노아의 방주

 

1481: Polewinck, Fasciculus Temporum , published by Quentell in Cologne in 1481.

Complete with an arrangement of how the space might have been filled. Note the prismic hull and full sized 3rd (upper) deck. Proportions are poor considering the dimensions are explicitly stated (Gen 6:15), and reflect the short squat hulls of 15th century ship design.

1570 German Bible printed in Nuremberg (colored plate). Note that Johannes Gutenberg built the first metal type press in 1436, and the Gutenburg bible came out in 1455. Before this time printing was done from engravings on wood. Illustrations, of course, were still being engraved centuries later.

1602-1680: Athanasius Kircher.

German Jesuit scholar and author of more than 40 published works. Kircher was one of the preeminent European intellectuals of the seventeenth century. Inventor, composer, geographer, geologist, Egyptologist,historian, adventurer, philosopher, proprietor of one of the first public museums, physicist, mathematician, naturalist, astronomer, archaeologist. A contemporary of Newton, Boyle, Leibniz and Descartes, Kircher's rightful place in the history of science has been shrouded by his attempt to forge a unified world view out of traditional Biblical historicism and the emerging secular scientific theory of knowledge. When Rome was struck by the bubonic plague in 1656, Kircher spent days on end caring for the sick. Searching for a cure, Kircher observed microorganisms under the microscope and invented the germ theory of disease, which he outlined in his Scrutinium pestis physico-medicum (Rome 1658). As Kircher's reputation grew, so did voices of opposition. Contemporary scientists like Descartes, equating Jesuitical science with the oppressive Inquisition that had so recently executed Giordano Bruno and imprisoned Gallileo for their unorthodox theories, regarded Kircher's work with suspicion.

Marion Leathers Kuntz, "Guillaume Postel and the Syriac Gospels of Athanasius Kircher", Renaissance Quarterly 40 (1987) 465-484

Kircher came up with an ark very similar to modern creationist designs. Note the rectilinear hull shape, low pitched roof, 3 distinct levels, and even an elevated keel on piers. This is one of the first illustrations conveying the correct proportions and scale (disregarding the birds). Today, a second level doorway and a continuous upper window is considered to be a more accurate interpretation. (Gen 6:16)

1720: Lutherbibel Published in Protestant Germany, this etching is obviously influenced by the earlier work of Kircher - a Catholic. If not an original Kircher illustration, then this artist has definitely been borrowing Kircher's ideas - rectangular form, elevated on piers with similar roof slope and wall detailing. The obvious give-away is the position of entry door and window seen at the middle of the side wall. Animal housing constructed on the lowest deck is also similar to Kircher's design. Excellent interpretations such as substantial vertical ribs in the hull walls, multiple layered decking, construction ramps, scaffolding, cranes, a big workforce and timber processing are all evident.

Image reproduced from Fundamentum Prof. Dr. Werner Gitt ISSN 1013-994X

  Checking the scale. The figure standing at the near corner of the ark provides a convenient estimate. According to this picture, the tallest man in the group is approximately 1/16th of the height of the ark, 30 cubits. Assuming he stands only 1.6m tall, the wall of the ark is 25.6m high. This defines a very long cubit of 850mm (33.4"). This ark is drawn to a scale much larger then the English 457mm (18") cubit or even the Royal Egyptian cubit of 524mm (20.6"). The Prussian cubit of 667mm (26.3") may have been used by the German artist - but somewhat exaggerated. This depiction is therefore definitely oversize - a rare error in the history of Noah's Ark illustration.