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Originally published in 1862, this is a landmark speech promoting the building of the Natural History Museum.
Brings together the latest studies by an international group of dinosaur palaeontologists and provides descriptions of the original specimens of Hyaleosaurus and Stegosaurus
In the mid-1850s, no scientist in the British Empire was more visible than Richard Owen. Mentioned in the same breath as Isaac Newton and championed as Britain’s answer to France’s Georges Cuvier and Germany’s Alexander von Humboldt, Owen was, as the Times declared in 1856, the most “distinguished man of science in the country.” But, a century and a half later, Owen remains largely obscured by the shadow of the most famous Victorian naturalist of all, Charles Darwin. Publicly marginalized by his contemporaries for his critique of natural selection, Owen suffered personal attacks that undermined his credibility long after his name faded from history. With this innovative biography, Nicolaas A. Rupke resuscitates Owen’s reputation. Arguing that Owen should no longer be judged by the evolution dispute that figured in only a minor part of his work, Rupke stresses context, emphasizing the importance of places and practices in the production and reception of scientific knowledge. Dovetailing with the recent resurgence of interest in Owen’s life and work, Rupke’s book brings the forgotten naturalist back into the canon of the history of science and demonstrates how much biology existed with, and without, Darwin
The Victorian era heralded an age of transformation in which momentous changes in the field of natural history coincided with the rise of new visual technologies. Concurrently, different parts of the British Empire began to more actively claim their right to being acknowledged as indispensable contributors to knowledge and the progress of empire. This book addresses the complex relationship between natural history and photography from the 1850s to the 1880s in Britain and its colonies: Australia, New Zealand and, to a lesser extent, India. Coinciding with the rise of the modern museum, photography’s arrival was timely, and it rapidly became an essential technology for recording and publicising rare objects and valuable collections. Also during this period, the medium assumed a more significant role in the professional practices and reputations of naturalists than has been previously recognized, and it figured increasingly within the expanding specialized networks that were central to the production and dissemination of new knowledge. In an interrogation that ranges from the first forays into museum photography and early attempts to document collecting expeditions to the importance of traditional and photographic portraiture for the recognition of scientific discoveries, this book not only recasts the parameters of what we actually identify as natural history photography in the Victorian era but also how we understand the very structure of empire in relation to this genre at that time.