ABSTRACT The very first scientific paper by Eduard Suess (1831–1914) treats the graptolites of Bohemia in the present-day Czech Republic (in the Upper Proterozoic to Middle Devonian “Barrandian” extending between Prague and Plzeň). This paper is accompanied by superb drawings of his observations in which Suess took great care not to insert himself between Nature as he perceived it in the framework of the knowledge of his day and his readers. His only limitation was the one imposed by the size of his study objects. His technological means did not allow him to see what we today consider the “right” picture. Nevertheless, we can see what he saw and interpret it through a modern lens of understanding. In his drawings, Suess exercised what the great German geologist Hans Cloos later called “the art of leaving out.” This meant that in the drawings, the parts not relevant to the discussion are left only in outline, whereas parts he wished to highlight are brought to the fore by careful shading. Even the parts left only in outline are not schematic, however; instead they are careful reconstructions true to Nature as much as the material and his technological aids allowed. This characteristic of Suess’ illustrations is seen also in his later field sketches concerning stratigraphy and structural geology and in his depiction of the large tectonic features of our globe representing a window into his manner of thinking.

ABSTRACT Dinosaur tracks have been illustrated since they were first found. The earliest illustrations depicted dinosaur tracks as the work of mythical beings. With the advent of scientific inquiry into dinosaur tracks in the nineteenth century, natural explanations were sought for the fossil tracks. Illustrations of the period were relatively realistic but were influenced by then-current beliefs and were constrained by the artists’ skills and by what scientists considered salient. In the mid-nineteenth century, the first photographs were used for the scientific study of fossil tracks. Photography eliminated some limitations of artistic talent and showed complete specimens, not just aspects that were deemed salient. The ability to compare and name similar tracks from disparate authors and places became easier. Advances in photography, laser scanning, optical scanning and lidar, and the ability to manipulate images with computers, have enabled the modern synthesis of illustrating dinosaur tracks, which combines many types of images. With each advance and the adoption of newer technologies, the older methods have not been retired. Rather, we have continued to see new uses for old methods and an integration of illustrative styles. For Patrick. Your friendship and your vision will be so deeply missed.

ABSTRACT The concept of biostratigraphy was a significant step in the evolution of geoscience. Alexandre Brongniart (1770–1847) and Georges Cuvier (1769–1832) were key contributors to developing the subdiscipline as they worked to decode the stratigraphy of the Paris Basin in the first decades of the nineteenth century. Their illustrations of fossils, local geologic columns, and a regional geologic map played a decisive role in furthering an understanding of the value of paleontology in the service of illuminating Earth history.

ABSTRACT Our attraction to fossils is almost as old as humans themselves, and the way fossils are represented has changed and evolved with technology and with our knowledge of these organisms. Invertebrates were the first fossils to be represented in books and illustrated according to their original form. The first worldwide illustrations of paleoinvertebrates by recognized authors, such as Christophorus Encelius and Conrad Gessner, considered only their general shape. Over time, paleoillustrations became more accurate and showed the position of organisms when they were alive and as they had appeared when found. Encyclopedic works such as those of the Sowerbys or Joachim Barrande have left an important legacy on fossil invertebrates, summarizing the knowledge of their time. Currently, new discoveries, techniques, and comparison with extant specimens are changing the way in which the same organisms are shown in life position, with previously overlooked taxonomically important elements being displayed using modern techniques. This chapter will cover the history of illustrations, unpublished nineteenth-century author illustrations, examples showing fossil reconstructions, new techniques and their influence on taxonomical work with regard to illustration, and the evolution of paleoinvertebrate illustration.

ABSTRACT In 2017–2018, two fine arts undergraduate students, Todd Rowan and Moesha Wright, conceived and created a mural for the Dunn-Seiler Museum at Mississippi State University, Mississippi, USA, under the supervision of art professor emeritus Brent Funderburk. Students researched, conceptualized, and painted Mississippi Cretaceous Panorama , which interpreted the Late Cretaceous landscape that once surrounded the university and the momentous extinction event that brought the Mesozoic Era to its close. The project necessitated creativity to address several challenges, including funding, space constraints, and a local population with Young Earth views. The completed mural engages museum visitors with a mosasaur, ceratopsian dinosaur, and a meteorite impact—illustrating the local, terminal Mesozoic geologic history in a nonthreatening venue that can improve community geoliteracy.

ABSTRACT Inspired by his late father’s thin section micropaleontology, artist Giles Ford created the Fossilarium, a series of large-scale paintings that investigates the nature of time and space through investigation of the miniature. Ford reflects on the influences of his work and how he developed a visual language inspired by repeating patterns of his father’s microfossil thin sections. The Fossilarium presents abstract landscapes of interwoven time explored through layered images that intertwine the geological, industrial, societal, and personal spectrums. The Fossilarium thereby seeks to create timeless patterns that probe different subject areas from pure aesthetics through the Anthropocene and climate change provocations to more intimate multigenerational explorations of the thread of family history, loss, and the future. Through his paintings, Ford seeks to bring the micropaleontological view to a wider audience by posing questions about the role of industry, fossil fuels, the artist, and climate change.

Fossils have stirred the imagination globally for thousands of years, starting well before they were recognized as the remains of once-living organisms and proxies of former worlds. This volume samples the history of art about fossils and the visual conceptualization of their significance starting with biblical and mythological depictions, extending to renditions of ancient life as it flourished in long-vanished habitats, and on to a modern understanding that fossil art conveys lessons for the betterment of the human condition. The 29 papers and accompanying artwork illustrate how art about fossils has come to be a significant teaching tool not only about evolution of past life, but also about conservation of our planet for the benefit of future generations.

Abstract The appellation ‘Belgian black “marbles”’ usually designates dark fine-grained limestones present in the Paleozoic substrate of south Belgium. They have been extracted mostly in Frasnian (Upper Devonian) and Viséan (Lower Carboniferous) strata, in various different localities (Namur, Dinant, Theux, Basècles, Mazy-Golzinne among others). Nearly devoid of fossils and veins, they take a mirror-like polished finish, with a pure black colour. These limestones were already known during Antiquity but were only intensively exploited from the Middle Ages. Many different uses were made of these stones, for architecture, decoration or sculpture, in religious or civil contexts, following all the successive styles, Romanesque, Gothic, Renaissance, baroque and so on. All these products, architectural, decorative and sculptural, were probably manufactured close to the quarries and were first exported to neighbouring countries (France and the Netherlands), then to all of Europe (Italy, Germany, Denmark, Poland, Baltic states, etc.) and, by the beginning of the nineteenth century, worldwide. They were always considered as high value-added objects, which allowed them to travel great distances from their origin. Thousands of references document the widespread use of these exceptional natural stones. They were employed, among other famous applications, as the black background of the Pietre dure marquetry of Florence. Some other lesser uses were either for musical instruments or lithographic stones. Today only one underground quarry exploits the black ‘marble’, at Golzinne (close to Namur). This prestigious material, with its dark aura, is suitable for recognition as a Global Heritage Stone Resource.

Abstract Soapstone occurs in Finland within Precambrian greenstone belts in the eastern parts of the country. Nunnanlahti and other deposits near Lake Pielinen are the best known and most important of these occurrences. This soft stone is highly workable. Soapstone was one of the most popular ornamental rocks used in architecture of the Jugend (Art Nouveau) style in St Petersburg, Russia, Helsinki, Finland, and in other northern European cities at the end of the nineteenth and into the early twentieth centuries.

Abstract Archibald Geikie was interested in art and produced c. 700 images in various media. Geikie’s drawings and watercolours evolved in relation to the tradition of links between geology and fine art. This tradition is important in considering Geikie’s visual output. His work in the Highlands and Lowlands of Scotland, in England and in France both related to that tradition and responded to differing visual codes of representation in these locations at the time he worked. Specifically, Geikie utilized a Romantic aesthetic while painting in the Scottish Highlands and adopted a more Realist approach in the Lowlands. In France and in England, his visual language can be related to well-established contemporary modes of expression. The significance of these adaptations is discussed.

Abstract Sir Archibald Geikie’s uncle, Walter Geikie (1795–1837), was one of the most remarkable artists working in Edinburgh in the early nineteenth century. During childhood he had contracted a fever that left him unable to hear or speak. Yet this lifelong disability did not prevent him from pursuing an artistic career. He became a prolific and highly-regarded professional artist, and ultimately was elected as a member of the Scottish Academy. Working as a draughtsman, printmaker and painter, Walter Geikie focused on the portrayal of Edinburgh’s poor and working classes, and the depiction of their local environments. His genre studies are full of empathy and wit, while his topographical work is strikingly detailed. Geikie’s scenes of ordinary Scottish life avoided the nineteenth-century tendency towards lofty moralizing or grotesque caricature. Instead, his images of pedlars, fisherfolk, markets and fairgrounds convey a profound sense of honesty. This chapter traces the life and career of Walter Geikie, from the struggles of his early childhood to the extraordinary achievements of his maturity. His distinctive artistic style is discussed and his legacy is analysed.