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Lunar mare

Large, dark, basaltic plains on Earth's Moon

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Through Earth, Moon and Naked eye

The term "mare" (sea) was used in astronomy in the beginnings of the 17th century, initially with the idea that the lunar spots were covered with water. The traditional nomenclature for the Moon also includes one oceanus (ocean), as well as features with the names lacus ('lake'), palus ('marsh'), and sinus ('bay'). The last three are smaller than maria, but have the same nature and characteristics.

The names of maria refer to sea features (Mare Humorum, Mare Imbrium, Mare Insularum, Mare Nubium, Mare Spumans, Mare Undarum, Mare Vaporum, Oceanus Procellarum, Mare Frigoris), sea attributes (Mare Australe, Mare Orientale, Mare Cognitum, Mare Marginis), or states of mind (Mare Crisium, Mare Ingenii, Mare Serenitatis, Mare Tranquillitatis). Mare Humboldtianum and Mare Smythii were established before the final nomenclature, that of states of mind, was accepted, and do not follow this pattern. When Mare Moscoviense was discovered by the Luna 3, and the name was proposed by the Soviet Union, it was only accepted by the International Astronomical Union with the justification that Moscow is a state of mind.

History and terminology

Pre-history

The earliest drawings of the Moon surface have been found in Neolithic stones in Ireland. Moon surface drawings are also found in pre-Columbian art in Mesoamerica.

Pre-telescopic descriptions and observations

During the Warring States period in China, poems already referred to the dark marks near the dark side of the moon as the Moon rabbit, due to its shape. Many cultures also developed stories due to lunar pareidolia (perception of patterns in the moon), like the "Man in the Moon", a tradition of an apparent human face pattern in the Moon.

During Ancient Greece, philosophers like Thales, Democritus and Anaximenes considered the Moon to be earth-like and rocky (containing no seas). Roman historian Pliny the Elder, uses the term mascula to refer to lunar maria, meaning "spottedness", believing that the Moon was covered in mud. Greco-Roman biographer Plutarch, writes about the Moon in his De facie in orbe Lunae (46–120 AD). Plutarch compares Caspia (Mare Crisium in modern terms) with the Caspian Sea of Earth, which might have contributed to the idea of maria (seas) on the Moon. However, Plutarch adhering to ancient Greek philosophy, explains the Moon spots by the difference between higher and lower terrains, and makes no reference to water.

The first realistic drawings of the Moon are attributed to Renaissance painters Jan van Eyck and Leonardo da Vinci. The latter referred to the Moon features as "stains" (Italian: macchie).

The terminology of "maria" (seas) to refer to the Moon features appears in scientific writings in the 17th century. The first scientific drawing of the Moon was made by physicist William Gilbert in his De mundo nostro sublunari philosophia nova, from about 1600. He regretted the lack of drawings from antiquity that could have allowed him to see if the Moon surface had shifted over time. Gilbert named features of the moon using terminology based in seas and islands, but his work was not made public until 1654.

In 1604 astronomer Johannes Kepler, in his work Dioptrice, refers to the bright and dark features of the moon as "maria" and "terrae" to describe what appeared to be seas and land-masses on the surface of the Moon. The term was used in the name Mare Crisium and appears to have been used independently by astronomers like Thomas Harriot, Pierre Gassendi and Michael van Langren.

Telescope sightings

Thomas Harriot was the first in 1609 to describe the Moon using observations from a telescope. He produced a detailed telescopic map in 1611 but his work remained unknown until its re-discovery and publication in 1965.

About the same time, Galileo Galilei published his findings and telescopic observations of the Moon in his treatise Sidereus Nuncius of 1610. He noticed the presence of crater-like features in the Moon, describing the surface as rocky, and made no reference to water or mare. Kepler, after reading Galileo's account changed his mind about the watery nature of lunar maria. Despite Galileo's descriptions, astronomers continued to name lunar features as seas, lakes and bays in their maps.

Notable improvements were made in the sketches of Christoph Scheiner in 1614, Charles Malapert in 1619, Giuseppe Biancani in 1620, Christoforo Borri in 1627, and by Francesco Fontana in 1629 and 1630.

Pierre Gassendi and his friend Nicolas-Claude Fabri de Peiresc set out to make a map of the moon with accurate distances between the features. They measured moonrises and moonsets at different locations and hired professional artists to make drawings of their findings. De Pereisc died before they were finished in 1637. One of the artists Claude Mellan produced one of the most realistic engravings with accurate distances in 1637, with superior accuracy compared to predecessors. Almost at the same time, Michael van Langren hired by the Monarchy of Spain, attempted to calculate accurate distances and produced a series of detailed maps of the Moon in 1645. Similarly, Johannes Hevelius published his Selenographia, sive Lunae descriptio, in which he hired a professional engraver, Jeremias Falck, and published his map in 1647 in sufficient quantity to be widely available. Hevelius insisted on the watery nature of lunar maria.

Using an improved telescope, Giovanni Battista Riccioli made another accurate map of the Moon. Moon features in Ricciolis' map are named using a mixture of previous nomenclature by Van Langren and Hevelius. Riccioli nomenclature remains in use today.

In 1661, Christopher Wren constructed a lunar globe representing the difference cavities and eminences.

Origin of the Moon's topology

Robert Hooke in his Micrographia (1665), describes the Moon surface as being the result of geological activity. He related craters and maria to volcanism on the Moon.

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