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Meanwhile, experimental work taking place during this period in physiology and psychophysiology, particularly in the fields of muscular exertion and response to external stimuli, had started to configure the human body as a kind of engine or motor, capable of harnessing energy for productive work but also prone to fatigue. In the same period, there was widespread discussion in artistic circles about the role of physiology in the response of human beings to aesthetic experiences, notably manifested in the concept of physiological aesthetics. The research of the Italian scientist Angelo Mosso, whose work on fatigue was published as La Fatica in 1891, was particularly important and had obvious relevance to the activity of mountain climbing.13 Even before that, however, there had been a growing body of research on the nature of human responses to tiredness, pain, and external stimuli, building on the work of Ernst Heinrich Weber in Leipzig in the 1820s. Weber had carried out work on tactile stimuli that laid the foundations for the development later in the century of instruments to measure human reactions to such stimuli, in the form of the polygraph, the electrocardiograph, the mercury thermometer, and the myograph.14 In Britain, which lagged behind Continental Europe in this field, the first specialist physiological laboratories were established in the late 1860s, and the Physiological Society was founded in 1876.15 2b1af7f3a8