Although the University of Leeds has attained something of a reputation for the quality of its scholarship in the history of science, few historians are aware of the impressive collection of early scientific and medical books and manuscripts to be found in the University libraries. In order to make the library resources more widely known, we embarked on a systematic survey of the contents of the main historical collections. We wanted not only to give a general impression of the particular strengths and distinctive features of each collection, but also to mention the interesting or rare copies of individual works to be found in them. We have, therefore, examined every book related to the history of science and medicine in the relevant collections, and in doing so we have uncovered a number of important items. For example, we have identified a book which was once in Newton's library, and a previously unrecorded copy of Joseph Black's chemical lectures. More generally, we had not suspected the true size and range of the Chaston Chapman Collection, which makes it a valuable resource for the history of alchemy and early chemistry; nor were we initially aware of the strength of the Historical Collection of the Medical and Dental Library. The wealth of the legacies to (and the discrimination shown in recent purchases for) the Brotherton and Special Collections also impressed us.

In recent years John Herapath has emerged as an important figure in the early history of the dynamical theory of gases. In a series of papers published in 1821 and 1822 he outlined an elaborate theory of the states of matter, specific and latent heats, vapours and gases, culminating in a theory of the gravitational ether. This work was based on the rejection of the caloric theory of heat and was founded instead on the idea that the particles of matter were in constant motion; the forces of caloric were replaced by the transfer of momentum. Herapath's is one of the earliest of dynamical theories of gases to be worked out in any mathematical detail.

The paper covers a period of little more than two years in the early history of the Royal Institution, but it is the period in which the house in Albemarle Street was purchased and Count Rumford devoted all his energies to establishing in it the Institution he had conceived. The house was enlarged and adapted to its new purpose; at first a temporary and later the well-known lecture theatre were built. The first Resident Professor and lecturer in the new theatre was Thomas Garnett, whose brief and unhappy connection with the Royal Institution is recorded.

The Sierra de Atapuerca in northern Spain is ranked among the most important excavation sites in human origins research worldwide. The project boasts not only spectacular hominid fossils, among them the ‘oldest European’, but also a fully fledged ‘popularization industry’. This article interprets this multimedia industry as a generator of different narratives about the researchers as well as about the prehistoric hominids of Atapuerca. It focuses on the popular works of the three co-directors of the project. Juan Luis Arsuaga, José María Bermúdez de Castro and Eudald Carbonell make deliberate use of a variety of narrative devices, resonant cultural references and strategies of scientific self-commodification. All three, in different ways, use the history of science and of their own research project to mark their place in the field of human origins research, drawing on mythical elements to tell the story of the rise of a humble Spanish team overcoming all odds to achieve universal acclaim. Furthermore, the co-directors make skilful use of palaeofiction – that of Björn Kurtén and Jean Auel, as well as writing their own – in order to tell gripping stories about compassion and solidarity in human prehistory. This mixture of nationalist and universalist narratives invites the Spanish audience to identify not just with ‘their ancestors’ but also with the scientists, as objects and subjects of research become conflated through popularization.

In this paper, I discuss the development and use of images employed by the Dresden Royal Museum for Zoology, Anthropology and Ethnography to resolve debates about how to use visual representation as a means of making ethnographic knowledge. Through experimentation with techniques of visual representation, the founding director, A.B. Meyer (1840–1911), proposed a historical, non-essentialist approach to understanding racial and cultural difference. Director Meyer's approach was inspired by the new knowledge he had gained through field research in Asia-Pacific as well as new forms of imaging that made highly detailed representations of objects possible. Through a combination of various techniques, he developed new visual methods that emphasized intimate familiarity with variations within any one ethnic group, from skull shape to material ornamentation, as integral to the new disciplines of physical and cultural anthropology. It is well known that photographs were a favoured form of visual documentation among the anthropological and ethnographic sciences at the fin de siècle. However, in the scholarly journals of the Dresden museum, photographs, drawings, tables and etchings were frequently displayed alongside one another. Meyer sought to train the reader's eye through organized arrangements that represented objects from multiple angles and at various levels of magnification. Focusing on chimpanzees, skulls and kettledrums from Asia-Pacific, I track the development of new modes of making and reading images, from zoology and physical anthropology to ethnography, to demonstrate how the museum visually historicized humankind.