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Posts Tagged ‘Royal Society

“The greatest value of a picture is when it forces us to notice what we never expected to see”*…

Detail from Richard Waller’s “Tabula colorum physiologica …” [Table of physiological colours], from Philosophical Transactions, 1686 — Source.

One of the most demanding challenges for early modern scientists was devising how best to visually portray their discoveries to the public. In the absence of any sort of technology for automatic visualisation, like cameras or scanners, the sixteenth- and seventeenth-century natural philosopher had to rely on drawings and subsequently woodcuts, etchings, or engravings to turn an experimental finding into a reproducible and publicly accessible demonstration. This was a laborious, expensive, time-consuming, and often problematic operation. Negotiated between several parties involved in the world of image-making, such as draughtsmen, engravers, and printers, the results were inevitably compromises between the intentions of the researcher and the possibilities of the printing press. For example, what a drawing could express with shading, washing, and chromatic nuances, printed illustrations could only approximate through a binary system of black and white, resulting from the pressure of an inked copper plate against a page.

The problem of efficient imaging was particularly felt during the early years of the Royal Society, a scientific institution founded in London in the early 1660s and today still regarded as one of the most prestigious institutions of scientific research in the world. In its early decades of activity, the Royal Society established itself as one of the central forces of the Scientific Revolution, with renowned members such as Robert Boyle and Isaac Newton. Members of the Society used to meet on a weekly basis to discuss ongoing research on a variety of subjects, such as physics, mathematics, biology, astronomy, mechanics, geography, and antiquarianism.

Soon after its foundation, the Royal Society sought new ways to increase visibility and maximise its public reach. From this emerged the Philosophical Transactions, a monthly peer-reviewed journal, the first of its kind, featuring extracts from the Royal Society’s weekly research meetings. Founded in 1665 by the Society’s Secretary Henry Oldenburg and still published to this day, the Transactions are regarded as the first and longest-running scientific journal in history, as contributions were the result of original explorative studies into natural and mechanical matters informed by the Society’s culture of experiment — part of what today we generally call science.

The Transactions were printed in small quarto format (about 17x22cm) with up to about a dozen articles per issue and could be purchased for the price of one shilling, about £5 today. The journal was a pioneering learned publication, with exceptional frequency and aimed at a diverse public of curious researchers. As such, especially in the early years, its contributors were often preoccupied with how best to communicate their ideas and discoveries through the immediacy of mass-producible visual media. A closer look into a selection of these articles demonstrates the extent to which natural philosophers were prepared to re-invent the production and consumption of images with new and often odd strategies for representing the world. This was a process of endless hands-on experimentation, often pushing beyond the traditional confines of the printing house…

From infographics to digital renders, today’s scientists have ready access to a wide array of techniques to help visually communicate their research. It wasn’t always so: “‘More Lively Counterfaits’– Experimental Imaging at the Birth of Modern Science.”

* John Tukey


As we “show don’t tell,” we might spare a thought for Earle Dickson; he died on this date in 1961.  Dickson, concerned that his wife, Josephine Knight, often cut herself while doing housework and cooking, devised a way that she could easily apply her own dressings.  He prepared ready-made bandages by placing squares of cotton gauze at intervals along an adhesive strip and covering them with crinoline.  In the event, all his wife had to do was cut off a length of the strip and wrap it over her cut.  Dickson, who worked as a cotton buyer at Johnson & Johnson, took his idea to his employer… and the Band-Aid was born.


“Nobody owns life, but anyone who can pick up a frying pan owns death”*…


The kitchen is well equipped and stocked. There’s a stove, a refrigerator full of food, a table with a rolling pin and a bowl, and a sink with Ivory soap. The wall calendar, featuring with a sailing ship, says it’s April 1944. But there’s something else: Every item is miniature, hand-crafted, and a doll lies on the floor, apparently dead, cause unknown.

This is one of Frances Glessner Lee’s Nutshell Studies of Unexplained Death, a series of 1/12-scale dioramas based on real-life criminal investigation cases. They were used—and continue to be studied even today—to train investigators in the art of evidence gathering, meticulous documentation, and keen observation. And they were created by one of the most unlikely and influential figures in crime scene forensics…

From “The Grim Crime-Scene Dollhouses Made by the ‘Mother of Forensics’,” which prompts a look back at (R)D’s earlier visit with Ms. Glessner:


Frances Glessner Lee (1878-1962) was a millionaire heiress and Chicago society dame with a very unusual hobby for a woman raised according to the strictest standards of nineteenth century domestic life: investigating murder. And she did this through a most unexpected medium: dollhouse-like dioramas. Glessner Lee grew up home-schooled and well-protected in the fortress-like Glessner House, designed by renown American architect H.H. Richardson, but she was introduced to the fields of homicide investigation and forensic science by her brother’s friend, George Magrath, who later became a medical examiner and professor of pathology at Harvard Medical School. Instantly captivated by the nascent pursuit, she became one of its most influential advocates. In 1936, she endowed the Department of Legal Medicine at Harvard and made subsequent gifts to establish chaired professorships and seminars in homicide investigation. But that’s not all…

Glessner Lee, rather than using her well cultivated domestic skills to throw lavish parties for debutantes, tycoons, and other society types, subverted the notions typically enforced upon a woman of her standing by hosting elaborate dinners for investigators who would share with her, in sometimes gory detail, the intricacies of their profession. Glessner Lee oversaw every detail of these dinners herself, down to the menu and floral arrangements. She could probably tell you which wine goes best with discussion about a strangled corpse found in a bathroom. But the matronly Glessner Lee — who may have been the inspiration for Angela Lansbury’s character in “Murder She Wrote”– wanted to do more to help train investigators. She wanted to create a new tool for them…

In her conversations with police officers, scholars and scientists, she came to understand that through careful observation and evaluation of a crime scene, evidence can reveal what transpired within that space. The physical traces of a crime, the clues, the vestiges of a transgressive moment, have a limited lifespan, however, and can be lost or accidentally corrupted. If a crime scene were properly studied, the truth would ultimately be revealed.

To help her investigator friends learn to assess evidence and apply deductive reasoning,  to help them “find the truth in a nutshell,” Frances Glessner Lee created what she called “The Nutshell Studies of Unexplained Death,”  a series of lovingly crafted dioramas at the scale of one inch to one foot, each one a fully furnished picturesque scene of domesticity with one glaringly subversive element: a dead body…

These miniature crime scenes were representations of actual cases, assembled through police reports and court records to depict the crime as it happened and the scene as it was discovered. They were pure objective recreations. The design of each dollhouse, however, was Glessner Lee’s own invention and revealed her own predilections and biases formed while growing up in a palatial, meticulously appointed home. She makes certain assumptions about taste and lifestyle of low-income families, and her dioramas of their apartments are garishly decorated with, as Miller notes, “nostalgic,” and “often tawdry” furnishings.

Investigators had to learn how to search a room and identify important evidence to construct speculative narratives that would explain the crime and identify the criminal.  Glessner Lee’s models helped them develop and practice specific methods –geometric search patterns or zones, for example– to complete an analysis of a crime scene. “The forensic investigator,” Miller writes, “takes on the tedious task of sorting through the detritus of domestic life gone awry….the investigator claims a specific identity and an agenda: to interrogate a space and its objects through meticulous visual analysis”…

Read the full story at “How a Chicago Heiress Trained Homicide Detectives With an Unusual Tool: Dollhouses.”

* William S. Burroughs


As we re-enact the crime, we might send elegantly-designed birthday greetings to Sir Christopher Wren; he was born in this date (O.S.) in 1632.  One of the most highly acclaimed English architects in history, he was given responsibility for rebuilding 52 churches in the City of London after the Great Fire in 1666, including what is regarded as his masterpiece, St Paul’s Cathedral, on Ludgate Hill, completed in 1710; his other works include the Royal Naval College, Greenwich, and the south front of Hampton Court Palace, and the Wren Building, the main building at the College of William and Mary in Virginia.

Educated in Latin and Aristotelian physics at Oxford, Wren was also a notable anatomist, astronomer, geometer, and mathematician-physicist. He was a founder of the Royal Society (and its president 1680–82).



Written by LW

October 20, 2017 at 1:01 am

“Science does not know its debt to imagination”*…

The image above– William Heath’s “Monster Soup- Commonly Called Thames Water– a Microcosm, dedicated to The London Water Companies“– is one of over 100,000 historical images made available last week by the Wellcome Library under an open license (CC-BY – meaning they are free for any re-use provided that the Wellcome Library is credited).  Focused on themes ranging from medical and social history to contemporary healthcare and biomedical science, it’s one of the world’s richest and most unique collections.

As the curators suggest, “whether it’s medicine or magic, the sacred or the profane, science or satire – you’ll find more than you expect…”

* Ralph Waldo Emerson


As we unpack our tea sets to celebrate Lewis Carroll’s birthday, we might send contagiously-warm birthday greetings to Thomas Willis; he was born on this date in 1621.  An English doctor who played an important part in the history of anatomy, neurology and psychiatry, he was particularly important to the emergence of epidemiology.  In De febribus (1659) he helped crystallize the field with an examination of epidemics of smallpox, influenza, plague, war-typhus, measles, and the first medical description of typhoid fever.

Willis is also remembered as the host of regular gatherings in 1648-9, in his rooms at Oxford, of a club of scientists including Robert Boyle, Christopher Wren, and John Wilkins; he and they went on to become founding members the Royal Society.


Written by LW

January 27, 2014 at 1:01 am

The March of Science…

“If I have seen further it is by standing on the shoulders of Giants.”

– Isaac Newton, in a letter to Robert Hooke, February, 1676

Check out the shoulders of some of those giants on whose shoulders Newton stood, and of those who have since climbed onto Newton’s, with the Royal Society’s time line: Trailblazing- Three and a Half Centuries of Royal Society Publishing.

As we marvel at Method, we might turn to a different kind of “Royal Society” to note that it was on this date in 1936 that the late Duke of Windsor, nee King Edward VIII, abdicated the throne of England to be with Wallis Simpson.

The Duke and Duchess on their wedding day

Waldo, found…

©2009 ~sfumato21

(via Daily What)

As we call off the dogs, we might recall that it was reputedly on this date in 1675 that Gottfried Wilhelm von Leibniz first used the “long s” as the integral symbol in calculus:

It was understood to be Leibnitz’s co-option of the Latin “summa.”

When Newton and Leibniz first published their versions of calculus (in the late 1680s), there was tremendous controversy over which mathematician (and therefore which country, England or Germany) deserved credit.  Newton derived his results first, but Leibniz published first.  The prickly Newton claimed Leibniz had stolen ideas from Newton’s unpublished notes, which Newton had shared with a few members of the Royal Society; a bitter argument ensued, dividing English-speaking mathematicians from continental mathematicians for many years– much to the detriment of English mathematics.   A careful examination of the papers of Leibniz and Newton has convinced scholars that the two arrived at their results independently, with Leibniz starting with integration; and Newton, with differentiation.  It was the symbolically-gifted Leibniz, however, who gave this new branch of mathematics its name.  Newton called his version of calculus the “the science of fluxions”…  One shudders to imagine that on one’s textbook (or in the mouths of schoolchildren…)

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Written by LW

October 26, 2009 at 12:01 am

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