Imagine barnacle geese—creatures that begin life as leaves on a tree growing above water, but turn into small birds as soon as they fall in. Or the Lamb of Tartary that gestates inside a large gourd-like fruit. These are just some of the animal and plant hybrids imagined by early modern explorers and artists to describe unfamiliar flora and fauna.
In Before Disenchantment, Peter Mason explores how naturalists grappled with the problem of representing exotic plants and animals, turning an analytic eye on the sketches of German adventurer Caspar Schmalkalden, the skilled artistic renderings of Peter Paul Rubens, the observations of Dutch beachcomber Adriaen Coenen, and the antiquarian pursuits of Nicola Fabri de Peiresc, among others.
Featuring one hundred illustrations of these unusual and captivating creatures—from camel-sheep to races of monopods and red-haired dwarves—Before Disenchantment goes beyond orthodox histories of scientific illustration and champions a sense of wonder often lost in the modern world.
One animal left India in 1515, caged in the hold of a Portuguese ship, and sailed around Africa to Lisbon—the first of its species to see Europe for more than a thousand years. The other crossed the Atlantic from South America to Madrid in 1789, its huge fossilized bones packed in crates, its species unknown. How did Europeans three centuries apart respond to these two mysterious beasts—a rhinoceros, known only from ancient texts, and a nameless monster? As Juan Pimentel explains, the reactions reflect deep intellectual changes but also the enduring power of image and imagination to shape our understanding of the natural world.
We know the rhinoceros today as “Dürer’s Rhinoceros,” after the German artist’s iconic woodcut. His portrait was inaccurate—Dürer never saw the beast and relied on conjecture, aided by a sketch from Lisbon. But the influence of his extraordinary work reflected a steady move away from ancient authority to the dissemination in print of new ideas and images. By the time the megatherium arrived in Spain, that movement had transformed science. When published drawings found their way to Paris, the great zoologist Georges Cuvier correctly deduced that the massive bones must have belonged to an extinct giant sloth. It was a pivotal moment in the discovery of the prehistoric world.
The Rhinoceros and the Megatherium offers a penetrating account of two remarkable episodes in the cultural history of science and is itself a vivid example of the scientific imagination at work.
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