On December 13, , a fifty-six-pound meteorite fell from the sky into an English quarry. Since the curious object contained substances commonly found within mines of the British Isles, Sowerby believed the meteorite belonged in a volume primarily devoted to more mundane earthbound subjects, such as table salt and oxygenized carbon.
Comprised of more than four hundred vividly hand-colored engravings of various rocks, minerals, and compounds, British Mineralogy saw the Royal Academy-trained illustrator depart from his focus on botany toward non-living specimens.
By referencing these dueling ideologies, which argued that the Earth was born either out of fiery eruption or biblical deluge, Sowerby positioned his work at the center of a debate that held enormous stakes far beyond the realm of geology. Taylor and Co. Catastrophism — the idea that the origins of Earth and the transmutation of species have been shaped by sudden, often violent events — dominated early-nineteenth century scientific debates about evolution and extinction.
Embraced, by some, as a way of reconciling biblical beginnings with increasingly common discoveries of fossilized bones that pointed to a decidedly non-Christian view of the world, the set of layered theories attempted to integrate mass extinction with ongoing transmutation.
Seemingly circumspect in his own beliefs, Sowerby gestured towards, while never fully engaging with, profound conversations between science and religion. Despite his scientific leanings, James Sowerby was first and foremost an artist. From his intricately detailed accounts of fungi and shells to his A New Elucidation of Colour Theory dedicated to none other than Isaac Newton , the naturalist was concerned with translating three-dimensional, colorful, and sometimes ephemeral objects to the flat surface of the page.
