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Perspectives on Sight (London: Routledge, 1996); J. Crary, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge, Mass: MIT Press, 1990); R. Hyde, Panoramania! The Art and Entertainment of the ‘All-Embracing’ View (London: Trefoil, 1988); B. Lightman, ‘The visual theology of Victorian popularizers of science: from reverent eye to chemical retina’, Isis, 91 (2000), 651–80; Lightman, Victorian Popularisers of Science (Chicago: University of Chicago Press, 2007); I. R. Morus, Frankenstein’s Children: Electricity, Exhibition, and Experiment in
this be not dissolution, it is something worse than natural decay. It is reason against humanity, thus to lift up the awful veil which would fain hide its weakness. (Wollstonecraft 1976 : 71) Her daughter, Mary Shelley, would go on to write Frankenstein : an early Gothic ghost story, written on the shores of Lake Geneva in the company of the Romantic era poets Byron and Shelley (her future husband). Mary Shelley was in wonderment of the kinds of modern science practised by Galvani and Volta, in their demonstrations of animal and metal-induced ‘electricity