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In South Kensington, C. 1850-1900

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JEWELS OF THE NATURAL HISTORY MUSEUM: GENDERED AESTHETICS IN SOUTH KENSINGTON, C. 1850-1900 PANDORA KATHLEEN CRUISE SYPEREK PH.D. HISTORY OF ART UCL 2 I, PANDORA KATHLEEN CRUISE SYPEREK confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. ______________________________________________ 3 ABSTRACT Several collections of brilliant objects were put on display following the opening of the British Museum (Natural History) in South Kensington in 1881. These objects resemble jewels both in their exquisite lustre and in their hybrid status between nature and culture, science and art. This thesis asks how these jewel-like hybrids – including shiny preserved beetles, iridescent taxidermised hummingbirds, translucent glass jellyfish as well as crystals and minerals themselves – functioned outside of normative gender expectations of Victorian museums and scientific culture. Such displays’ dazzling spectacles refract the linear expectations of earlier natural history taxonomies and confound the narrative of evolutionary habitat dioramas. As such, they challenge the hierarchies underlying both orders and their implications for gender, race and class. Objects on display are compared with relevant cultural phenomena including museum architecture, natural history illustration, literature, commercial display, decorative art and dress, and evaluated in light of issues such as transgressive animal sexualities, the performativity of objects, technologies of visualisation and contemporary aesthetic and evolutionary theory. Feminist theory in the history of science and new materialist philosophy by Donna Haraway, Elizabeth Grosz, Karen Barad and Rosi Braidotti inform analysis into how objects on display complicate nature/culture binaries in the museum of natural history. The aim of this study is to go beyond dichotomised interpretations of the role of gender in science and museology in order to present a more nuanced and at times chaotic picture of sexual relations as reflected in late nineteenth-century scientific and material culture. By considering the spaces in between art and science, natural theology and evolution, taxonomy and naturalism, masculine and feminine, different, sometimes queer, configurations of gender emerge in the displays of the Natural History Museum. 4 CONTENTS ACKNOWLEDGEMENTS 7 LIST OF ILLUSTRATIONS 8 INTRODUCTION 19 Gendering Brilliant Objects in the Natural History Museum Doing Away with Dichotomies The Unnatural History Museum Jewels in South Kensington Repolishing the Archive Men and Women Things and Other Hybrids CHAPTER ONE 51 Monad to Man: Shifting Natural Histories in the Index Museum The Genesis of the Natural History Museum A Cathedral of Nature? A Temple to Aesthetics Owen’s Vision Flower’s Reality Evolutionary Aesthetics CHAPTER TWO 85 Crystal Virtues: Ruskin in the Mineral Gallery An Effete Science Ruskin in the Natural History Museum Mineral Morals Tactile Erotics and Delicious Physics Gendering Ruskin Virtues and Vices Beauty and Function Becoming Mineral CHAPTER THREE 124 No Fancy So Wild: Slippery Gender Models in the Coral Gallery A Gallery of Wonders Gendering the Sea Artists in Scientists’ Clothing Sympathy for the Sponge Radical Social Models Transparent Bodies? Glass Eyes and Other Models of Vision Jewels of the Sea 5 CHAPTER FOUR 163 Feathered Jewels: Gould’s Hummingbirds in the Ornithology Galleries Even a London Sparrow The Art of Taxidermy Feathered Gems A Transcript of Nature The Beauty of Evolution A Novel Species of Jewellery Birds of a Feather A Dandy Subject CHAPTER FIVE 204 A New Paradigm: Metamorphosis and Mimicry in the Insect Gallery A New Display Paradigm Metamorphic Otherness The Enamel of Nature Beetle Jewels and the Femme Fatale The Literary Metamorph The Supernatural and the Insect Gallery Metamorphic Femininity and Art Nouveau CONCLUSION 249 Femme Fatales and Dippy Dinosaurs The Artist’s Natural History Museum Museum Metamorphosis BIBLIOGRAPHY 262 ILLUSTRATIONS 289 6 ACKNOWLEDGEMENTS I would like to thank the Social Sciences and Humanities Research Council of Canada for their continued support, without which this research would not have been possible. Thanks also to the UCL Graduate School for funding research trips and conferences that proved indispensible to my project. I am very grateful to my supervisors for generously sharing their expertise and experience with me over these past few years. Petra Lange-Berndt was as dedicated and knowledgeable a primary supervisor as I could have possibly wished for, striking the ideal balance between supportive and challenging. As my secondary supervisor Tamar Garb contributed her characteristic critical eloquence and conscientiousness. My thanks also go to the many individuals working in collections and archives who took the time to help me, whether through opening up stores, pulling files or simply having conversations with me. At the Natural History Museum Miranda Lowe, Peter Tandy, Joanne Cooper, Malcolm Kerley, Geoff Martin, Daisy Cunynghame and the team at the Library and Archives, as well as Bergit Arends, Martha Fleming and John Holmes were all especially helpful. I am also indebted to Maria Fernanda Passos Leite, Gulbenkian Museum; Susannah Mayor, Smallhythe Place; staff at the Rakow Library; Laura Eldon at the Hull History Centre; the staff at the RIBA Study Rooms; Richard Edgcumbe at the V&A; and the ever-helpful staff at the British Library. Thanks to Tricia Cusack and Emma Chambers for their feedback, Peg Rawes and Alexandra Kim for helpful correspondences and to Sandra Rehme for her help with translation. Love and thanks to my family, Eileen Cruise, Ted Syperek, Victoria Dinnick and Nick Syperek, for all of their long-distance love and support. And to my friends in Canada, the UK and elsewhere, who act as extended family, but take more interest in my work. Having two babies over the course of my PhD added a whole other dimension of difficulty to what is already a challenging process. It would have been impossible were it not for Denis and Dorothy Judd who provided childcare and so much more. Izzy Guerola also gave loving and flexible care for my two sons. Finally, thanks to Ben Judd for his quiet but constant support. And to Ezra and August for their not so quiet but very much constant inspiration. 7 LIST OF ILLUSTRATIONS 1.1 E. Boehm, Charles Darwin, 1885. Marble. Natural History Museum, London. 1.2 ‘Unveiling the Statue of the late Charles Darwin at the Natural History Museum’, The Graphic (20 June 1885). 1.4 Index Museum, Central Hall, Natural History Museum, postcard, c. 1901. NHM Archives. Courtesy of the Trustees of the Natural History Museum (London). 1.3 T. Brock, Richard Owen, 1897. Bronze. Natural History Museum, London. 1.5 Richard Owen, ‘Idea of a Museum of Natural History’, 1859. NHM Archives: DF PLA/2000/1. Courtesy of the Trustees of the Natural History Museum (London). 1.6 Alfred Waterhouse, Natural History Museum, London, 1881. Photographer unknown. NHM Archives. Courtesy of the Trustees of the Natural History Museum (London). 1.7 Alfred Waterhouse, Natural History Museum, central hall, 1881. Photographer unknown. NHM Archives. Courtesy of the Trustees of the Natural History Museum (London). 1.8 Alfred Waterhouse, Designs for the Natural History Museum, here attached to the south side of the Royal Horticultural Society's gardens, perspective from the south-east, c. 1869. PA1952 WATA [71] 6, RIBA Library Drawings Collection. 1.9 Alfred Waterhouse, Designs for the Natural History Museum: elevation of principal entrance and flanking towers of the revised design (detail), c. 1872. PA1950 WATA [71] 16, RIBA Library Drawings Collection. 1.10 Alfred Waterhouse, Natural History Museum, front façade (detail), 1881. 1.11 Alfred Waterhouse, Natural History Museum, architrave, central hall (detail): monkey, 1881. 1.12 Alfred Waterhouse, Natural History Museum, front entrance (detail), 1881. 1.13 Alfred Waterhouse, Natural History Museum, great stairs (detail): ibises, 1881. 1.14 Alfred Waterhouse, Natural History Museum, central hall (detail), 1881. 1.15 Alfred Waterhouse, Natural History Museum, flooring, central hall (detail), 1881. 1.16 Plan of the Natural History Museum, ground floor, in W.H. Flower, A General Guide to the British Museum (Natural History) (London: British Museum (Natural History), 1886). 1.17 Plan of the Natural History Museum, first floor, in W.H. Flower, A General Guide to the British Museum (Natural History) (London: British Museum (Natural History), 1886). 8 1.18 Alfred Waterhouse, Natural History Museum, front façade, east wing (detail): pterodactyl, 1881. 1.19 Alfred Waterhouse, Natural History Museum, front façade, west wing (detail): bald eagle, 1881. 1.20 Alfred Waterhouse, Natural History Museum, front façade, east wing (detail): sabre-toothed cat, 1881. 1.21 Alfred Waterhouse, Natural History Museum, front façade, west wing (detail): lion, 1881. 1.22 Alfred Waterhouse, Natural History Museum, front gable: Adam sculpture, c. 1920. Photographer unknown. NHM Archives. Courtesy of the Trustees of the Natural History Museum (London). 1.23 Alfred Waterhouse, Natural History Museum, architrave, central hall (detail), 1881. 1.24 Alfred Waterhouse, Natural History Museum, front façade, east wing (detail), 1881. 1.25 Kate Greenaway (probably), Winter, 1881-85. Earthenware tile. V&A. 1.26 William Holman Hunt, Sir Richard Owen, 1881. Oil on board, 126 x 105 cm. Courtesy of the Trustees
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