Writing in 1849 from their Admiralty chambers right off of Whitehall, the Lords Commissioners of the Royal Navy issued a simple memorandum to introduce their new Manual of Scientific Enquiry, a mutable collecting reference reworked and reissued six more times over the course of the century. “Their Lordships do not consider it necessary that this Manual should be one of very deep and abstruse research,” they noted, arguing that “its directions should not require the use of nice apparatus and instruments: they should be generally plain, so that men merely of good intelligence and fair acquirement might be able to act upon them; yet, in pointing out objects, and methods of observation and record, they might still serve as a guide to officers of high attainment.” Pointing to what they considered the most important areas of research conducted overseas, the Lords Commissioners tasked fifteen of Britain’s top men of science with writing short, simple, and clear instruction booklets for naval officers, sailors, surgeons, and those elusive “professional collectors” on how and what to observe while safely bringing specimens (living and dead), notes, and records back home.
How does an expert transmit expertise? What genres of scientific writing are available for doing so? Does the choice of genre matter in the long run? In this essay, I approach these questions by comparing two monographs published in the mid 1940s in the field of microbiology. While the works shared a concern with life at its smallest, they were written in different genres. One, entitled L’évolution physiologique: étude des pertes de fonctions chez les microorganismes, was a general survey of research on microbial nutrition.1 The other, called Pure Cultures of Algae: Their Preparation and Maintenance, was a manual of techniques for cultivating microscopic algae in test tubes.2
Historical museum guidebooks mediate an associative network of ideas, writings, artefacts, and people. Piecing together these contingent and ephemeral encounters, and parsing original work from posthumous orders and emendation, is a difficult task that poses a number of questions. What determines how visitors move through museum spaces? Whose voices lead and regulate? Who watches?