Examines the variety of instruments and equipment used in scientific research in fields such as chemistry, mechanics, meteorology, and electricity

At the start of the Industrial Revolution, it appeared that most scientific instruments were made and sold in London, but by the time of the Great Exhibition in 1851, a number of provincial firms had the self-confidence to exhibit their products in London to an international audience. How had this change come about, and why? This book looks at the four main, and two lesser, English centres known for instrument production outside the capital: Birmingham, Liverpool, Manchester and Sheffield, along with the older population centres in Bristol and York. Making wide use of new sources, Dr Morrison-Low, curator of history of science at the National Museums of Scotland, charts the growth of these centres and provides a characterisation of their products. New information is provided on aspects of the trade, especially marketing techniques, sources of materials, tools and customer relationships. From contemporary evidence, she argues that the principal output of the provincial trade (with some notable exceptions) must have been into the London marketplace, anonymously, and at the cheaper end of the market. She also discusses the structure and organization of the provincial trade, and looks at the impact of new technology imported from other closely-allied trades. By virtue of its approach and subject matter the book considers aspects of economic and business history, gender and the family, the history of science and technology, material culture, and patterns of migration. It contains a myriad of stories of families and firms, of entrepreneurs and customers, and of organizations and arms of government. In bringing together this wide range of interests, Dr Morrison-Low enables us to appreciate how central the making, selling and distribution of scientific instruments was for the Industrial Revolution.

The need for decolonizing mismanagement practices in galleries, libraries, archives, and museums, of First Nations peoples’ materials and knowledge has been widely recognised. Authors from Indigenous and non-Indigenous backgrounds powerfully challenge entrenched assumptions of knowledge capture and dissemination of the western academy.

In the 400 years of its modern history the Netherlands has produced a distinguished array of eminent mathematicians, scientists and medical researchers including many Nobel-prize winners and other internationally recognised figures, from Stevin, Snel, and Huygens in the 17th century to Lorentz, Kammerlingh Onnes, Buys Ballot, De Vries, de Sitter, and Oort in the 19th and 20th centuries. Yet it has often been noted that the history of science in the Netherlands is underepresented in the international literature. The handbook A History of Science in The Netherlands aims to correct this situation by providing a chronological and thematic survey of the field from the 16th century to the present, essays on selected aspects of science in the Netherlands, and reference biographies of about 65 important Dutch scientists. Written by more than 10 experts from Europe and North America, the handbook is the standard English-language reference work for the field.

Originally developed in 1993 for an auction of an Architect's private collection of over 1,500 drawing instruments and calculators; this extensive book is one of a few comprehensive references available for comparative study of these instruments. The original collection was assembled over a twelve year period from sources in the US and Europe. Each instrument is listed in a scientific format for comparative evaluation and identification. An abbreviations table supports this approach. Profusely illustrated with 113 color photos and 61 highly organized text pages. The Subject Index has over 400 individual references dissecting this impressive collective of instruments from the 18th C. thru the mid 20th century. Instruments are categorized by Maker, Country, Period of Manufacture and function. Different instrument makers and suppliers are referenced to over 300 individual items. The four page Table of Contents provides a logical and extremely useful subjective summary of the catalog contents so that whatever the instrument or drawing tool, its location can be easily found. The photographs were taken with the idea of showing these important instruments in a comparative array. Researchers and collectors will find this a valuable resource. These instruments represent a most prolific period of time in our history of invention and advancements in technology. Computers are the new tools which demand a new pace of design and documentation.... They leave behind the centuries of drawing instruments that were the connection from the hand to the paper.

By the late nineteenth century, advances in medical knowledge, technology and pharmaceuticals led to the development of a thriving commercial industry. The medical trade catalogue became one of the most important means of promoting the latest tools and techniques to practitioners. Drawing on over 400 catalogues produced between 1870 and 1914, Jones presents a study of the changing nature of medical professionalism. She examines the use of the catalogue in connecting the previously separate worlds of medicine and commerce and discusses its importance to the study of print history more widely.

Sextants at Greenwich consists of two main sections: The introductory chapters and the catalogue of navigating instruments of the National Maritime Museum. The first section gives a general overview of the history of celestial navigation with an emphasis on the instruments that were developed and used for that purpose, between about 1450 and the 1970s. The instruments in the catalogue form the main thread in these chapters. The catalogue consists of 347 entries of instruments for celestial navigation, the octants, sextants and related instruments preserved in the National Maritime Museum. Each entry includes the place of the object's origin, its maker, the object's date, inscriptions (by the maker and/or relating to an owner), the graduated scale, the instrument's dimensions and a general description that includes details such as used materials and detached parts. Finally the object's provenance (previous owners and/or users) and references to literature on its history and handling are given.

Rudolph Koenig was one of the more prolific and colourful instrument makers in the renowned nineteenth-century precision instrument trade of Paris. Beginning his career as a violin maker, in 1858 the young Prussian immigrant shifted his talents towards the growing field of acoustics. Altered Sensations is a portrait of his vibrant atelier, a place of construction, commerce and experiment. For over forty years it was also a popular meeting place for scientists, artisans, musicians and teachers. Using archival and collection research from across North American and Europe, David Pantalony has traced the material and social influences of this space on the development of modern acoustics. In particular, he has detailed the manner in which Koenig modified, extended, spread and challenged Hermann von Helmholtz's Sensations of Tone. A large part of the research on Koenig comes from the actual products of his workshop which survive in museums and collections around the world. The second section of Altered Sensations provides a Catalogue Raisonné of Koenig’s entire line of instruments, including their history, details from specific examples, locations, and references in the literature. This catalogue will serve as a practical guide for curators and researchers as well as a comprehensive overview of nineteenth-century acoustical practice.