Fig 7 - uploaded by Nina Morgan
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Geological sketch map and cross-section across the Malvern Hills (adapted, with the permission of English Nature, from the geological map in Malvern Hills: A Student's Guide to the Geology of the Malverns by Bullard & Morris 1989).
Source publication
In the late summer of 1842, Anne Phillips, working under her brother's instructions, found the crucial piece of evidence - known thereafter as Miss Phillips' conglomerate - that disproved Murchison's theories about the intrusive origin of the Malvern Hills. Later she travelled with her brother to examine the volcanics of the Auvergne. But these wer...
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Citations
It has long been established that many women were interested participants in the earth sciences in the first half of the nineteenth century. Until now, much of the scholarship has focused on the figure of the “geological wife” (or daughter or sister), whose skills in languages, drawing, and fossil collecting often provided invaluable assistance to their husbands. But since they are viewed as helpmates, or assistants, these women’s stories have mostly been told through the lens of the careers of their male family members, and they only rarely have been considered to have played any creative role in the research. This essay reconsiders that scholarship by looking at the work of Charlotte Murchison (née Hugonin). Re-evaluating Charlotte’s work, the essay demonstrates the key role her fossil collection and illustrations played in the development of key theoretical ideas (including Charles Lyell’s uniformitarianism) in the 1820s, and that the significance of her work was a key factor in pushing for women’s access to academic geological lectures in the 1830s. Charlotte’s story – told on its own terms – exposes the limitations of viewing women’s participation as familial assistance. It enables us to see how this paradigm has obfuscated our understanding of women’s intellectual autonomy, and of their significant, independent research achievements.
Women as amanuenses have played an important role in early British geology. Among their varied tasks often was the sketching and drawing of fossils, landscape and outcrops.
Such drawings served several purposes. They were used to give an idea of landscape and outcrops in publications or to figure new species in palaeontological papers, but they also served as proxies for individual fossils in dialogues conducted by means of letters. Mary Anning used them to advertise new finds to potential buyers, while Mary Buckland painted huge displays to be used in her husband's lectures. Drawing was part of the education of ‘accomplished’ British women in the early nineteenth century. Like music, embroidery and dancing, drawing was often taught in special schools or academies, sometimes by quite competent artists. Other women, however, such as Mrs Mantell, were self-taught or had to familiarise themselves with new techniques, learning to do line engravings and how to make lithographs in order to illustrate her husband's books more cheaply.
In Germany or France, by comparison, the ability to draw was less central to girls' education, who in Germany at least were expected instead to excel in cooking, knitting and other household duties. But even there, an amateur palaeontologist might fall back on the assistance of his daughter, when he needed someone to illustrate his letters with drawings of specimens.
