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Nature's Spectacles: Ornament, Performance, and Natural History In Nature’s Spectacles: Ornament, Performance, and Natural History in the Long Eighteenth Century By Killian Colm Quigley Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in English August, 2016 Nashville, Tennessee Approved: Jonathan Lamb, D.Phil. Bridget Orr, Ph.D. Dahlia Porter, Ph.D. Humberto Garcia, Ph.D. Iain McCalman, Ph.D. To my noble parents, to my sisters, to all my Quigley and O’Sullivan kin, and especially To the memory of Dr. Fionnuala Quigley, Ballineen ii ACKNOWLEDGEMENTS Dr. Jonathan Lamb, who has chaired my dissertation committee, is a living exemplum of exquisiteness in thinking and magnanimity in living. Or perhaps the parts of that construction should be interchanged – they certainly could be, with no breach of fitness. To work under Dr. Lamb’s tutelage has been to strive in a great and ever-expanding atmosphere of luminous enthusiasm and pellucid insight. I am surely only one among a multitude of students and colleagues to have benefited from Dr. Lamb’s professional and personal generosity. I would nonetheless testify vehemently to its power. Since arriving at Vanderbilt, I have been the beneficiary of Dr. Bridget Orr’s mentorship, in the classroom, in my dissertation committee, in my pursuing grants and fellowships, and so on. Dr. Orr’s work, and her feedback for this dissertation, reflect her occupying that miraculous space which reconciles exacting scholarship to an ingenious sense of art. Dr. Humberto Garcia not only made pivotal contributions to the project in its early stages, but helped me understand how critical work interacts with the forces of aesthetics and narrative. Whatever of this dissertation is framed picturesquely owes its conception, in significant part, to him. At various crucial junctures in my eighteenth-century world, I’ve learned and been otherwise improved by Dr. Dahlia Porter. I would have been sufficiently fortunate to have had my own analyses – of natural history, of illustration, and of Romanticism, for starters – corrected and enhanced by her critiques. Her friendship and advocacy within the profession have provided a model for how to pay forward the encouragement of those we admire. And admiration and gratitude are the least of the sentiments owed to Dr. Iain McCalman, who was instrumental in broadening this book’s scope, literally and imaginatively speaking. His prolificacy and sincerity set standards which I aim to honor, now and in the future. iii TABLE OF CONTENTS Page DEDICATION………………………………………………………………………………….....ii ACKNOWLEDGEMENTS………………………………………………………………………iii LIST OF FIGURES……………………………………………………………………………….v Chapter Introduction: Spectacle’s Atmosphere……………………………………………...……………..1 Spectacular/Sublime..…………………………………………………...……………………..7 Chaos, Chances, and Commodity Culture………………………………...………………….14 Performing Nature…………………………………………………………...……………….22 Science and Empire…………………………………………………………..………………29 Natures and Humanities………………………………………………………..…………….36 Scenes…………………………………………………………………………..…………….41 1. Bogs and the Skeletons of Ireland: Elephants, Moose, and New Worlds……………………..49 Bone-Picking……...…………………………………………………………………………..59 Thinking Bogs, Thinking Ireland……………………...……………………………………...64 Ireland Illuminated……………………………………...…………………………………….70 Boggy Geographies: One Hoof in the New World………...…………………………………78 Staging Boggy Irishness in the Eighteenth Century………...………………………………..84 2. The Porcellaneous Ocean: Nature and Fantasy in the Rococo Undersea……………………..92 Taxonomies of the Rococo……………………………………………………...…………..102 The Rococo Undersea…………………………………………………………………….....116 Rococo Taxonomies………...……………………………………………………………….124 Gifts from the Rococo Tide………………………………...……………………………….131 3. Nature’s Performances: George Edwards at Bartholomew Fair…………………………..…145 Embodiment, Movement, and the Aspects of Evidence………………………………….....149 Nature, Unnaturally Close…………………………………………………………...…...…161 Maintaining Humanness………………………………………………...…………………..170 Performing Natural History………………………………………………………...……….175 4. Picturesque Spectacle: William Gilpin and the Process of Art……………………………....192 iv William Gilpin’s Mallet……...……………………………………………………………...198 Sensing Spectacle…………………………...…………………………………………....….206 Keeping Picturesque Time, Thinking Picturesque Thoughts…………………………….....213 Ludicrous Time…………………………………………………………………...…………226 5. Coda: Spectacular Enhancement and the East……………………………………………….240 Imagining India…...…………………………………………………………………………243 Embroidered Knowledge……………...…………………………………………………….251 REFERENCES…………………………………………………………………………………264 v LIST OF FIGURES Figure Page 1. Allen Mullen’s Elephant…………………………………………………………………54 2. Claude-Augustin Duflos after François Boucher, Rocaille (1730s)……………………..96 3. Louis Desplaces after Juste-Aurèle Meissonnier, Candlestick (1728)…………………105 4. Rococo cartouche (Anonymous, French, 18th c.)……………………………………….113 5. Jean-Baptiste Pigalle, Bénitier (1745)………………………………………………….119 6. Jean-Baptiste Janelle (le Jeune), Medaillonportret van een vrouw (1741)……………..120 7. Table snuffbox (ca. 1745-50)…………………………………………………………...121 8. Capodimonte Porcelain Factory, Ewer and Basin……………………………………...122 9. Rubens after Romano, Perseus Disarming and the Origin of Coral (1592-1640)……..128 10. Juste-Aurèle Meissonnier, Differents Desseins de Salieres (1748)…………………….133 11. Johann Joachim Kändler, A Turkey (c. 1733)…………………………………………..146 12. Brueghel the Elder, The Garden of Eden with the Fall of Man (1613)………………...152 13. Claude, View of La Crescenza (1648-50)………………………………………………152 14. Marcellus Laroon, Clark the English Posture Master………………………………….157 15. George Edwards, “Man of the Woods”………………………………………………...179 16. George Edwards, “The Yellow Water-wagtail, the Walking Leaf, &c”……………….182 17. George Edwards, “St. Jago Monkey”…………………………………………………..185 18. Sayer & Smith, “Mr. Beard in the Character of Hawthorn”……………………………188 19. Gilpin, from Observations on the River Wye…………………………………………...224 20. Miriam Goldstein, “The real Great Pacific Garbage Patch”……………………………239 vi INTRODUCTION SPECTACLE’S ATMOSPHERE The history of the earth is commonly told as a series of extraordinary incidents which, like the erection of new cities over the ruins of ancient settlements, transform life while obscuring what went before. One of these stories, called the Cambrian explosion, describes an astonishing evolutionary forward leap in the complexities and capacities of oceanic animal life, which was, at the time, the only sort of animal life going. The anatomically unsophisticated Ediacarans – blind, and mostly immobile, with bodies like “thin, quilted pillows” – gave way to arthropods and chordates, which sported eyes, mineral skeletons, jaws, gills, and even primitive spinal columns. Microorganisms had entirely covered the shallow ocean floor with a kind of viscid blanket, but now new, efficient consumers exposed and colonized the sea-bottom. The consensus view has held that this “burst” occurred about five hundred and forty-one million years ago, and resulted from an “oxygenation event” which made the oceans about as hospitable to life as they are today. But this narrative is currently under revision: recent research points toward some less momentous and more nuanced array of causes and consequences, such as a very modest uptick in oxygen levels, which prompted the appearance of carnivores, leading in turn to predation, a defensive “evolutionary arms race,” and so on.1 Nowhere is the event style of global history more common than in conversations about mass biotic catastrophe. When commentators describe our being currently involved in the early stages of “the Sixth Extinction,” they perforce invoke the tradition of the “Big Five,” a group of 1 See Douglas Fox, “What sparked the Cambrian explosion?” Nature 530 (18 Feb. 2016): 268-70. 1 ancient cataclysms of sufficient distinction, and sufficient temporal integrity, to merit being narrated as cataclysms. The most disastrous occurred about two hundred and fifty million years ago, as the Permian period drew to a close; “the great dying” was very nearly earth-life’s ultimate cadence. Most of the time, this is not how species death takes place: the normal course of things produces “background extinction,” which is less an event than an ambience (or, in painterly terms, ambiance), to which biological enlargement (speciation) and loss contribute predictably, and sustainably, if not altogether uniformly. Under ordinary circumstances, an alteration in the tableau would be impossible for any human being to observe, without the help of technological mediation: about every seven hundred years, some species of mammal, somewhere on earth, ought to disappear; once per millennium, an amphibian should do the same.2 Observability is often central to the popular reception and comprehension of scientific stories about the world.3 This applies not only to contemporary scenes, or to those phenomena whose visible signs are sought by the persons they are said to immediately impact. It is also a key determinant of the manner – and even the success – with which stories about deep time get made, and get accessed. Why, for instance, is the end of the Cretaceous period, about sixty-five million years past, far better “remembered” than the end-Permian “great dying,” or, for that matter, the Cambrian explosion, the latter of which has recently been described as “the most profound change in the history of life on Earth”4? The Cretaceous extinction is of course the
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