‘Our’ included not only Hooker and Huxley but their fellow-members of the X-Club. ‘Our time’ had been the 1870s and early 1880s. For a five-year period from November 1873 to November 1878 Hooker had been President of the Society, Huxley one of the Secretaries, and fellow X-Club member, William Spottiswoode, the Treasurer. Hooker was followed in the Presidency by Spottiswoode, and on Spottiswoode's death in 1883 Huxley was elected President. During this period other X-Club members—Edward Frankland, John Tyndall, George Busk, (...) Sir John Lubbock, and Thomas Hirst—were ordinary members of the Council of the Society. As the Table below (p. 60) shows, there were at least three members of the X-Club on the Council of the Royal Society from November 1870 until November 1882. On eight occasions in this period there were four or more X-Club members on the Council. ‘Our time’ came to an end in 1885 when ill-health forced Huxley's retirement after only two years in the Presidency, and G. G. Stokes at last became President. (shrink)

The visual culture of the sciences has become a focus for increasing attention in recent literature. This is partly a result of the concern with examining the material culture of the sciences that has developed over the last few decades. Increasing attention has also been devoted to understanding science as spectacle and to trying to understand the spaces where scientific performances, variously understood, take place. This essay surveys some aspects of the visual culture of the sciences in the long nineteenth (...) century. I examine the way visual scientific performances—such as magic lantern shows, optical illusions, and public experiments—were put together. I suggest in particular that if we want to understand the ways in which nineteenth‐century sciences appealed to their audiences we need to pay close attention to these kinds of performances, their performers, and the material and social resources that were deployed in their staging. (shrink)

The visual culture of the sciences has become a focus for increasing attention in recent literature. This is partly a result of the concern with examining the material culture of the sciences that has developed over the last few decades. Increasing attention has also been devoted to understanding science as spectacle and to trying to understand the spaces where scientific performances, variously understood, take place. This essay surveys some aspects of the visual culture of the sciences in the long nineteenth (...) century. I examine the way visual scientific performances---such as magic lantern shows, optical illusions, and public experiments---were put together. I suggest in particular that if we want to understand the ways in which nineteenth‐century sciences appealed to their audiences we need to pay close attention to these kinds of performances, their performers, and the material and social resources that were deployed in their staging. (shrink)