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The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820 Harvard Art Museums
32 Quincy Street
Cambridge, MA
(617) 495-9400
October 18 - December 31, 2017
Recurring daily
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Between 1766 and 1820, Harvard College assembled an extraordinary collection of paintings, portraits, and prints; mineral, plant, and animal specimens; scientific instruments; American Indian artifacts; and relics from the ancient world. These objects were displayed in a set of three rooms adjacent to the college library in Harvard Hall, a large brick building that still stands at the center of campus today. The largest of these spaces, the Philosophy Chamber, was an ornately decorated room named for the discipline of natural philosophy, a cornerstone of the Enlightenment-era curriculum that wove together astronomy, mathematics, physics, and other sciences in an attempt to explain natural objects and physical phenomena. The collection and the chamber played a vital role in teaching and research at Harvard, while also serving as the center of artistic and intellectual life in the greater New England region for over 50 years. Artists, scientists, students, and advocates of American Independence—including George Washington—came to the Philosophy Chamber to discover, discuss, and disseminate new knowledge. Students attended lectures and demonstrations there, and visitors from around the globe flocked to the space to see works by some of the Atlantic World’s greatest artists and artisans, including John Singleton Copley and John Trumbull. While the collection survived the Revolutionary War thanks to a temporary relocation (along with all of Harvard College) to Concord, Massachusetts, in 1775, an expansion of the college library in 1820 ultimately led to the dispersal of the collection to various university departments and local museums. The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820 reunites many of these original objects, showcasing a range of works that have been hidden away for nearly two centuries.

The exhibition features more than 100 works displayed in four thematic sections, including a loose reconstruction of the Philosophy Chamber itself. Included are full-length portraits by John Singleton Copley; exceptional examples of Native Hawaiian feather work and carving by indigenous artists of the Northwest Coast; a dazzling, large-scale orrery (a model of the solar system) by Joseph Pope; mezzotints after the work of expatriate American artists; and Stephen Sewall’s mural-sized copy of Native Americans’ inscriptions on the landmark known as Dighton Rock, an 11-foot boulder located in Berkley, Massachusetts. The objects are drawn from a number of private, academic, and public collections in the United States and the United Kingdom, including from the following collections at Harvard University: the Collection of Historical Scientific Instruments, Harvard Art Museums, the Harvard Map Collection, Harvard University Archives, Houghton Library, the Mineralogical and Geological Museum, the Museum of Comparative Zoology, the Peabody Museum of Archaeology & Ethnology, and the Warren Anatomical Museum.

The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820