Recent scholarship has suggested that transformist ideas had a wider currency in Edinburgh in the first half of nineteenth century than had previously been acknowledged. The first objective of this study is to delve deeper into the reception of transformist theories there in the years 1790 to 1844. The main figures whose theories on the transmutation of species were discussed in contemporary sources are Carl Linnaeus (1707–1778), George-Louis Leclerc, Conte de Buffon (1707–1788), Erasmus Darwin (1731–1802), Jean-Baptiste Lamarck (1744–1829) and Étienne Geoffroy Saint-Hilaire (1772–1844); this study therefore concentrates on the reception of their work. The principle Edinburgh contexts in which the reception of their theories is explored are the University of Edinburgh, the extra-mural medical schools and the city’s various learned societies and scientific journals, although the opinions of all those in Edinburgh known to have discussed transformism in this period are considered. The sources examined reveal that transformist theories were largely received with interest. Discussion of them was generally confined to scientific, or naturalistic, arguments, except in the cases of some Evangelical natural historians, who rejected them outright on theological grounds. This thesis also explores how some thinkers in Edinburgh went beyond discussing received ideas about transformism and developed their own theories, synthesising the work of earlier thinkers. The most important of these were Robert Edmond Grant (1793– 1874), Robert Jameson (1774–1854), Robert Knox (1791–1862) and Henry H. Cheek (1807–33). This thesis also explores the genesis of the later transformist theory of Robert Chambers (1802–71), the anonymous author of Vestiges of the Natural History of Creation (1844), to establish to what extent he may have been influenced by the earlier transformists of the 1820s and 30s. Events in Edinburgh in the 1820s also had a wider resonance for the history of evolutionary ideas in Britain, as Charles Darwin (1809–1882) was a student at the University of Edinburgh between 1825 and 1827. It has long been suspected that his experiences in Edinburgh had a larger part to play in the development of his theory of evolution than he later cared to admit. Careful to avoid associating himself with the more speculative theories of earlier transformist thinkers, Darwin made little mention of them in his published writings. We already know, however, that Darwin had a close relationship with Grant during his time in Edinburgh and must have been familiar with his transformist ideas. This thesis aims to show to what extent the intellectual environment that Darwin found himself in was suffused with the idea of the transmutation of species. In broad outline, it can be concluded that transformism was much less controversial in Edinburgh in the first half of the nineteenth century than might be supposed from the prevailing historiography and had a significant number of sympathisers and adherents.

The International Exhibition of Industry, Science and Art held in Edinburgh in 1886 was the first universal international exhibition to be staged in Scotland. This thesis examines the event as a reflection of the character and social structure of its host city and as an example of the voluntary organisation of an ambitious project. The background to the Exhibition is located in the progress of large-scale exhibitions in Victorian Britain, in competition between cities, and in Edinburgh’s distinction as an administrative and cultural centre and a national capital. The Exhibition’s organisers are situated within the city’s networks of power and influence and its circles of commerce, industry and municipal government. The space created to host the Exhibition is examined as an ideal depiction of Edinburgh as both a modern and a historic city. The origins of the exhibitors populating the Exhibition space are analysed, and their motivations and exhibiting strategies are scrutinised. The composition of the visitors to the Exhibition is considered and the development of the event as a venue for popular entertainment and spectacular display is discussed. In conclusion the chaotic aftermath of the project is examined, together with its influence on subsequent British exhibitions.