The science of geology was constructed in the decades around 1800 from earlier practices that had been significantly different in their cognitive goals. In the studies collected here Martin Rudwick traces how it came to be recognised as a new kind of natural science, because it was constituted around the idea that the natural world had its own history. The earth had to be understood not only in relation to unchanging natural laws that could be observed in action in the present, but also in terms of a pre-human past that could be reliably known, even if not directly observable and its traces only fragmentarily preserved. In contrast to this radically novel sense of nature's own contingent history, the earth's unimaginably vast timescale was already taken for granted by many naturalists (though not yet by the wider public), and the concurrent development of biblical scholarship precluded any significant sense of conflict with religious tradition. A companion volume, Lyell and Darwin, Geologists: Studies in the Earth Sciences in the Age of Reform, was published in 2005.

English art critic John Ruskin was one of the great visionaries of his time, and his influential books and letters on the power of art challenged the foundations of Victorian life. He loved looking. Sometimes it informed the things he wrote, but often it provided access to the many topographical and cultural topics he explored—rocks, plants, birds, Turner, Venice, the Alps. In The Art of Ruskin and the Spirit of Place, John Dixon Hunt focuses for the first time on what Ruskin drew, rather than wrote, offering a new perspective on Ruskin’s visual imagination. Through analysis of more than 150 drawings and sketches, many reproduced here, he shows how Ruskin’s art shaped his writings, his thoughts, and his sense of place.