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only by the white or colourless particles. They con- trine that the rays of light are reflected, refracted, and
sist of pellucid media, throughont which white or co- inflected, by one and the same principle acting vario
lourless opaque particles are dispersed. The latter are ously in various circumstances."
disposed at such distances from each other, that some The most remarkable part of Mr Delaval's doctrine
of the incident rays of light are capable of passing is that concerning the metals ; for the better under.
through the intervals which intercede them, and thus standing of which we sliall premise a short abstract of
are transmitted through the semipellucid mass. Some his general doctrine concerning white bodies, and the
sorts of rays penetrate through such masses, while manner in which light is reflected by them. “ All the or the
others, which differ from them in their refrangibility, earths, (he observes), which in their natural state are manner in
are reflected by the light or colourless particles; and of a pure white, constitute transparent colourless media which lig

!
from thence are transmitted through the pellucid part when vitrified with proper fluxes, or when dissolved in is reflecte
of the medium which intervenes between the reflecting colourless menstrua; and the saline masses obtainable bodies.
particles and the anterior surface of the mass. On the from their solutions are transparent and colourless,
same principle our author explains the blue colour of while they retain the water which is essential to their

the sky, the green colour of the sea, and other natural crystallization, and are not flawed or reduced to powa
43 phenomena : and from his numerous experiments on der ; bat after their pores and interstices are opened
How co- this subject at last conclades, " that the power by which in such a manner as to admit the air, they become
lours are
shown by the several rays of light are transmitted through differ, then white and opaque by the entrance of that rare
transmitted ent media is inherent in the particles themselves, and medium. The earthy particles which form the solid
light. therefore is not confined to the surfaces of such media. parts of bodies generally exceed the other in density;

For if the transmissive force was exerted at the surface consequently these particles, when contiguous to the
only, the thinner plates of coloured substances would rare media already mentioned, must reflect the rays of
act upon the rays as powerfully as thicker masses. But light with a force proportionate to their density. The
it appears from experiment, that in proportion as the reflective power of bodies does not depend merely upon
rays pass through different thicknesses of coloured me.

their excess of density, but upon their difference of
dia, they exhibit colours differing not only in degree, - density with respect to the surrounding media. Trans-
but freqnently in species also.

parent colourless particles, whose density is greatly in-
“ The sun's light, by which bodies are illuminated, ferior to that of the media they come between, also
consists of all the rays of which a white light is com- powerfully reflect all sorts of rays, and thereby become
pounded. These rays, in their entire and undivided white. Of this kind are the air or other rare Auids
state, are incident upon the opaque particles of semi- which occupy the interstices of liquors; and in gene.
pellucid substances, and upon the colouring particles ral of all denser media in whose interstices such rare
of transparent coloured substances, whenever these particles are admitted.
media are exposed to the light. When the rays accede Hence we may conclude, that white opaque bodies
to the opaque particles of semipellucid substances, are constituted by the union or contiguity of two or
some sorts of them are reflected back from the ante- more transparent colourless media differing consider-
rior surface of these particles : the other sorts of rays, ably from each other in their reflective powers. Of
which are not reflected back, are diverted from the these substances we have examples in froth, emulsions,
direction which is opposite to the anterior surface or other imperfect combinations of pellucid liquors,
of the opaque particles, and passing through the inter- milk, snow, calcined or pulverized salts, glass of cry-
vals between the particles, are transmitted through stal reduced to powder, white earths, paper, linen, and
the mass.

even those metals which are called white by mineralo-
“ When the rays are incident upon the particles of gists and chemists : for the metals just mentioned do
transparent coloured bodies, none of them are reflected not appear white unless their surfaces be rough; as in
back; because the colouring particles are not endowed that case only there are interstices on their surfaces suf-
with
any
reflective

power ;

but some of the rays are ficient to admit the air, and thus make a reflection of a
either stopped at the interior surface of the particles, white and vivid light.
or are diverted into such directions as render them in- “ But the polished surfaces of metallic mirrors re-
capable of passing towards the further side of the mass; flect the incident rays equably and regularly, accord-
and consequently such rays cannot be transmitted. Thé ing to their several angles of incidence; so that the
rays which are thus intercepted or dispersed, are reflected rays do not interfere with each other, but
transmitted in the same manner as those which pass remain separate and unmixed, and therefore distinctly
through semipellucid media. Thus it is evident, that exhibit their several colours. Hence it is evident,
the coloured rays which are transmitted through semi- that white surfaces cannot act upon the light ag mir-
pellucid substances, are inflected by the opaque particles; rors; because all the rays which are reflected from
and those which are transmitted through transparent- them are blended in a promiscuous and disorderly
coloured substances are inflected by the colouring par-

45
ticles. From the preceding observations likewise it ap- “ The above mentioned phenomena give much in- of the
pears, that the particles of coloured media inflect the sight into the nature and cause of opacity: as they cause of
several sorts of rays according to the several sizes and clearly show, that even the rarest transparent colour- opacity.
densities of the particles ; also in proportion to the in- less substances, when their surfaces are adjacent to me-
flammability of the media which owe their colour to dia differing greatly from them in refractive power,
them; and it is manifest that the transmission of co- may thereby acquire a perfect opacity, and may assume
loured rays depends opon their inflection. All these ob- a resplendency and hue so similar to that of white me-
servations are conformable to Sir Isaac Newton's doc- tals, that the rarer pellucid substances cannot by the
2

sight

manner.

a

46

sight be distinguished from the dense opaque metals. And this similarity to the surfaces of metals, occurs in the rare pellucid substances, not only when, from the roughness of their surfaces, they resemble unpolished metals in whiteness, but also when, from their smoothness, they resemble the polished surfaces of metals.

"Metals seem to consist entirely of transparent matter, and to derive their apparent opacity and lustre solely from the copious reflection of light from their surfaces. The analogy between the metals and transparent media, as far as respects their optical properties, will appear from the following considerations.

"1. All metals dissolved in their proper menstrua are transparent. 2. By the union of two or more transparent media, substances are constituted which are similar to metals in their opacity and lustre, as plumbago and marcasites. 3. The transparent substances of metals, as well as those of minerals, by their union with carbone, acquire their strong reflective powers from which their lustre and opacity arise. 4. The surfaces of pellucid media, such as glass or water, assume a metallic appearance, when by their smoothness, difference of density with respect to the contiguous media, or any other cause, they are disposed copiously to reflect the light.

"From all these considerations it is evident, that opaque substances are constituted by the union or contiguity of transparent colourless media, differing from one another in their reflective powers; and that, when the common surface, which comes between such media, is plane, equal, and smooth, it reflects the incident rays equally and regularly as a mirror; but when the surface is rough and unequal, or divided into minute particles, it reflects the incident rays irregularly and promiscuously in different directions, and consequently appears white."

as red and yellow, or yellow and blue, the intermediate colour, as orange or green, may be produced.

7. The colours of bodies arise from their dispositions to reflect one sort of rays and to absorb the other; those that reflect the least refrangible rays appearing red; and those thst reflect the most refrangible, violet.

8. Such bodies as reflect two or more sorts of rays appear of various colours.

9. The whiteness of bodies arises from their disposition to reflect all the rays of light promiscuously.

10. The blackness of bodies proceeds from their incapacity to reflect any of the rays of light (c).

Entertaining EXPERIMENTS, founded on the preceding Principles.

I.

Out of a single colourless ray of light to produce seven other rays, which shall paint, on a white body, the seven primary colours of nature.

PROCURE from an optician a large glass prism DEF, (fig. 1.), well polished, two of whose sides must contain an angle of about sixty-four degrees. Make a room quite dark, and in the window-shutter AB, cut a round hole, about one-third of an inch in diameter, at C, through which a ray of light LI passing, falls on the prism DEF; by that it is refracted out of the direc tion IT, in which it would have proceeded, into another GH; and, falling on the paper MNSX, will there form an oblong spectrum PQ, whose ends will be semicircular, and its sides straight; and if the distance of the prism from the paper be about eighteen feet, it will be ten inches long, and two inches wide. This spectrum will exhibit all the primary colours; the rays between P and V, which are the most refracted, will paint a deep violet; those between V and I, indigo; those between I and B, blue; those between B and G, green; those between G and Y, yellow; those between Y and O, orange; and those between O and R, being the least refracted, an intense red. The colours between these spaces will not be everywhere equally intense, but will incline to the neighbouring colour: thus the part of the orange next to R will incline to a red, that next to Y to a yellow; and so of the rest.

II. From two or more of the primary colours, to compose others that shall, in appearance, resemble those of the former.

By mixing the two homogeneous colours red and yellow, an orange will be produced, similar in appearance to that in the series of primary colours; but the light of the one being homogeneous, and that of the other heterogeneous, if the former be viewed through a prism it will remain unaltered, but the other will be resolved into its component colours, red and yellow. In like manner, other contiguous homogeneous colours may compound new colours; as by mixing yellow and green, a colour between them is formed; and if blue be added, there will appear a green, that is the middle

M 2

Theory of

From all these experiments we can only conclude, colours still that the theory of (colours seems not yet to be deteruncertain. mined with certainty; and very formidable, perhaps unanswerable objections might be brought against every hypothesis of this subject that hath been invented. The discoveries of Sir Isaac Newton, however, are sufficient to justify the following

APHORISMS.

1. All the colours in nature proceed from the of light.

rays

2. There are seven primary colours.; which are red, orange, yellow, green, blue, indigo, and violet.

3. Every ray of light may be separated into the seven primary colours.

4. The rays of light in passing through the same medium have different degrees of refrangibility.

5. The difference in the colours of light arises from its different refrangibility: that which is the least refrangible producing red; and that which is the most refrangible, violet.

6. By compounding any of the true primary colours,

colour

(c) From hence it arises, that black bodies, when exposed to the sun, become sooner heated than all others.

Plate CXLV.

Fig. 1.

aurora, &c.

a

eolour of those three. For the yellow and blue, if placed, a bright violet will be produced: and by the
they are equal in quantity, will draw the intermediate red and yellow, the several shades of orange.
green equally toward them, and keep it, as it were, in If, instead of placing these glasses in a similar posi. Fig. 3.
equilibrio, that it verge not more to the one than to tion, you place the side AB of the yellow glass against
the other. To this compound green there may be the side BD of the blue, you will see all the various
added some red and violet ; and yet the green will not greens that are produced by nature (E); if the blue
immediately cease, but grow less vivid ; till by adding and red glasses be placed in that manner, you will have
mere red and violet it will become more diluted ; and all the possible varieties of purples, violets, &c.; and,
at last, by the prevalence of the added colours, it will lastly, if the red and orange glasses be so placed, there
be overcome, and turned into some anomalous colour. will be all the intermediate colours, as the marygold,
If the sun's white, composed of all kinds of rays,

be
added to any homogeneous colour, that colour will not
vanish, nor change its species, but be diluted; and by IV. By means of the three primary colours, red, yellow,
adding more white, it will become continually more

and blue, together with light and shade, to produce diluted. Lastly, if red and violet be mixed, there will

all the gradations of the prismatic colours. be generated, according to their various proportions, various purples, such as are not like, in appearance, On seven square panes of glass, paste papers that to the colour of any homogeneous light; and of these are painted with the seven prismatic colours, in the same purples, mixed with blue and yellow, other new colours manner as the last experiment. The colours for the may be composed.

orange, green, indigo, and violet, may be made by

mixing the other three. Then with bistre (FR) well III. Out of three of the primary colours, red, yellow, diluted, shade a sheet of very thin paper, by laying it

and blue, to produce all the oiher prismatic colours, light on both its sides. With pieces of this paper cover and all that are intermediate to them,

four.fifths of a glass, of the same size with the others,

by laying one piece on the four lowest divisions, anProvide three panes of glass (fig. 2.) of about five other on the three lowest, a third on the two lowest, inches square ; and divide each of them, by parallel and the fourth on the lowest division only, and leaving lines, into five equal parts. Take three sheets of very the top division quite uncovered. When one of the thin paper ; which you must paint lightly, one blue, coloured glasses is placed in the box, together with the another yellow, and the third red (D). Then paste on glass of shades, so that the side AB of the one be apone of the glasses five pieces of the red paper, one of plied to the side BC of the other, as in fig. 3. the sewhich must cover the whole glass, the second only the veral gradations of colours will appear shaded in the four lower divisions, the third the three lower, the same manner as a drapery judiciously painted with that fourth the two lowest, and the fifth the last division colour. only. On the other glasses five pieces of the blue and It is on this principle that certain French artists yellow papers must be pasted in like manner. You must have proceeded in their endeavours to imitate, by dealso have a box of about six inches long, and the same signs printed in colours, paintings in oil: which they depth and width as the glasses ; it must be black on do by four plates of the same size, on each of which is the inside : let one end be quite open, and in the engraved the same design. One of these contains all opposite end there must be a bole large enough to see the shades that are to be represented, and which are the glasses completely. It must also open at the top, painted either black or with a dark gray. One of the that the glasses may be placed in it conveniently. three other plates is covered with blue, another with When

you have put any one of these glasses in the red, and the third with yellow ; each of them being box, and the open end is turned toward the sun, you engraved on those parts only which are to represent will see five distinct shades of the colour it contains. that colour (G); and the engraving is either stronger If you place the blue and yellow glasses together, in a or weaker, in proportion to the tone of colour that is similar direction, you will see five shades of

green

dis- to be represented (H). tinctly formed. When the blue and red glasses are These four plates are then passed alternately under

the

Fig. 2.

:

(D) Water-colours must be used for this purpose : the blue may be that of Prussia, and very bright; the red, carmine; and the yellow, gamboge, mixed with a little saffron. These colours must be laid very light and even on both sides of the paper,

(2) In the first position of the glasses, the quantity of blue and yellow being equal, the same sort of green was constantly visible; but hy thus inverting the glasses, the quantity of the colours being constantly unequal, a very pleasing variety of tints is produced.

(F) The bistre here used must be made of soot, not that in stone.

(G) When a red drapery is required; it is engraved on the plate assigned to that colour; and so of yellow and blue : but if one of the other colours be wanting, suppose violet, it must be engraved on those that print the red blue; and so of the rest. The plates of this kind bave been hitherto engraved in the manner of mezzotinto ; but these, unless they are skilfully managed, are soon effaced. Engravings in the manner of crayon will perhaps answer better.

(H) Tae principal difficulty in this sort of engraving arises from want of skilful management, in giving each plate that precise degree of engraving which will produce the tone of colour required. If a bright green

Fig. 4.

the press, and the mixture of their colours produces a pear to be painted with the most lively colours in
print that bears no small resemblance to a painting. nature. If you cut on one of these papers the form of
It must be confessed, however, that what has been hi- the rainbow, about three quarters of an inch wide, you
therto done of this kind falls far short of that degree will have a lively representation of that in the atmo-
of perfection of which this art appears susceptible. If sphere.
they who engrave the best in the manner of the crayon,
were to apply themselves to this art, there is reason to
expect they would produce far more finished pieces than
we have hitherto seen.

V. To make figures appear of different colours successively.

Make a hole in the window-shutter of a dark room, through which a broad beam of light may pass, that is to be refracted by the large glass prism ABC, (fig. 4.), which may be made of pieces of mirrors cemented together, and filled with water. Provide another prism DEF, made of three pieces of wood: through the middle of this there must pass an axis on which it is to revolve. This prism must be covered with white paper; and each of its sides cut through in several places, so as to represent different figures; and those of each side should likewise be different. The inside of this prism is to be hollow, and made quite black, that it may not reflect any of the light that passes through the sides into it. When this prism is placed near to that of glass, as in the figure, with one of its sides EF perpendicular to the ray of light, the figures on that side will appear perfectly white but when it comes into the position gh, the figures will appear yellow and red; and when it is in the position kl, they will appear blue and violet. As the prism is turned round its axis, the other sides will have a similar appearance. If, instead of a prism, a four or five-sided figure be here used, the appearances will be still further diversified.

This phenomenon arises from the different refrangibility of the rays of light. For when the side EF is in the position gh, it is more strongly illuminated by the least refrangible rays; and wherever they are predominant, the object will appear red or yellow. But when it is on the position k 1, the more refrangible rays being then predominant, it will appear tinged with blue and violet.

VI. The solar magic lanthorn.

Procure a box, of about a foot high, and eighteen inches wide, or such other similar dimensions as you shall think fit, and about three inches deep. Two of the opposite sides of this box must be quite open; and in each of the other sides let there be a groove, wide enough to pass a stiff paper or pasteboard. This box must be fastened against a window on which the sun's rays fall direct. The rest of the window should be closed up, that no light may enter. Provide several sheets of stiff paper, which must be blacked on one side. On these papers cut out such figures as you shall think proper; and placing them alternately in the grooves of the box, with their blacked sides towards you, look at them through a large and clear glass prism and if the light be strong, they will ap

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This experiment may be farther diversified, by pasting very thin papers, lightly painted with different colours, over some of the parts that are cut out: which will appear to change their colours when viewed through the prism, and to stand out from the paper, at different distances, according to the different degrees of refrangibility of the colours with which they are painted. For greater convenience, the prism may be placed in a stand on a table, at the height of your eye, and made to turn round on an axis, that when you have got an agreeable prospect, you may fix it in that position.

VII. The prismatic camera obscura.

Make two holes, F,ƒ, (fig. 5.) in the shutter of a Fig. 5. dark chamber, near to each other; and against each hole place a prism ABC, and abc, in a perpendicular direction, that their spectrums NM may be cast on the paper in a horizontal line, and coincide with each other; the red and violet of the one being in the same part with those of the other. The paper should be placed at such a distance from the prisms that the spectrum may be sufficiently dilated. Provide several papers nearly of the same dimensions with the spectrum; cross these papers, and draw lines parallel to the divisions of the colours. In these divisions cut out such figures as you shall find will have an agreeable effect, as flowers, trees, animals, &c. When you have placed one of these papers in its proper position, hang a black cloth or paper behind it, that none of the rays that pass through may be reflected and confuse the phenomena. The figures cut on the paper will then appear strongly illuminated with all the original colours of nature.. If, while one of the prisms remains at rest, the other be revolved on its axis, the continual alteration of the colours will afford a pleasing variety; which may be further increased by turning the prism round in different directions.

When the prisms are so placed that the two spectrums become coincident in an inverted order of their colours, the red end of one falling on the violet end of the other; if they be then viewed through a third prism DH, held parallel to their length, they will no longer appear coincident, but in the form of two distinct spectrums, p t and n m (fig. 6.), crossing one an- Fig. 6. other in the middle, like the letter X: the red of one spectrum and violet of the other, which were coincident at NM, being parted from each other by a greater refraction of the violet to p and m, than that of the red to n and t.

This experiment may be further diversified by adding two other prisms, that shall form a spectrum in the same line, and contiguous to the other; by which not only the variety of figures, but the vicissitude of colours, will be considerably augmented.

VIII.

is to be represented, there should be an equal quantity of engraving on the red and yellow plates: but if an olive green, the yellow plate should be engraved much deeper than the red.

Fig. 7.

VIII. The diatonic scale of colours.

The illustrious Newton, in the course of his investigations of the properties of light, discovered that the length of the spaces which the seven primary colours possess in the spectrum, exactly corresponds to those of chords that sound the seven notes in the diatonic scale of music: As is evident by the following experi

ment.

On a paper in a dark chamber, let a ray of light be largely refracted into the spectrum AFTMGP (fig. 7.), and mark the precise boundaries of the several colours, as a, b, c, &c. Draw lines from those points perpendicular to the opposite side, and you will find that the spaces Mrf F, by which the red is bounded; rgef, by which the orange is bounded; qped, by which the yellow is bounded, &c. will be in exact proportion to the divisions of a musical chord for the notes of an octave; that is, as the intervals of these numbers 1, 5, 8, 4, 7, 3, fo, &.

8

3 2

I

IX. Colorific music.

Father Castel, a Frenchman, in a curious book he has published on chromatics, supposes the note ut to answer to blue in the prismatic colours; the note re to yellow, and mi to red. The other tones he refers to the intermediate colours; from whence he constructs the following gamut of colorific music :

Ut
Ut sharp

Blue

Sea green Bright green Olive green Yellow

Re

Re sharp

Mi

Fa

Aurora

Fa sharp Sol

Orange

Red

Sol sharp La

La sharp

Si

Ut

Crimson
Violet

Blue Violet Sky blue Blue

Fig. 8.

This gamut, according to this plan, is to be continued in the same manner for the following octave; except that the colours are to be more vivid.

He supposes that these colours, by striking the eye in the same succession as the sounds (to which he makes them analogous) do the ear, and in the same order of time, they will produce correspondent sensations of pleasure in the mind. It is on these general principles, which F. Castel has elucidated in his treatise, that he has endeavoured, though with little success, to establish his ocular harpsichord.

The construction of this instrument, as here explained, will show that the effects produced by colours by no means answer those of sounds, and that the principal relation there is between them consists in the duration of the time that they respectively affect the

senses.

Between two circles of pasteboard, of ten inches diameter, AB and CD, (fig. 8.), inclose a hollow paste

board cylinder E, 18 inches long. Divide this cylinder into spaces half an inch wide, by a spiral line that runs round it from the top to the bottom, and divide its surface into six equal parts by parallel lines drawn between its two extremities: as is expressed in the figure.

Let the circle AB, at top, be open, and let that at bottom, CD, be closed, and supported by an axis or screw, of half an inch diameter, which must turn free-. ly in a nut placed at the bottom of a box we shall presently describe. To the axis just mentioned adjust a wooden wheel G, of two inches and a half in diameter, and that has 12 or 15 teeth, which take the endless screw H. Let this cylinder be inclosed in a box ILMN (fig. 9.) whose base is square, and at whose bottom there is a nut, in which the axis F turns. Observe that the endless screw H should come out of the box, that it may receive the handle O, by which the cylinder is to be turned.

This box being closed all round, place over it a tin covering A, which will be perforated in different parts; from this cover there must hang three or four lights, so placed that they may strongly illumine the inside of the cylinder. In one side of this box (which should be covered with pasteboard) cut eight apertures, a, b, c, d, e, f, g, h, (fig. 9.) of half an inch wide, and Fig. of an inch high; they must be directly over each other, and the distance between them must be exactly two inches. It is by these openings, which here correspond to the musical notes, that the various colours analogous to them are to appear; and which being placed on the pasteboard cylinder, as we have shown, are reflected by means of the lights placed within it.

It is easy to conceive, that when the handle O is turned, the cylinder in consequence rising half an inch, if it be turned five times round, it will successively show, at the openings made in the side of the box, all those that are in the cylinder itself, and which are ranged according to the direction of the inclined lines drawn on it. It is therefore according to the duration of the notes which are to be expressed, that the apertures on the cylinder are to be cut. Observe, that the space between two of the parallel lines drawn vertically on the cylinder, is equal to one measure of time; therefore, for every turn of the cylinder, there are six measures, and thirty measures for the air that is to be played by this instrument.

The several apertures being made in the side of the cylinder, in conformity to the notes of the tune that is to be expressed, they are to be covered with double pieces of very thin paper, painted on both sides with the colours that are to represent the musical notes.

This experiment might be executed in a different manner, and with much greater extent; but as the entertainment would not equal the trouble and expence, we have thought it sufficient to give the above, by which the reader will be enabled to judge how far the analogy supposed by F. Castel really exists. See the article CHROMATICS in the SUPPLEMENT.

CHRONIC,

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