to Stuart, other bipolar artists, including George Romney, Raphaelle Peale, Gilbert Stuart Newton, and William Rimmer, are discussed in relation to these deficits, revealing patterns which carry broader implications for all manic-depressive artists. This volume is a significant contribution not only to studies of Stuart and the four other painters but also to our understanding of the mind of a manic-depressive artist. It bridges the broad disciplines of art history and psychopathology.