Victorian Things

Items

• Budin-Pinard Obstetric Manikin
  This page from J. Clifton Edgar’s “The Manikin in the Teaching of Practical Obstetrics,” published in “The New York Medical Journal” (December 1890), includes illustrations of a Budin-Pinard obstetric manikin, which was used to teach medical students. The illustrations are rendered in black and white and show the manikin with close attention to detail. The manikin represents the torso of a female body, from just above the breasts to a few inches above the knee. Crucial to the manikin’s function are its rubber vulva, anus, and inflated anterior abdominal wall. Whereas the manikin itself is made of wood and propped up with a small peg, the abdominal wall and genital area are made of rubber and appear to be attached to the base of the manikin with bands of adhesive material. The article accompanying the illustration describes the manikin as follows: “the thighs are widely separated for convenience in operating, and the anterior abdominal wall is made of rubber capable of being distended with air, and so arranged on a frame hinged to the upper part of the body, that the whole may be thrown back, thus bringing the abdominal cavity and pelvic inlet into view. The pelvic excavation is so carved as to roughly represent the normal bony pelvis. And one piece of India rubber lines the abdominal and pelvic cavities. And at the pelvic outlet is so moulded and secured to the margin of the inferior strait as to form the vulva, vagina, and perineum” (702).
• Miscarriage Specimens
  A single printed page from the “Transactions of the Michigan State Medical Society for the Year 1896” displays four images of fetal tissue in glass jars, each labelled in a small serifed font. These photographs appear in a medical article by William C. Stevens titled “Partial Abortion; Expulsion of the Amniotic Sack Alone; Three Specimens,” which demonstrates how late-century medical professionals used such specimens. Captions for each image describe the size of the specimens: specimen 1, at the top left-hand corner, is “½ natural size”; specimen 2, at the top right-hand corner, is “2/3 natural size”; specimen 3, at the bottom left-hand corner, is “½ natural size”; specimen 4, at the bottom right-hand corner, is “2/3 natural size.” The details of the specimens are unclear due to the grainy quality of the halftones (a type of mechanical reproduction that allowed photographs to be reproduced as prints).
• William Strang's "The Plough"
  “The Plough” is an extremely large woodcut print, measuring five feet tall by six feet wide and printed from nine separate wood blocks. Created by artist William Strang for schoolrooms, the image is made up of individual black lines forming patterns of light and dark. The central image focuses on two large horses harnessed to a wooden plough that loosens and turns the soil while a farmer follows behind them, holding the plough. The ground is a slightly sloped hill, uneven and rocky with patches of grass, and both the horses and man appear tired. The background is made up of a clouded sky; a rolling landscape of hills, trees, and a cliff; and bundles of straw. The central image is surrounded by an intricate border, featuring a repeating pattern of ribbons, leaves, and fall produce, including squash and pumpkins. Two vertical white lines are visible, marking the boundaries where three sheets of two-foot-wide paper have been joined together to form the final picture.
• William Moon's "Reading for the Blind" Primer
  To a sighted person, this object might appear to be a guide to a foreign but oddly familiar language. It is, instead, an introduction for both blind and sighted users to a tactile script for blind readers created by William Moon. A single sheet of card whose content is shared in both inked and inkless text, the primer has collected creases and weathered brown marks that preserve the touch of those who used it to learn to read. Underneath the bold, black-inked title “Reading for the Blind, by W. Moon, LL.D.” are instructions in small inked print for a sighted assistant, outlining how to teach a blind person to read Moon’s tactile alphabet. Below, an inked version of the roman alphabet is paired with its tactile, raised-print equivalent in Moon’s script. Moving down, we find a reiteration of the pairing of inked and raised-print letters, this version a “Classified Alphabet” that groups letters according to their shape. To the right of this grouping, tactile numerals are grouped as even or odd. Reaching the halfway point of the page, we encounter the Lord’s Prayer presented in Moon’s script. Only the first three of the eleven lines of the prayer are given in both inked and tactile text; the remainder are solely tactile. The lines of the prayer are printed or embossed in two different directions, with lines that read left to right alternating with lines that read right to left.
• Kate Greenaway's Design for Nursery Wallpaper
  This sample of nursery wallpaper features illustrations by the artist Kate Greenaway of children engaged in various seasonal activities. Some of the children pick apples and berries, while others walk in rain or snow. The children are dressed in the style of the Regency period, and, even while at play, their expressions remain stoic. The illustrations are set against a cream-coloured backdrop adorned with pink flowers and bows. Though perhaps faded by time, the pastel colours likely always appeared subdued. The name of the month in which the scene takes place appears under each illustration along with the artist’s initials, “KG,” in smaller print. The text around the border of the wallpaper repeats three phrases: “Reproduced by Special Permission from Drawings by Kate Greenaway,” “English Made 2258,” and, surrounding an image of a crown, “Trade Mark.” The wallpaper sample is currently housed in the Victoria and Albert Museum.