In his Natural Theology, the eighteenth-century Anglican theologian William Paley compares a watch with objects in nature, arguing that “every manifestation of design, which existed in the watch, exists in the works of nature…” Charles Darwin read Paley's Natural Theology as a young man and offered natural selection as an alternative, naturalistic explanation of Paley's explanandum: the appearance of design in nature. Many of Paley's successors diverged from him in their approach to the living world. This chapter examines some of (...) these alternative approaches and the extent to which the literature of natural theology had trodden the path between Paley's watchmaker and Darwin's natural selection prior to the publication of the latter's Origin of Species. In particular, it focuses on the Bridgewater Treatises, a series of eight highly popular works published in the 1830s, which illustrate the far-reaching development that took place in natural theology in Britain during the early nineteenth century. (shrink)

When this invaluable account of ‘one of the most successful of all publishers and printers of nineteenth- and twentieth-century science’ was first issued in 1984, it began with a survey of the underdeveloped literature on the history of scientific periodicals, and more generally of science publishing. A decade and a half later, in this considerably expanded second edition— issued to celebrate the bicentenary of the launch of the Philosophical Magazine in 1798—the authors had only a couple of extra titles to (...) add. Since then, a number of important works have addressed this theme, but the field remains wide open.1 Most of the key technicians of print—the publishers, printers, and engravers—who were responsible for the production of scientific books in nineteenth-century Britain are still unknown. Neither has serious attention been devoted to the manner in which such technicians interacted with men of science on a day-to-day basis, or to the impact of their craft skills or trade practices on the development of science. My object in this brief account is to use the example of Richard Taylor, as represented by Brock and Meadows’ pioneering study, to review some of these important issues. (shrink)

The expanding interest in book history over recent years has heralded the coming together of an interdisciplinary research community drawing scholars from a variety of literary, historical and cultural studies. Moreover, with a growing body of literature, the field is becoming increasingly visible on a wider scale, not least through the existence of the Society for the History of Authorship, Readership and Publishing , with its newly founded journal Book History. Within the history of science, however, there remains not a (...) little scepticism concerning the practical value of such an approach. It is often dismissed as an intellectual fad or as an enterprise which is illuminating but ultimately peripheral, rather than being valued as an approach which can offer major new insights within the field. This is no doubt in part because much of the most innovative work in history of science over recent years has been carried out by historians anxious to get away from an earlier overemphasis on printed sources. Eager to correct a profoundly unsocial history of ideas, usually rooted in texts, historians have looked increasingly to both the practices and the material culture of science. In such a context, a renewed focus on the history of books sometimes seems like a retrograde step, especially given the common misidentification of ‘books’ with ‘texts’. On the contrary, however, it is just such a twin emphasis on practices and material culture which also characterizes the new book history. Indeed, to the question ‘what is book history for?’ we might answer that its object is to reintroduce social actors, engaged in a variety of practices with respect to material objects, into a history in which books have too often been understood merely as disembodied texts, the meaning of which is defined by singular, uniquely creative authors, and is transparent to readers. (shrink)