Victorian – More Than A Dodo

The Prince and the Plinths

By Hayleigh Jutson, HOPE Community Engagement Officer & GLAM Community Engagement Assistant and Danielle Czerkaszyn, Librarian and Archivist

With the Queen’s Platinum Jubilee in the air, Hayleigh and Danielle reveal the royal connections that are integrated into the very fabric of the Museum, and reveal the surprising story behind our empty plinths.

Visitors walking around the Main Court of Oxford University Museum of Natural History will find themselves circled by the stony gazes of 19 life-sized stone statues. These sculptures of eminent scientists, philosophers, and engineers include likenesses of Aristotle, Charles Darwin, Galileo, Linnaeus, and Isaac Newton. Alongside these men of science stands a statue of Prince Albert, husband and consort of Queen Victoria. Although now slightly hidden behind the T-rex, Prince Albert’s statue was given pride of place in the main court, a lasting reminder of the Royal family’s contribution to the establishment of the Museum.

Constructed between 1855-1860, the main structure of the Museum of Natural History was built using funds from Oxford University. However, the University only provided enough money to construct the shell of the building. All additional decorations – the stone carvings, pillars, and statues both outside and in – were to be funded by public donations and private subscriptions. To decorate the new building, Oxford’s scientists, along with the architects Deane and Woodward, invited Pre-Raphaelite artists to come up with designs that would represent nature in the fabric of the building.

A key element of the Museum’s decoration involved the commissioning of a series of portrait statues of ‘the great Founders and Improvers of Natural Knowledge.’ These effigies were meant to represent a range of scientific fields of study, and act as inspiration to researchers, students, and other visitors to the Museum. The University came up with a list of six ancient Greek mathematicians and natural philosophers and eleven modern scientists to be included in the Gallery. Funded by private subscription, donors could provide a statue of one of these ‘Founders and Improvers’ for £70 (equivalent to ~£8000 in today’s money).

Prince Albert, a great supporter of the arts and sciences, convinced Queen Victoria to fund the first five statues of modern scientists, costing £350 in total. The first statue that Queen Victoria commissioned and paid for was of the philosopher Sir Francis Bacon — remembered as one of the fathers of the ‘scientific method’. His statue was carved by Pre-Raphaelite sculptor Thomas Woolner. The remaining four statues that Queen Victoria paid for – of Galileo, Isaac Newton, Gottfried Liebnitz, and Hans Christian Ørsted – were to be sculpted by Alexander Munro. However, Munro was only able to complete three of these. After the University of Oxford repeatedly failed to fulfil Munro’s request for a likeness of Ørsted, the statue of the Danish physicist went unfinished. Not wanting to waste the money that had been gifted by Queen Victoria, the Museum decided to arrange for a plaster cast to be made of a pre-existing statue of Ørsted, which was sent over from Denmark in 1855.

It was hoped that Queen Victoria’s generous donation would encourage other wealthy individuals to fund the remaining statues. Initially, the plan worked. However, as time went on, donors began to favour British men of science rather than the University’s original list of international candidates. As a result, funding for many of the statues on the University’s list never materialised, and those plinths remain vacant to this day.

Even if the commissioning of the Museum’s sculptures didn’t go entirely to plan, there is no doubt that Prince Albert made an important contribution to the construction of the Museum. Fittingly, he is also commemorated amongst the Museum’s sculptures. Carved by Thomas Woolner, Albert’s statue sits behind the tail of the T-rex skeleton in the Main Court. It was presented to the Museum by the citizens of Oxford in April 1864, and remains a tribute to a champion of the arts and sciences, and one of the Museum’s earliest and most influential supporters.

Statue of Prince Albert in the Main Court of the Museum

Tales from the Jurassic Coast

Britain’s Jurassic Coast is a famous location for fossil hunters. Dorset’s Lyme Regis in particular was a collecting ground for two very important Victorian palaeontologists – Elizabeth Philpot (1780-1857) and Mary Anning (1799-1847) – and the site yielded some of the earliest specimens of Ichthyosaurs and Plesiosaurs.

Last weekend Channel 4’s Walking Through Time series focused on the Jurassic Coast and featured two members of staff from the Museum, Eliza Howlett and Hilary Ketchum from our Earth Collections. To coincide with the programme, Eliza here delves into the Museum’s Philpot archive to paint a picture of the relationship between Elizabeth Philpot, Mary Anning, and Oxford University’s first Reader in Geology, William Buckland.

Elizabeth Philpot moved to Lyme Regis around 1805 with two of her three sisters, Mary and Margaret, where they soon became involved in fossil collecting and where they remained for life. At this time Lyme-born Mary Anning was still a young girl, but so began an affectionate relationship with the Philpot sisters which transcended any barriers of age, social origins or educational background.

A letter from Elizabeth Philpot to Mary Buckland dated 9 December 1833.

As the Philpots’ fossil collection grew it became known in the geological community. One familiar visitor was William Buckland, whose earliest published reference to the ‘Miss Philpots’ is in his 1829 paper on the pterosaur found at Lyme by Mary Anning.

In one letter to Buckland’s wife, Mary, dated 9 December 1833, Elizabeth Philpot enclosed a sketch of an ichthyosaur head that she had painted using ink from a fossil squid of the same age as the ichthyosaur, 200 million years old; this is pictured at the top of the article. The letter also contained a colourful description of Mary Anning’s escapades:

Yesterday [Mary Anning] had one of her miraculous escapes in going to the beach before sun rise and was nearly killed in passing over the bridge by the wheel of a cart which threw her down and crushed her against the wall. Fortunately the cart was stopped in time to allow of her being extricated from her most perilous situation and happily she is not prevented from pursuing her daily employment.

Next, it sends a reminder to William Buckland, a man well-known for forgetting things:

May I beg you to remind Dr. Buckland that he has borrowed from me some Plesiosaurus vertebre. As it is some time since I will mention that it is a section of a vertebre, one with the process, ten others, and a chain set in a box.

These letters from Elizabeth Philpot are now held by the Museum, along with the Philpot collection of around 400 fossils. Mostly from Lyme Regis, this collection includes more than 40 type specimens, the reference specimen for a new species, which is a remarkable total for any collector. A brief list of people known to have examined the collection is practically a roll call of the key figures in 19th-century palaeontology: William Buckland, William Conybeare, John Lindley and William Hutton, Richard Owen, James Sowerby, and (from Switzerland) Louis Agassiz.

But the collection was also made available to the ordinary people of Lyme, and the handwritten labels by Elizabeth Philpot sometimes included detailed explanations of what these extinct animals would have looked like. Both the letters and the specimens remain deeply evocative today, conjuring up visions of what it must have been like to call on these three remarkable sisters.

Because of the risk of light damage the material is not normally on display, but it can be viewed by appointment. Email library@oum.ox.ac.uk or earth@oum.ox.ac.uk for more information.