In late 1839 a Baltimore merchant carefully and deliberately packed a trunk and box for shipment across the Atlantic. The contents of the box—Henry D. Rogers’s geological survey of Pennsylvania, a magnifying glass, a history of mythology, two volumes of Nicholas Nickleby, an instructional guide for painting flowers using watercolors to name but a few items—marked the recipient as a scholar with far-flung interests. Somewhere in the trunk or box, probably packed tightly between the other reading materials on the new garden cemeteries of Baltimore and Philadelphia and Maris Bryant Pierce’s address regarding the future of the Seneca nation, lay a collection of texts on phrenology. The beneficiary of this bounty found much to appreciate when he pried open the containers in January 1840; the work on watercolors in particular was singled out for praise as his “knowledge of the art was very imperfect.”1 The works on phrenology, however, were not particularly useful or compelling. “The premises on which the science is sustained seems to
1839年末，巴尔的摩的一位商人小心翼翼地包装了一个箱子，准备横渡大西洋。盒子里的东西——亨利·d·罗杰斯(henry D. Rogers)对宾夕法尼亚州的地质调查、一个放大镜、一部神话史、两卷尼古拉斯·尼克尔比(Nicholas Nickleby)的著作、一本用水彩画花卉的指导手册，等等——表明收信人是一位兴趣广泛的学者。在衣箱或箱子的某个地方，可能夹在巴尔的摩和费城新花园墓地的阅读材料和玛丽斯·布莱恩特·皮尔斯关于塞内卡民族未来的演讲之间，放着一本关于颅相学的文集。1840年1月，当这位受惠者撬开这些集装箱时，他发现了很多值得欣赏的东西;特别是他的水彩画作品被称赞为“艺术知识非常不完善”。然而，关于颅相学的著作并不是特别有用或引人注目。科学赖以存在的前提似乎
{"title":"Bodies in motion","authors":"Birgit Abels","doi":"10.4324/9780815358718-9","DOIUrl":"https://doi.org/10.4324/9780815358718-9","url":null,"abstract":"In late 1839 a Baltimore merchant carefully and deliberately packed a trunk and box for shipment across the Atlantic. The contents of the box—Henry D. Rogers’s geological survey of Pennsylvania, a magnifying glass, a history of mythology, two volumes of Nicholas Nickleby, an instructional guide for painting flowers using watercolors to name but a few items—marked the recipient as a scholar with far-flung interests. Somewhere in the trunk or box, probably packed tightly between the other reading materials on the new garden cemeteries of Baltimore and Philadelphia and Maris Bryant Pierce’s address regarding the future of the Seneca nation, lay a collection of texts on phrenology. The beneficiary of this bounty found much to appreciate when he pried open the containers in January 1840; the work on watercolors in particular was singled out for praise as his “knowledge of the art was very imperfect.”1 The works on phrenology, however, were not particularly useful or compelling. “The premises on which the science is sustained seems to","PeriodicalId":306598,"journal":{"name":"Music as Atmosphere","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122361103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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