Abstract

During the late eighteenth and early nineteenth centuries antiquarians, geologists and savants debated whether the summits of particular Highland mountains were the vestiges of iron-age forts or evidence of extinct volcanoes. A blend of antiquarian-historical methodology deeply affected the geological narratives that British savants and gentlemen of science developed during this period. The histories of architecture, and the fine and practical arts regularly functioned as proxies for visualizing the history, structure and operations of the earth. The case of vitrified forts discovered in Scotland highlights how the theoretical and practical arts directly informed geological theory to create what George Bellas Greenough claimed was a ‘philosophical pursuit’. Focusing on the contributions of John MacCulloch over the ambiguous identification of vitrified ruins, this paper shows how geological history was entwined with broad cultural interests in the progress of society and its rise from Nature. First, the essay examines the meaning and role of ‘imitation’ and ‘copying’ in art and architecture. Second, it applies these concepts within the framework of the vitrified-ruin debate that antiquarians and geologists engaged. Third, it demonstrates how the ‘imitation’ of Nature in the practical arts was a useful tool for making claims about earth structure.