John Ruskin, a type like Emerson, Carlyle, and Pound when the Moderns steered art from science to blah blah blah
The poet Percy Shelley was a scientist, too. Here is Shelley solving climate change:
The north polar star, to which the axis of the earth, in its present state of obliquity, points. It is exceedingly probable from many cosiderations, that this obliuity will gradually diminish, until the equator coincides with ecliptic: the nights and days will then become equal on the earth throughout the year, and probably the seasons also. There is no great extravagance in presuming that the progress of the perpendicularity of the poles may be as rapid as the progress of intellect; or that there should be a perfect identity between the moral and physical improvement of the human species. It is certain that wisdom is not compatible with disease, and that, in the present states of the climate of the earth, health, in the true and comprehensive sense of the word, is out of the reach of civilised man. Astronomy teaches us that the earth is now in its progress, and that the poles are every year more and more perpendicular to the ecliptic. The strong evidence afforded by the history of mythology, and geological researches, that some event of this nature has taken place already, affords a strong presumption that this progress is not merely an oscillation, as has been surmised by astronomers. Bones of animals peculiar to the torrid zone have been found have been found in the north of Siberia, and on the banks of the river Ohio. Plants have been found in the fossil state in the interior of Germany, which demand the present climate of Hindustan for their production. The researches of M. Bailly establish the existence of a people who inhabited a tract in Tartary 490 North latitude, of greater antiquity than either the Indians, the Chinese, or the Chaldeans, from whom these nations derived their sciences and theology. We find, from the testimony of ancient writers, that Britain, Germany, and France were much colder than at present, and that their great rivers were annually frozen over. Astronomy teaches us also that since this period the obliquity of the earth’s position has been considerably diminished.
Poe’s 1848 cosmogony,”Eureka,” solved the puzzle baffling scientists into the 20th century: Why is the night sky dark? Why don’t the innumerable stars eventually brighten the entire sky with their accumulated rays? “Eureka” is perhaps the most beautiful work of science ever written—and it’s all scientific, guessing at Einstein’s discoveries well before the fact.
Henry James, the failed playwright and author of teacup fiction, sneered at Poe’s scientific temperament. How silly James now looks, but how much like the modernism he helped inspire in which blah blah blah replaces thought.
He who despises painting loves neither philosophy nor nature. If you scorn painting, which is the sole imitator of all the manifest works of nature, you will certainly be scorning a subtle invention, which with philosophical and subtle speculation considers all manner of forms: sea, land, trees, animals, grasses, flowers, all of which are enveloped in light and shade. Truly this is science, the legitimate daughter of nature, because painting is born of that nature, because all visible things have been brought forth by nature and it is among these that painting is born. Therefore we may justly speak of it as the granddaughter of nature and as the kin of god.
Because writers had no access to definitions of the science of painting, they were not able to describe its rank and constituent elements. Since painting does not achieve its ends through words, it is placed below the…sciences through ignorance, but it does not on this account lose its divinity. And in truth it is not difficult to understand why it has not been accorded nobility, because it possesses nobility in itself without the help of the tongues of others—no less than do the excellent works of nature. If the painters have not described and codified their art as science, it is not the fault of painting, and it is none the less noble for that. Few painters make a profession of writing since their life is too short for its cultivation. Would we similarly deny the existence of the particular qualities of herbs, stones or plants because men were not acquainted with them? Certainly not. We should say that these herbs retained their intrinsic nobility, without the help of human language or writings.
The mental discourse that originates in first principles is termed science. Nothing can be found in nature that is not part of science, like continuous quantity, that is to say, geometry, which, commencing with the surfaces of bodies, is found to have its origins in lines, the boundary of these surfaces. Yet we do not remain satisfied with this, in that we know that line has its conclusion in a point, and nothing can be smaller than that which is a point. Therefore the point is the first principle in geometry, and no other thing can be found either in nature or in the human mind that can give rise to a point.
No human investigation may claim to be a true science if it has not passed through mathematical demonstrations, and if you say that the sciences that begin and end in the mind exhibit truth, this cannot be allowed, but must be denied for many reasons, above all because such mental discourses do not involve experience, without which nothing can be acheived with certainty.
Who wrote the above? The renaissance painter, Leonardo—obviously grounded in science.
Ironically, the scientists who wrote poems of three-dimensional, musical import (Plato, Shelley, Poe), as the 20th century proceeded, were deemed too Romantic, while the modernist poets, casting off optimism and wonder and science, paced in swill, thinking themselves gods.