ABSTRACT
In 1936 the Austrian geologist Paul Waitz published a seminal bibliographical, historical essay on Colima volcano, Mexico. His article exemplifies well the paths by which geology became what Lorraine Daston has termed sciences of the archive, that is, the manner in which scientific disciplines became concerned with archival work. Waitz's historical description of studies of Colima volcano built a genealogy of observations, ultimately constructing a history of the volcano itself. By bringing attention not only to Waitz's discourse but also to his treatment of visual objects, such as pictorial and photographic landscapes, my article points out how long-term aesthetics, such as the picturesque and the sublime, functioned as tropes which enabled a standardized perception, essential to visualize a clear history of scientific observations, from the landscape paintings of the nineteenth-century artist Johann Moritz Rugendas to Waitz's own photographs.