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An autopsic art: Drawings of 'Dr Granville's mummy' in the Royal Society archives
Abstract
In 1821 Augustus Bozzi Granville FRS unwrapped and dissected an ancient Egyptian mummy, presenting the results of his examination to the Royal Society in 1825. He commissioned artist Henry Perry to draw the process in stages; these drawings were subsequently engraved by James Basire for publication in Philosophical Transactions. This article presents the original drawings for the first time, allowing comparison with their engravings. Taken together with Granville's accounts of the unwrapping of the mummy, the drawings demonstrate the significant role of illustration and other visual practices in anatomical argumentation in the early nineteenth century, as well as the prestige that commissioned illustrations lent to the performance and dissemination of scientific expertise. Moreover, the drawings include one of the key visual tropes of race science - a skull in left-facing profile, mapped with a facial angle - and thus indicate the early incorporation of Egyptian mummies into typologies of race.
... Egyptian mummies, and parts of mummies, were nothing new to Europe by the time the physician and 'male midwife' (obstetrical surgeon) Augustus Bozzi Granville set about unwrapping and dissecting a mummy in 1822-the original archiving process of my first example, known today as 'Dr Granville's mummy' (Riggs 2014, pp. 49-56;Riggs 2016). A brisk trade in powdered mumia operated for medicinal purposes in the seventeenth and early eighteenth centuries, and whole mummies (some now identified as forgeries) or parts of mummies sometimes featured in collections of curiosities, like those of Hans Sloane and Peter Paul Rubens. ...
Linking the archive in its literal sense to the metaphorical repercussions of ‘the archive’ in a conceptual sense opens new lines of inquiry into the processes employed in museums to catalogue and store their objects. Archaeology—which was influential in Freud’s theories of memory and Derrida’s ‘Freudian impression’, Archive Fever—invites particular consideration in this respect, especially through the collection and interpretation of ancient Egyptian human remains. Embedded in colonial and imperial discourses of race, the Egyptian mummy confronted the West with the uncanny survival of what it had conceived as its near-double. The fates of two Egyptian bodies, a mummy dissected in the 1820s and a skeleton excavated in the 1920s, exemplify the archiving of these archaeological objects, whose multiple traces speak to what Derrida characterized as the archive’s self-destructive drive, as its objects (and bodies) resist archival containment. This theoretical point encourages museums to intervene in and through their archives, for the creation of alternative histories and futures.
It is every museum’s goal to make a difference in their visitors, whether to make them aware of a situation such as climate change, educate about a time period, or inspire visitors to think, to feel, and to observe the world around them. The Werner Wildlife Museum strives to provide visitors these opportunities for personal growth through humanities programming.
In the first comprehensive study of nineteenth-century medical museums, Morbid Curiosities traces the afterlives of diseased body parts. It asks how they came to be in museums, what happened to them there, and who used them.
This book is concerned with the macabre work of pathologists as they dismembered corpses and preserved them: transforming bodies into material culture. The fragmented body parts followed complex paths - harvested from hospital wards, given to one of many prestigious institutions, or dispersed at auction. Human remains acquired new meanings as they were exchanged and were then reintegrated into museums as physical maps of disease. On shelves curators juxtaposed organic remains with paintings, photographs, and models, and rendered them legible with extensive catalogues that were intended to standardize the museum experience. And yet visitors refused to be policed, responding equally with wonder and disgust.
Morbid Curiosities is a history of the material culture of medical knowledge in the age of museums.
Readership: Museologists, medical historians, anthropologists, art historians, and museum professionals
'Dr Granville's mummy' was described to the Royal Society of London in 1825 and was the first ancient Egyptian mummy to be subjected to a scientific autopsy. The remains are those of a woman, Irtyersenu, aged about 50, from the necropolis of Thebes and dated to about 600 BC. Augustus Bozzi Granville (1783-1872), an eminent physician and obstetrician, described many organs still in situ and attributed the cause of death to a tumour of the ovary. However, subsequent histological investigations indicate that the tumour is a benign cystadenoma. Histology of the lungs demonstrated a potentially fatal pulmonary exudate and earlier studies attempted to associate this with particular disease conditions. Palaeopathology and ancient DNA analyses show that tuberculosis was widespread in ancient Egypt, so a systematic search for tuberculosis was made, using specific DNA and lipid biomarker analyses. Clear evidence for Mycobacterium tuberculosis complex DNA was obtained in lung tissue and gall bladder samples, based on nested PCR of the IS6110 locus. Lung and femurs were positive for specific M. tuberculosis complex cell-wall mycolic acids, demonstrated by high-performance liquid chromatography of pyrenebutyric acid-pentafluorobenzyl mycolates. Therefore, tuberculosis is likely to have been the major cause of death of Irtyersenu.
When the British Museum opened its doors more than two centuries ago, scores of visitors waited eagerly outside for a first glimpse of ancient relics from Egypt, Greece, and Rome. Even today, in this age of satellite television and high-speed Internet access, museums maintain their unique allure, continuing to play a vital role in connecting us with little-known terrains and the deep mysteries of our historical past. That’s because, as Stephanie Moser argues in Wondrous Curiosities, museum displays don’t just transmit knowledge—they actually create it. Based on her exploration of the British Museum’s world-famous collection of Egyptian antiquities, this pioneering study reveals the powerful role of museums in shaping our understanding of science, culture, and history. Drawing on guidebooks and archival documents, Moser demonstrates that this British exhibition of ancient Egyptian artifacts was central to the way we came to define the remarkable society that produced them. And she also reveals the specific strategies—such as using pattern and symmetry, juxtaposing different types of objects, and singling out particular items—that the British Museum and others used, and still use, in representing the past. With a wealth of illustrations and a detailed account of how the museum acquired and displayed its Egyptian collections, Wondrous Curiosities will fascinate curators and scholars of British history, Egyptology, art history, archaeology, and the history of science.
Visual practices play a role in the making of scientific careers and theories that is not always straightforward. Several portraits of the Manchester surgeon Charles White, along with scientific illustrations associated with him, interfered with Sir Joshua Reynolds's portrait of John Hunter in ways that reveal the messy diversity of practices, uses, and contexts of images during the Enlightenment The increased mobility of Enlightenment visual culture straddled the fields of art and science, reflected their social economies, and enabled images to maintain a meaningful role simultaneously in systems of knowing, projects of professional empowerment, and forms of political commentary.
The exact measurements of the human form made by Bernard Siegfried Albinus (1747) provided the first effective alternate to Vesalian écorchés which had dominated artists' and anatomists' texts since the sixteenth century. Artists as diverse as Callot, Vien, Bouchardon, Pigalle, Van Loo, David, Hallé, and Géricault were influenced by the Albinian-Vesalian antimony: some, like Flaxman and Houdon, preferred variants of the slender, mathematically and perspectively correct forms of Albinus; others, such as Hogarth and Samuel F. B. Morse, advocated less Neoclassical, more robust and Vesalian figures. The two patterns may be traced in the teaching of the French Academy from c. 1750 to 1793; and they had a long Nachleben in nineteenth century anatomy texts, where they were influenced by developments in architectural drawing and in photography.
This paper examines the last work by Sir Thomas Browne published in his lifetime, an imaginary cabinet of curiosities. The
sale catalogue (171011) of some of his, and of his son Edward's books is discussed. Other collections are mentioned, including those of Imperato,
Calzolari, Tradescant, and Worm. Several of the imaginary objects and books are considered mth reference to the sale catalogue
and Browne's earlier writings.
The unrolling of Egyptian mummies was a popular spectacle in mid-nineteenth-century Britain. In hospitals, theatres, homes and learned institutions mummified bodies, brought from Egypt as souvenirs or curiosities, were opened and examined in front of rapt audiences. The scientific study of mummies emerged within the contexts of early nineteenth-century Egyptomania, particularly following the decipherment of hieroglyphics in 1822, and the changing attitudes towards medicine, anatomy and the corpse that led to the 1832 Anatomy Act. The best-known mummy unroller of this period was the surgeon and antiquary Thomas Pettigrew, author of the highly respected History of Egyptian Mummies. By examining the locations, audiences and formats of some of Pettigrew's unrollings this paper outlines a historical geography of mummy studies within the intellectual worlds of nineteenth-century Britain, illuminating the patterns of authority, respectability, place and performance that Pettigrew and his colleagues navigated with varying degrees of success.
In the year 1821, Sir Archibald Edmonstone, whose interesting work on two of the Oäses of Upper Egypt has been so favourably received by the public, presented me with a mummy, which he had purchased at Gournou, on the 24th of March, 1819, from one of the inhabitants of the sepulchral excavations on the side of the mountain, at the back of which are the celebrated tombs of the kings of Thebes. It cost about four dollars. There was no outer case to it; and it is difficult to conceive how the beauty and perfect condition of the surface of the single case in which the mummy was inclosed, could have been so well preserved without any external covering. It appears from Sir Archibald’s testimony, confirmed by my own observations, that the mummies which have a second, or an outer case, like the one bought at the same time by Sir Archibald Edmondstone’s fellow traveller, Mr. Hoghton, and now lying unopened at his seat near Preston, in Lancashire, have been folded, externally, with greater care than the one about to be described; and that the outward folds are ornamented with variegated stripes of linen. These observations accord with those made by Jomard and Royer. The first, or inner case, too, of those mummies is covered with a kind of paper, on which the figures and hieroglyphics are painted with much greater brilliancy of colour. Similar remarks apply to the mummy presented to the Hunterian Museum at Glasgow, by Mr. Heywood, a Smyrna merchant, the second or inner case of which is said to be of wonderful beauty and brilliancy.
Johann Friedrich Blumenbach a etabli une classification raciale de la diversite humaine fondee sur une geometrie anatomique differente, ce qui suscita des consequences sociales desastreuses entre la communaute scientifique anthropologique et le racisme
Around 1800, the scientific "illustrator" emerged as a new artistic profession in Europe. Artists were increasingly sought after in order to picture anatomical dissections and microscopic observations and to translate drawings into artworks for books and journals. By training and technical expertise, they introduced a particular kind of knowledge into scientific perception that also shaped the common image of nature. Illustrations of scientific publications, often undervalued as a biased interpretation of facts and subordinate to logic and description, thus convey an 'art history' of science in its own right, relevant both for the understanding of biological thought around 1800 as well as for the development of the arts and their historiography. The article is based on an analysis of botanical treatises produced for the Göttingen Society of Sciences in 1803, during an early phase of microscopic cell research, in order to determine the constitutive role of artistic knowledge and the media employed for the visualization and conceptualization of biological issues.
2 For example S. Kusukawa, 'Picturing knowledge in the early Royal Society: the examples of Richard Waller and Henry Hunt', Notes Rec and see the AHRC-funded Research Network (Principal Investigator S. Kusukawa), 'Origins of science as a visual pursuit: the case of the early
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A. B. Granville, Autobiography of A. B. Granville, M.D., FRS (Henry S. King, London, 1874),
pp. 207-212.
2
For example S. Kusukawa, 'Picturing knowledge in the early Royal Society: the examples of
Richard Waller and Henry Hunt', Notes Rec. R. Soc. 65, 273-294 (2011), and see the
AHRC-funded Research Network (Principal Investigator S. Kusukawa), 'Origins of science as
a visual pursuit: the case of the early Royal Society', http://picturingscience.wordpress.com/.
3
A. B. Granville, 'An essay on Egyptian mummies, with observations on the art of embalming
among the ancient Egyptians', Phil. Trans. R. Soc. Lond. 115, 269-316 (1825), at p. 296 n. †.
4
Morbid curiosities: medical museums in nineteenth-century Britain 14-15 and 103-111; S. Chaplin, 'Dissection and display in eighteenth-century London', in Anatomical dissection in Enlightenment England and beyond: autopsy, pathology and display
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Granville, op. cit. (note 3), p. 281.
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Tuberculosis in Dr Granville's mummy: a molecular re-examination of the earliest known Egyptian mummy to be scientifically examined and given a medical diagnosis
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Granville, op. cit. (note 3), p. 271.
17
Ibid., p. 269.
18
H. D. Donoghue, O. Y.-C. Lee, D. E. Minnikin, G. S. Besra, J. H. Taylor and M. Spigelman,
'Tuberculosis in Dr Granville's mummy: a molecular re-examination of the earliest known
Egyptian mummy to be scientifically examined and given a medical diagnosis', Proc. R. Soc.
B 277, 51-56 (2010), at p. 51.
19
The cloth removed from the body weighed twenty-eight pounds. Granville later subjected it to tests to determine whether it was cotton or linen, concluding-wrongly-that it was the former. For further discussion of the textiles in the Granville unwrapping, see C. Riggs
- Ibid
Ibid., p. 271. The cloth removed from the body weighed twenty-eight pounds. Granville later
subjected it to tests to determine whether it was cotton or linen, concluding-wrongly-that
it was the former. For further discussion of the textiles in the Granville unwrapping, see
C. Riggs, Unwrapping Ancient Egypt (Bloomsbury, London, 2014), pp. 49-56.
An account of a mummy, inspected at London 1763Observations on some Egyptian mummies opened in London For the use of Blumenbach's work in later race science, see R. Bhopal, 'The beautiful skull and Blumenbach's errorsBlumenbach's racial geography
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Granville, op. cit. (note 3), p. 282. J. Hadley, 'An account of a mummy, inspected at London
1763', Phil. Trans. R. Soc. Lond. 54, 1-14 (1764); J. F. Blumenbach, 'Observations on some
Egyptian mummies opened in London', Phil. Trans. R. Soc. Lond. 84, 177-195 (1794). For
the use of Blumenbach's work in later race science, see R. Bhopal, 'The beautiful skull and
Blumenbach's errors', Br. Med. J. 335, 1308-1309 (2007); T. Junker, 'Blumenbach's racial
geography', Isis 89, 498-501 (1998).
(note 24), p. 192. 26 J. Elkins, 'Two conceptions of the human form: Bernard Siegfried Albinus and Andreas Vesalius
- Blumenbach
25
Blumenbach, op. cit. (note 24), p. 192.
26
J. Elkins, 'Two conceptions of the human form: Bernard Siegfried Albinus and Andreas
Vesalius', Artibus Hist. 7 (14), 91-106 (1986).
The rhetoric of experiments and scientific illustrations in the Enlightenment For the eighteenth-century reception of Winckelmann's work, see K. Harloe, Winckelmann and the invention of antiquity: history and aesthetics in the age of Altertumswissenschaft
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W. R. Shea, 'The rhetoric of experiments and scientific illustrations in the Enlightenment', in
Science and the visual image in the Enlightenment (ed. W. R. Shea), pp. 53-55 (Science
History Publications, Canton, MA, 2000). For the eighteenth-century reception of
Winckelmann's work, see K. Harloe, Winckelmann and the invention of antiquity: history and
aesthetics in the age of Altertumswissenschaft (Oxford University Press, 2013), pp. 103-130.
28
An account of an Egyptian mummy presented to the museum of the Leeds Philosophical and Literary Society
- W Osburn
W. Osburn, An account of an Egyptian mummy presented to the museum of
the Leeds Philosophical and Literary Society (Robinson & Hernaman, Leeds, 1828).
Isaac (1704-1768)' (with sub-entries on the three James Basires) Oxford dictionary of national biography; requires subscription). 31 A. Graves, The Royal Academy of Arts: a complete dictionary of contributors and their work from its foundation in 1769
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30
L. Pelz, 'Basire, Isaac (1704-1768)' (with sub-entries on the three James Basires), Oxford
dictionary of national biography (Oxford University Press, 2004; http://www.oxforddnb.
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31
A. Graves, The Royal Academy of Arts: a complete dictionary of contributors and their work
from its foundation in 1769 to 1904 (Royal Academy, London, 1905), p. 110.
32
The elder James Whatman, England's greatest papermaker (2 volumes The Whatmans and wove (velin) paper: its invention and development in the West For a Whatman watermark of the same period as in the Perry drawing, see the National Gallery of Australia, 'Whistler's watermarks: Whatman watermarks
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- Farleigh
33
J. N. Balston, The elder James Whatman, England's greatest papermaker (2 volumes) (J. N.
Balston, West Farleigh, 1992); idem, The Whatmans and wove (velin) paper: its invention and
development in the West (J. N. Balston, West Farleigh, 1998). For a Whatman watermark of
the same period as in the Perry drawing, see the National Gallery of Australia, 'Whistler's
watermarks: Whatman watermarks', http://nga.gov.au/Conservation/Watermarks/details/
Whatman.cfm (accessed 22 November 2015).
general appearances' of the mummy are 'well marked' on Plate XIX) and p. 311 (wrinkles of the skin are 'so well marked
- Ibid
Ibid., for example p. 277 ('general appearances' of the mummy are 'well marked' on Plate XIX)
and p. 311 (wrinkles of the skin are 'so well marked', on the same plate).
An account of the skeletons of the dugong, two-horned rhinoceros, and tapir of Sumatra, sent to England by Sir Thomas Stamford Raffles, Governor of Becoolen', Phil For Clift, see P. R. Sloan, 'Clift, William (17751849)', Oxford dictionary of national biography
- Ibid
Ibid., quotations from pp. 278, 280 and 300, respectively.
40
Ibid., p. 279.
41
E. Home, 'An account of the skeletons of the dugong, two-horned rhinoceros, and tapir of
Sumatra, sent to England by Sir Thomas Stamford Raffles, Governor of Becoolen', Phil.
Trans. R. Soc. Lond. 111, 268-275 (1821). For Clift, see P. R. Sloan, 'Clift, William (17751849)', Oxford dictionary of national biography (Oxford University Press, 2004; http://www.
oxforddnb.com/view/article/5668, accessed 5 August 2015), with examples of his work for
Baillie in B. A. Rifkin, M. J. Ackerman and J. Falkenberg, Human anatomy: depicting the
body from the Renaissance to today (Thames & Hudson, London, 2006), pp. 237-241. For
Hills, see G. Smith, 'Hills, Robert (1769-1844)', Oxford dictionary of national biography
(Oxford University Press, 2004; http://www.oxforddnb.com/view/article/13323, accessed
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Orientalism (Vintage A vast literature has grown up around the book; a convenient recent discussion is Z. Lockman, Contending visions of the Middle East: the history and politics of orientalism
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42
E. Said, Orientalism (Vintage, New York, 1978). A vast literature has grown up around the book;
a convenient recent discussion is Z. Lockman, Contending visions of the Middle East: the history
and politics of orientalism 2nd edition (Cambridge University Press, 2010), pp. 183-215.
43
Beyond Egyptology: Egypt in 19th and 20th century archaeology and anthropology
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D. Challis, The archaeology of race: the eugenic ideas of Francis Galton and Flinders Petrie
(Bloomsbury, London, 2013), pp. 6-8 and 21-44; and T. Champion, 'Beyond Egyptology:
Egypt in 19th and 20th century archaeology and anthropology', in The wisdom of Egypt:
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of London Press, Institute of Archaeology, London, 2003), esp. at pp. 162-167.
See C. Preston, Thomas Browne and the writing of early modern scienceMuseum clausum, or Bibliotheca abscondita: some thoughts on curiosity cabinets and imaginary books
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Granville, op. cit. (note 1), pp. 209-210.
61
T. Browne, Musaeum Clausum... (1683), available online at http://penelope.uchicago.edu/
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the writing of early modern science (Cambridge University Press, 2004), p. 162; B. JuelJensen, 'Museum clausum, or Bibliotheca abscondita: some thoughts on curiosity cabinets
and imaginary books', J. Hist. Coll. 4 (1), 127-140 (1998).
63 For a consideration of the earlier roots of this phenomenon, see S. Moser, 'Making expert knowledge through the image: connections between antiquarian and early modern scientific illustration
- Op Granville
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Granville, op. cit. (note 1), p. 211.
63
For a consideration of the earlier roots of this phenomenon, see S. Moser, 'Making expert
knowledge through the image: connections between antiquarian and early modern scientific
illustration', Isis 105 (1), 58-99 (2014).
Antiquités ( planches) (Pancoucke pls 49-50; Hadley, op. cit. (note 20), pl. I. 65 For a similar observation with reference to antiquarianism and archaeology, see S. Moser, 'Archaeological representation: the visual conventions for constructing knowledge about the past
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E. Jomard et al. Description de l'E ´ gypte. Antiquités ( planches) (Pancoucke, Paris, 1821), vol. 2,
pls 49-50; Hadley, op. cit. (note 20), pl. I.
65
For a similar observation with reference to antiquarianism and archaeology, see S. Moser,
'Archaeological representation: the visual conventions for constructing knowledge about the
past', in I. Hodder (ed.), Archaeological theory today (Polity, Cambridge, 2001), pp. 262-283.
66
The illustrious anatomist: authorship, patronage, and illustrative style in anatomy folios
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Systems of display: the making of anatomical knowledge in Enlightenment BritainThe beauty of anatomy: visual displays and surgical education in Early-Nineteenth-Century London
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idem, 'Systems of display: the making of anatomical knowledge in Enlightenment Britain',
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Attention and modernity in the nineteenth century', in Picturing science
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(note 35), p. 105; E. Home, 'The Croonian Lecture: on the existence of nerves in the placenta
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69
Images of science: a history of scientific illustration (British Library John Bell's 1794 book on human anatomy is discussed, together with diachronic issues of styleStyle and non-style in anatomical illustration: from Renaissance Humanism to Henry Gray
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Ford, Images of science: a history of scientific illustration (British Library, London, 1992),
pp. 41-43. John Bell's 1794 book on human anatomy is discussed, together with diachronic
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note 18); for a critical consideration of later mummy investigations, up to the present day, see Riggs, op. cit
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Examples include Donoghue et al., op. cit. (note 18); for a critical consideration of later mummy
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and see the AHRC-funded Research Network (Principal Investigator S. Kusukawa), 'Origins of science as a visual pursuit: the case of the early
- S For
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For example S. Kusukawa, 'Picturing knowledge in the early Royal Society: the examples of
Richard Waller and Henry Hunt', Notes Rec. R. Soc. 65, 273-294 (2011), and see the
AHRC-funded Research Network (Principal Investigator S. Kusukawa), 'Origins of science as
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The Journal Book entries also provide the information that Granville had two guests present at the meeting on 14 April, a Monsieur Potemkin and Baron Lello, a Bavarian minister
Royal Society Journal Book for 1825-26, pp. 386-390 (14 April 1825), 390-391 (21 April
1825) and 392 -400 (28 April 1825). The Journal Book entries also provide the information
that Granville had two guests present at the meeting on 14 April, a Monsieur Potemkin and
Baron Lello, a Bavarian minister. At the meeting on 28 April, Granville brought as his guests
a Reverend Mr. Finch and the Count d'Aglie, minister and envoy of the king of Sardinia.
Collectors and curiosities: Paris and Venice
- K Examples In
- Pomian
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For autopsia as a principle of education in eighteenth-century Germany, see N. Hopwood, Haeckel's embryos: images, evolution and fraud
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Introduction: observation observed
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Visualisation and cognition: drawing things together', in Knowledge and society: studies in the sociology of culture past and present
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For the use of Blumenbach's work in later race science, see R. Bhopal, 'The beautiful skull and Blumenbach's errors'
- J F Blumenbach
J. F. Blumenbach, 'Observations on some
Egyptian mummies opened in London', Phil. Trans. R. Soc. Lond. 84, 177-195 (1794). For
the use of Blumenbach's work in later race science, see R. Bhopal, 'The beautiful skull and
Blumenbach's errors', Br. Med. J. 335, 1308 -1309 (2007);
For the eighteenth-century reception of Winckelmann's work, see K. Harloe, Winckelmann and the invention of antiquity: history and aesthetics in the age of Altertumswissenschaft
- W R Shea
W. R. Shea, 'The rhetoric of experiments and scientific illustrations in the Enlightenment', in
Science and the visual image in the Enlightenment (ed. W. R. Shea), pp. 53-55 (Science
History Publications, Canton, MA, 2000). For the eighteenth-century reception of
Winckelmann's work, see K. Harloe, Winckelmann and the invention of antiquity: history and
aesthetics in the age of Altertumswissenschaft (Oxford University Press, 2013), pp. 103-130.
The Royal Academy of Arts: a complete dictionary of contributors and their work from its foundation in 1769 to 1904
- A Graves
A. Graves, The Royal Academy of Arts: a complete dictionary of contributors and their work
from its foundation in 1769 to 1904 (Royal Academy, London, 1905), p. 110.
West Farleigh, 1992); idem, The Whatmans and wove (velin) paper: its invention and development in the West
- J N Balston
- The Elder
- James Whatman
J. N. Balston, The elder James Whatman, England's greatest papermaker (2 volumes) (J. N.
Balston, West Farleigh, 1992); idem, The Whatmans and wove (velin) paper: its invention and
development in the West (J. N. Balston, West Farleigh, 1998). For a Whatman watermark of
the same period as in the Perry drawing, see the National Gallery of Australia, 'Whistler's
watermarks: Whatman watermarks', http://nga.gov.au/Conservation/Watermarks/details/
Whatman.cfm (accessed 22 November 2015).