Abstract

Linus Pauling, Roger Hayward, and the Value of Visualizations. Linus Pauling's work was intrinsically linked to visualizations. While his use of three‐ and two‐dimensional inscriptions has been the focus of much scholarly research, the production of visualizations remains a rather poorly studied subject. This article focuses on the cooperation between Pauling and Roger Hayward, an architect by profession who came to scientific illustration in the late 1920s. By concentrating on the papers of Pauling and Hayward I describe the workflow between scientist and illustrator. Although Hayward's visualizations were epistemically indispensable and economically profitable, they were never fully acknowledged as such. This was due to the ongoing conflicts caused by the economic strategies pursued by Pauling and his publisher, Hayward's personal style, and science's general disregard for images as epistemic instruments. I suggest that these contentious relationships between scientist, illustrator, and publisher are paradigmatic for the history of scientific visualization.