| the igneous nature of granite by finding a multitude of granitic |
| fingers intruding into older sediments. 71 |
| 4.1 | De la Beche's caricature of Lyell as the future Professor Ichthyo- |
| saurus, as reproduced in the frontispiece of Frank Buckland's |
| Curiosities of Natural History. 98 |
| 4.2 | Two illustrations from the first edition of Principles of Geology to |
| show Lyell's working method of comparing ancient results with |
| modern (and visible) causes that produce the same outcomes. |
| Top: a modern volcano in the Bay of Naples, observed in erup- |
| tion during historical times. Bottom: Greek islands showing, by |
| their topography, that they surround a volcanic vent. 106 |
| 4.3 | Agassiz's comment of highest praise jotted alongside his criticisms |
| in his copy of Lyell's Principles. 117 |
| 4.4 | A classic example of Lyell's gradualism - the "denudation of the |
| Weald." (From the first edition of Lyell's Principles.) 121 |
| 4.5 | A modern example of destruction by erosion. The Grind of the |
| Navir (the breach between the two sections of this sea cliff in the |
| Shetland Islands) is widened every winter by the surge passing |
| between. (From first edition of Lyell's Principles.) 147 |
| 4.6 | Modern examples of construction by earthquakes. Top: the sur- |
| face at Fra Ramondo in Calabria. Bottom: two obelisks on the |
| facade of the convent of S. Bruno in Stefano del Bosco, Italy. |
| (From first edition of Lyell's Principles.) 148 |
| 4.7 | An illustration of the problems faced by geologists in un- |
| raveling Tertiary stratigraphy. (From first edition of Lyell's |
| Principles.) 156 |
| 4.8 | Eocene mollusk fossils used by Lyell in his statistical method for |
| zoning the Tertiary. (Plate 3, volume III of first edition of Lyell's |
| Principles.) 162 |
| 4.9 | Miocene mollusk fossils used by Lyell to zone the Tertiary. (Plate |
| 2, volume III of first edition of Lyell's Principles.) 163 |
| 5.1 | The entire composition of James Hampton's Throne of the Third |
| Heaven of the Nations' Millennium General Assembly, showing its |
| bilateral symmetry. National Museum of American Art, Smithson- |
| ian Institution, gift of an anonymous donor. 180 |
| 5.2 | Christ's throne, the centerpiece of Hampton's composition. 183 |
| 5.3 | Another piece from the midline of Hampton's Throne. 185 |
| 5.4 | Hampton's blackboard, showing his plan for the entire composi- |
| tion. 186 |
| 5.5 | Plaques labeled B.C. and A.D., symmetrically placed about the |
