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Scinece and Stupidity, 1876. Artist: Joseph Swain
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Scinece and Stupidity, 1876. Artist: Joseph Swain
Scinece and Stupidity, 1876. The policeman, clutching his Vivisection Bill, tries to move on the group of medical professors using a microscope to look at the results of their latest work. The frog, staring at the chloroform bottle, looks apprehensive, as well he might. This cartoon relates to the Bill introduced by Richard Cross, the Conservative Home Secretary. The Cruelty to Animals Bill was intended to restrict vivisection after a Royal Commissions report had highlighted cases of wanton cruelty to animals. The Bill was ultimately passed, but many believed that it would hinder important scientific research. This is probably the view of Punch because, when the journal supports the police, or presents a positive image of the force, it usually labels the representative officer as Policeman A1, a label conspicuous by its absence in this cartoon. From Punch, or the London Charivari, July 29, 1876
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Media ID 14831333
© The Print Collector / Heritage-Images
Amphibian Bottle Bottles Chloroform Cruelty Frog Helmet Heritage Image Partnership John Tenniel Joseph Swain Laboratory Laboratory Equipment Magnifying Glass Medical Microscope Policeman Professor Sideboards Sideburns Sir John Tenniel Swain Tenniel Test Vessel Vivisection
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EDITORS COMMENTS
The print titled "Science and Stupidity, 1876" captures a satirical scene depicting the clash between scientific progress and ethical concerns. Created by Joseph Swain and John Tenniel, this cartoon reflects the controversy surrounding the Cruelty to Animals Bill introduced by Richard Cross, the Conservative Home Secretary. In the image, a determined policeman clutches his Vivisection Bill as he confronts a group of medical professors engrossed in their latest work. Using a microscope to examine their findings, these scientists are met with skepticism from both society and an apprehensive frog nearby. The frog's gaze fixates on a bottle of chloroform, symbolizing its fear of becoming another victim of cruel experimentation. Punch magazine likely shares this perspective since it usually supports law enforcement but refrains from labeling the representative officer as Policeman A1 in this particular cartoon. This suggests that Punch sympathizes with those who believe that restricting vivisection through legislation may hinder important scientific advancements. This engraving serves as a reminder of the ongoing debate between animal welfare and scientific progress during the 19th century. It highlights how societal attitudes towards animal cruelty were evolving at that time while acknowledging concerns about potentially impeding crucial research efforts. Through its monochromatic black-and-white composition, this heritage image partnership piece conveys not only historical significance but also captures the essence of satire prevalent in political cartoons from that era.
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