The Greenough stereomicroscope, or “Stemi” as it is colloquially known among microscopists, is a stereoscopic binocular instrument yielding three-dimensional depth perception when working with larger microscopic specimens. It has become ubiquitous in laboratory practice since its introduction by the unknown scientist Horatio Saltonstall Greenough in 1892. However, because it enabled new experimental practices rather than new knowledge, it has largely eluded historical and epistemological investigation, even though its design, production, and reception in the scientific community was inextricably connected to the (...) new epistemological ideals of the life sciences caught between natural history and modern science. The development of the microscope will be contextualized within the scientific and technological landscape, showing how Greenough navigated his way through this terrain, and what led him to sow the seeds for the stereoscopic microscope. The historical controversy over the optical mechanism, through which the instrument would generate the desired depth perception, and how this quality was embedded into laboratory practice, will be examined. Subsequently, it will become evident that the specific image of nature produced by the stereoscopic microscope corresponded to the new ideals of the life sciences and their representation. (shrink)

This paper addresses the visual culture of late-19th-century experimental physiology. Taking the case of Johann Nepomuk Czermak (1828-1873) as a key example, it argues that images played a crucial role in acquiring experimental physiological skills. Czermak, Emil Du Bois-Reymond (1818-1896) and other late-19th-century physiologists sought to present the achievements and perspective of their discipline by way of "immediate visual perception (unmittelbare Anschauung)." However, the images they produced and presented for this purpose were strongly mediated. By means of specifically designed instruments, (...) such as the "cardioscope," the "contraction telegraph," and the "frog pistol," and of specifically constructed rooms, so-called "spectatoriums," physiologists trained and controlled the perception of their students before allowing them to conduct experiments on their own. Studying the material culture of physiological image production reveals that technological resources such as telegraphy, photography, and even railways contributed to making physiological facts anschaulich. At the same time, it shows that the more traditional image techniques of anatomy played an important role in physiological lecture halls, especially when it came to displaying the details of vivisection experiments to the public. Thus, the images of late 19th century physiology stood half-way between machines and organisms, between books and instruments. (shrink)

The Human Embryology Collection at the Centre of Anatomy Göttingen, created between 1942 and 1970, represents a unique interrelation of histological sectional series of human embryos and large-format physical models open to the public based on them. The collection was established long after the heyday of human embryology. It is also remarkable in another aspect: while usually models within the discipline are considered research objects, Göttingen embryologist Erich Blechschmidt (1904–1992) based his understanding on a pedagogical impetus. The article highlights the (...) distinctive and unconventional features of Blechschmidt’s undertaking against its disciplinary background. My focus lies on the two practices that are central to human embryology—collecting and modelling—, as well as the derived collection stocks. The special tension between individuality and universality that already characterized the process of their creation is also reflected in the later use of the collection. This tension allowed Blechschmidt to utilize the models in embryological research and anatomical teaching as well as in the broad social debate on abortion and the ethical status of human embryos. (shrink)

I argue here that Goethe's "delicate empiricism" is not an alternative approach to science, but an approach that scientists use consistently, though they usually do not label it as such. I further contend that Goethe's views are relevant to today's science, specifically to work on the structure of macromolecules such as proteins. Using the work of Agnes Arber, a botanist and philosopher of science, I will show how her writings help to relate Goethe's work to present-day issues of cognition and (...) perception. (shrink)

Agnes Arber (1879-1960) was a British botanist who was a leading plant morphologist during the first half of the 20th century. She also wrote on the history and philosophy of botany. I argue in this article that her philosophical work on form and on how the work of the mind and the eye relate to each other in morphological research are relevant to the science of today. Arber's unusual blend of interests - in botany, history, philosophy, and art - put (...) her in a unique position to examine issues of form. Even her unorthodox ideas on evolution can now be seen as fitting in well with discussions of natural selection as the predominant engine of evolutionary change. Arber's views also throw light on present work dealing with developmental plant genetics and with the study of protein form. I will further argue that her marginal position relative to institutional science, while it may have left her vulnerable to criticism, also made possible her deep philosophical reflections on morphology. (shrink)

At the end of the nineteenth century, approaches from experimental physiology made inroads into embryological research. A new generation of embryologists felt urged to study the mechanisms of organ formation. This new program, most prominently defended by Wilhelm Roux, was called Entwicklungsmechanik. Named variously as “causal embryology”, “physiological embryology” or “developmental mechanics”, it catalyzed the movement of embryology from a descriptive science to one exploring causal mechanisms. This article examines the specific scientific and epistemological meaning of the mechanistic approaches of (...) embryological development by focusing on Wilhelm His’ histogenetic work. Roux was neither the first, nor the only one to argue for an experimental exploration of causes in embryology. At the time of Roux, physiological explanations of the genesis of the anatomical forms were developing in parallel, not only in German-speaking countries, but in France, Switzerland and English-speaking countries as well. The experimental approach and the cellular descriptions of embryogenesis were already omni-present when Roux proposed his Entwicklungsmechanik. However, these approaches remained disjointed. It appears that it was Wilhelm His who first succeeded in combining the question of the causal factors determining epigenesis, which was closely connected with experimentation on, and cellular descriptions of, development, in a coherent and concrete synthesis, making him one of the true initiators of the developmental mechanics. (shrink)

In historical literature, Edouard van Beneden (1846–1910) is mostly remembered for his cytological discoveries. Less well known, however, is that he also introduced evolutionary morphology – and indeed evolutionary theory as such – in the Belgian academic world. The introduction of this research programme cannot be understood without taking both the international and the national context into account. It was clearly the German example of the Jena University that inspired van Beneden in his research interests. The actual launch of evolutionary (...) morphology at his University of Liège was, however, also connected with the dynamic of Belgian university reforms and the local rationale of creating a research “school.” Thanks to his networks, his mastering of the rhetoric of the “new” biology, his low ideological profile and his capitalising on the new academic élan in late-19th century Belgium, van Beneden managed to turn his programme into a local success from the 1870s onwards. Two decades later, however, the conceptual underpinnings of evolutionary morphology came under attack and the “Van Beneden School” lost much of its vitality. Despite this, van Beneden’s evolutionary morphology was prototypical for the research that was to come. He was one of the first scientific heavyweights in Belgium to turn the university laboratory into a centre of scientific practice and the hub of a research school. (shrink)