Part 50

The undulatory theory gives also an easy explanation of colours; they being, according to the theory, only the effects, as already stated, of the different rates of vibrations of the ether. If the ether particles perform 514,000,000,000,000 oscillations in a second, we receive the impression we call red colour; if they execute 750,000,000,000,000 vibrations, the impression produced on our organ of sight is different—we call it violet; and so on. Thus science teaches us that visual impressions so different as red, green, blue, violet, and other distinct colours, are, in reality, all due to movements of one and the same——something; and that the different sensations of colour we experience, arise merely from different rates of recurrence in these movements. In the subsequent article we shall have occasion to show that ordinary light, such as that of the sun, or of a candle, contains rays of every imaginable colour, mixed together in such proportions, that when this light falls upon a piece of paper, or upon snow, we have, in looking at these objects, the sensation of _whiteness_. But, if the light falls upon any substance which is able, in some way, to absorb or destroy some of the vibrations, the admixture of which makes up “_white light_,” as it is called, then that object sending back to our eyes the rays formed of the remaining group of vibrations, gives us the sensation of _colour_. Suppose, for example, a substance to be so constituted that it is capable of absorbing, or quenching in some way, all the vibrations of the ether which occur at a quicker rate than 520,000,000,000,000 in a second: such a substance would send back to our eyes only the vibrations which constitute red light (see table, page 411), and we should say the substance in question had a _red_ colour. Similarly, if the substance gave back only the vibrations which have the quickest rates, we should call the substance of a _violet_ character. The agent which produces in our visual organs the impression of colour is, therefore, not in the objects, but in the light which falls upon them. The rose is red, not because it has redness in itself, but because the light which falls upon it contains some rays in which there are movements that occur just the number of times per second that gives us the impression we call redness; in short, the colour comes not from the flower but from the light. “But,” the reader might say, “the rose is always red by whatever light I see it, and therefore the colour must be in the flower. Whether I view it by sunlight, or moonlight, or candlelight, or gaslight, I invariably see that _it is red_.” Now, it is precisely this circumstance—the seemingly invariable association of the object with a certain impression—in this case, redness—that leads our judgment astray, and makes us believe that the colour is in the object. Most people live out their lives without anything occurring to them which would give them the least idea that the colours of the objects they see around them are not in these objects themselves, but are derived from the light that falls upon the objects. And it required the comparison of many observations and experiments, and some clear reasoning, to establish a truth so unlike the most settled convictions of ordinary minds.

The point in question is fortunately one extremely easy of experiment, since we have simple means of producing light in which the vibrations corresponding to only one colour are present. The reader is strongly recommended to try the following experiment for himself. Let him procure a spirit-lamp, and place on the wick a piece of common salt about as large as a pea. Let the lamp be lighted in a room from which all other light is completely excluded, and bring near the flame a red rose or a scarlet geranium. The flower will be seen with _all its redness gone_—it will appear of an ashy grey or leaden colour. A ball of bright scarlet wool, such as ladies use to work brilliant patterns for cushions, &c., held near this flame, is apparently transformed into a ball of the homely grey worsted with which, about a century ago, old ladies might be seen industriously darning stockings. The experiment is, perhaps, even more striking when, a little distance from the spirit-lamp, is placed a feeble light of the ordinary kind, a rushlight for example. The ball of wool, held near the latter, shows vivid scarlet, but, brought near the spirit-lamp with the salted wick, is pale, ashy grey. Moving thus the ball of worsted, first to one light then to the other, gives a most convincing and striking proof of the entire illusion we are under as to colour being an inherent quality of substances. Similar experiments may be multiplied indefinitely. A bouquet, viewed by the rushlight, shows the so-called _natural_ colours of the flowers; viewed by the salted flame, roses, verbenas, violets, larkspurs, and leaves, all appear of the uniform ashy grey, and only _yellow_ flowers come out in their _natural_ colours. A picture, say a chromo-lithograph after one of the most gorgeous landscapes that Turner ever painted, appears a work in monochrome, and gives exactly the effect of a sepia or indian-ink drawing. The most blooming complexion vanishes, and the countenance assumes a cadaverous aspect very startling to persons of weak nerves; the lips especially, which might have rivalled pink coral by ordinary light, take a repulsive livid hue. All these effects may be seen to greater advantage by using the gas-flame of a Bunsen’s burner, having a lump of salt placed in the flame; or by means of a piece of _fine_ wire gauze, about six inches square, supported about two or three inches above an ordinary gas-burner, from which the gas is allowed to issue without being lighted, but when to the top of the wire gauze, which is strewed with small fragments of salt, a light is applied, the gas will ignite only above the gauze, without the flame passing down to the burner below.

A fuller explanation of these strange appearances may be gathered from the subsequent article; but it may suffice now to state that spirit, or gas burned in the way we have indicated, gives off little or no light of any kind. If, however, common salt be introduced into the flame, then light—but light of only one particular colour—is given off, and that colour is yellow. There are no red, or green, or blue, or violet vibrations given off; and as the objects on which the light falls cannot supply these, it follows that with this light no impression corresponding to these colours can be produced on the eye, whatever may be the objects upon which it falls. Such experiments, not simply read about but actually performed, cannot fail to convince an intelligent person that the colours come from the light and not from the object. Of course, it is not denied that there is in each substance something that determines which are the rays absorbed, and which are the rays reflected to the eye—something that can destroy certain waves, but is powerless over others that rebound from the substance, and reaching the eye, there produce their characteristic impressions. And it is but this power of sending back only certain rays among the multitude which a sunbeam furnishes, that can be attributed to objects when we say that they have such or such a colour. In this sense, then, we may properly say that _the rose is red_, but it is also at the same time undeniably true that _the redness is not in the rose_.

Let it not be supposed that such scientific conclusions as those we have arrived at tend in any way to rob Nature of her beauty, or that our sense of the loveliness of colour is in any danger of being blunted by thus tracing out, as far as may be, the causes and sources of our sensations. The poets have occasionally said harsh things of science—indeed, one goes so far as to stigmatize the man of science as one who would “untwist the rainbow” and “botanize upon his mother’s grave;” and another thus laments dispelled illusions:

“When Science from Creation’s face Enchantment’s veil withdraws, What lovely visions yield their place To cold material laws!”

Now, in the case we have been considering, the scientific view is surely as beautiful as the ordinary one. We can, it is true, no longer regard the objects as having in themselves the colours which common observation attributes to them, but we look upon the material world as being, so to speak, the neutral canvas upon which Light, the great painter, spreads his varied tints, although, unlike the real canvas of an artist, which is not only neutral, but receives indifferently whatever hues are laid upon it, the objects around us exercise a selective effect—as if the picture of Nature were produced by each part of the canvas refusing all the tints save one, but itself supplying none. The tendency of the study of science to increase our interest in the great spectacle of Nature, and to enhance our appreciation of her charms, has been more justly indicated by another poet—thus:

“Nor ever yet The melting rainbow’s vernal tinctured hues To me have shone so pleasing, as when first The hand of Science pointed out the path In which the sunbeams gleaming from the west Fall on the watery cloud, whose darksome veil Involves the orient.”

THE SPECTROSCOPE.

Many of the modern discoveries and inventions already described in these pages have been instances of practical applications of science to the every-day wants of mankind; but the chief interest of the subject we now enter upon flows mainly from other sources than direct applications of its principles in useful arts, although these applications are already neither few nor unimportant. But that which, in the highest degree, claims our attention and excites our admiration in the revelations of the spectroscope is the wonderful and wholly unexpected extent to which this instrument has enlarged our knowledge of the universe, and the apparently inadequate means by which this has been accomplished. A little triangular piece of glass gives us power to rob the stars of their secrets, and tells more about those distant orbs than the wildest imagination could have deemed attainable to human knowledge. One of the most acute philosophers of the present century, a profound thinker who devoted his mind to the consideration of the mutual relations of the sciences, declared emphatically, not very many years ago, that all we could know of the heavenly bodies must ever be confined to an acquaintance with their motions, and to such a limited acquaintance with their features as the telescope reveals in the less distant ones. A knowledge of their composition, he expressly asserted, could never be attained, for we could have no means of chemically examining the matter of which they are constituted. Such was the deliberate utterance of a man by no means disposed to underrate the power of the human mind in the pursuit of truth. And such might still have been the opinion of the learned and of the unlearned, but for the remarkable train of discoveries which has led us to the construction of instruments revealing to us the nature of the substances entering into the constitution of the heavenly bodies. We have now, for example, the same certainty about the existence of iron in our sun, that we have about its existence in the poker and tongs on the hearth. The last few years have seen the dawn of a new science; and two branches of knowledge which formerly seemed far as the poles asunder—namely, astronomy and chemistry—have their interests united in this new science of celestial chemistry. The progress which has been made in this department of spectroscopic research is so rapid, and the field is so promising, that the well-instructed juvenile of the future, instead of idly repeating the simple lay of _our_ childhood:

“Twinkle, twinkle, little star, How I _wonder_ what you are!”

will probably only have to direct his sidereal spectroscope to the object of his admiration in order to obtain exact information as to what the star is, chemically and physically.

The results which have already been obtained in celestial chemistry, and other branches of spectroscopic science, are so surprising, and apparently so remote from the range of ordinary experience, that the reader can only appreciate these wonderful discoveries by tracing the steps by which they have been reached. A few fundamental phenomena of light have already been spoken of in the foregoing article; and an acquaintance with these will have prepared the reader’s mind for a consideration of the new facts we are about to describe. In discussing, in the foregoing pages, the subject of refraction, we have, in order that the reader’s attention might not be distracted, omitted all mention of a circumstance attending it, when a beam of ordinary light falls upon a refracting surface, such as that represented in Fig. 203. The laws there explained apply, in fact, to elementary rays, and not to ordinary white light, which is a mixture of a vast multitude of elementary rays, red, yellow, green, &c. When such a beam falls obliquely upon a piece of glass, the ray is, at its entrance, broken up into its elements, for these, being refracted in different degrees by the glass, each pursues a different path in that medium, as represented by Fig. 216. Each elementary ray obeys the laws which have been explained, and therefore each emerges from the second surface of the plate parallel to the incident ray, and, in consequence of this, the separation is not perceptible under ordinary circumstances with plates of glass having parallel surfaces. But, if the second surface be inclined so as to form such an angle with the first that the rays are rendered still more divergent in their exit, then the separation of the light into its elementary coloured rays becomes quite obvious. Such is the arrangement of the surfaces in a prism, and in the triangular pieces of glass which are used in lustres.

For the fundamental experimental fact of our subject, we must go back two centuries, when we shall find Sir Isaac Newton making his celebrated analysis of light by means of the glass prism. We shall describe Newton’s experiment, for, although it was performed so long ago, and is generally well known, it will render our view of the present subject more complete; and it will also serve to impress on the reader an additional instance of the world’s indebtedness to that great mind, when we thus trace the grand results of modern discovery from their source. “It is well,” is the remark of a clear thinker and eloquent writer, “to turn aside from the fretful din of the present, and to dwell with gratitude and respect upon the services of ‘those mighty men of old, who have gone down to the grave with their weapons of war,’ but who, while they lived, won splendid victories over ignorance.”

The experiment of Sir Isaac Newton will be readily understood from Fig. 217, where C is the prism, and A C represents the path of a beam of sunlight allowed to enter into a dark apartment through a small _round_ hole in a shutter, all other light being excluded from the apartment. In this position of the prism, the rays into which the sunbeam is broken at its entrance into the glass were bent upwards, and at their emergence from the glass they were again bent upwards, still more separated, so that when a white screen was placed in their path, instead of a white circular image of the sun appearing, as would have been the case had the light been merely refracted and not split up, Newton saw on the screen the variously-coloured band, D D, which he termed the _spectrum_. The letters in the figure indicate the relative positions of the various colours, red, orange, yellow, green, blue, &c., by their initial letters. The spectrum, or prolonged coloured image of the sun, is red at the end, R, where the rays are least refracted, and violet at the other extremity, where the refraction is greatest, while, in the intermediate spaces, yellow, green, and blue pass by insensible gradations into each other. Newton varied his experiment in many ways, as, for example, by trying the effect of refraction through a second prism on the differently coloured rays. He found that the second prism did not divide the yellow rays, for instance, into any other colour, but merely bent them out of the straight course, to form on the second screen a somewhat broader band of yellow, and similarly with regard to the others. From these, and a number of other experiments described in his “Opticks,” (A. D. 1675), Newton concludes, “that if the sun’s light consisted of but one sort of rays, there would be but one colour in the whole world, nor would it be possible to produce any new colour by reflections and refractions, and, by consequence, the variety of colours depends upon the composition of light.” ... “And if, at any time, I speak of light and rays, or coloured, or endued with colours, I would be understood to speak not philosophically and properly, but grossly, and accordingly to such conceptions as vulgar people in seeing all these experiments would be apt to frame. For the rays, to speak properly, are not coloured. In them there is nothing else than a certain power and disposition to stir up a sensation of this or that colour. For, as sound in a bell, a musical string, or other sounding body, is nothing but a trembling motion, and in the air nothing but that motion propagated from the object, and in the sensorium ‘tis a sense of that motion under the form of a sound; so colours in the object are nothing but a disposition to reflect this or that sort of rays more copiously than the rest: in the rays they are nothing but their dispositions to propagate this or that motion into the sensorium, and in the sensorium they are sensations of these motions under the form of colours.”

These memorable investigations of Newton’s have been the admiration of succeeding philosophers, and even poets have caught inspiration from this theme:

“Nor could the darting beam of speed immense Escape his swift pursuit and measuring eye. E’en Light itself, which everything displays. Shone undiscovered, till his brighter mind Untwisted all the shining robe of day; And, from the whitening undistinguished blaze, Collecting every ray into his kind, To the charmed eye educed the gorgeous train Of parent colours. First the flaming red Sprung vivid forth; the tawny orange next; And next delicious yellow—by whose side Fell the kind beams of all-refreshing green; Then the pure blue, that swells autumnal skies, Ethereal played; and then, of sadder hue Emerged the deepened indigo, as when The heavy-skirted evening droops with frost, While the last gleamings of refracted light Died in the fainting violet away. These, when the clouds distil the rosy show, Shine out distinct adown the watery bow; While o’er our heads the dewy vision bends Delightful—melting on the fields beneath. Myriads of mingling dyes from these result, And myriads still remain.—Infinite source Of beauty! ever blushing—ever new! Did ever poet image aught so fair, Dreaming in whispering groves, by the hoarse brook, Or prophet, to whose rapture Heaven descends?”

The spectra which Newton obtained by admitting the solar beams through a circular aperture, were, however, not simple spectra. The circular beam may be considered as built up of flat and very thin bands of light, parallel to the edges of the prism, and a simple ray would be formed by one of these flat bands; as the round opening would allow an indefinite number of such rays to enter, each would produce its own spectrum on the screen, and the actual image would be formed of a number of spectra overlapping each other. When the aperture by which the light is admitted consists merely of a narrow slit, or line, parallel to the edges of the prism, we obtain what is termed a _pure spectrum_. When the prism is properly placed, an eye, viewing the fine slit through it, sees a spectrum formed, as it were, of a succession of virtual images of the slit in all the elementary coloured rays.

The person who first examined the solar spectrum in this manner was the English chemist Wollaston, who, in 1802, found that the spectrum thus observed was not continuous, but that it was crossed at intervals by dark lines. Wollaston saw them by placing his eye directly behind the prism. Twelve years later, namely, in 1814, the German optician Fraunhofer devised a much better mode of viewing the spectrum; for, instead of looking through the prism with the naked eye, he used a telescope, placing the prism and the telescope at a distance of 24 ft. from the slit, the virtual image of which was thus considerably magnified. The prism was so placed that the incident and refracted rays formed nearly equal angles with its faces, in which circumstance the ray is least deflected from its direction, and the position is therefore spoken of as being that of _minimum deviation_. It can be shown that this position is the only one in which the refracted rays can produce clear and sharp virtual images of the slit, and therefore it is necessary in all instruments to have the prism so adjusted. Fraunhofer then saw that the dark lines were very numerous, and he found that they always kept the same relative positions with regard to the coloured spaces they crossed; that these positions did not change when the material of which the prism was made was changed; and that a variation in the refracting angle of the prism did not affect them. He then made a very careful map, laying down upon it the position of 354 of the lines out of about 600 which he counted, and indicated their relative intensities, for some are finer and less dark than others. The most conspicuous lines he distinguished by letters of the alphabet, and these are still so indicated; and the dark lines in the solar spectrum are called “Fraunhofer’s Lines.” These lines, as will appear in the sequel, are of great importance in our subject. A few of the more obvious ones are shown in No. 1, Plate XVII. Fraunhofer found that these lines were always produced by sunlight, whether direct, or diffused, or reflected from the moon and planets; but that the light from the fixed stars formed spectra having different lines from those in the sun—although he recognized in some of the spectra a few of the same lines he found in the solar spectrum. The fact of these differences in the spectra of the sun and fixed stars proved that the cause of the dark lines, whatever it might be, must exist in the light of these self-luminous bodies, and not in our atmosphere. It was, however, some years afterwards ascertained that the passage of the sun’s light through the atmosphere does give rise to some dark bands in the spectrum; for it was found that certain lines make their appearance only when the sun is near the horizon, and its rays consequently pass through a much greater thickness of air.