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ARTIFICIAL MIRAGE.

THE mirage is an optical phenomenon, produced by the refractive power of the atmosphere. The appearance presented is that of the double image of an object in the air; one of the images being in the natural position, and the other inverted, so as to resemble a natural object and its image in the water. The mirage is commonly vertical, or upright, that is, presenting the appearance, above described, of one object over another, like a ship above its shadow in the water. Sometimes, however, the image is horizontal, or upon the water, and at other times, it is seen on the right or left hand of the real object, or on both sides.

All the effects of the mirage may be represented artificially to the eye. For this purpose, provide a glass tumbler two-thirds full of water, and pour spirit of wine upon it; or pour into a tumbler some syrup, and fill it up with water: as the water and spirit, or the syrup and water incorporate, they will produce a refractive power; then, by looking through the mixed or intermediate liquids at any object held behind the tumblers, its inverted image may be seen. The same effect, Dr. Walloston has shown, may be produced, by looking along the side of a red-hot poker at a word or object ten or twelve feet distant. At a distance less than three-eighths of an inch from the line of the poker, an inverted image was seen; and within and without that, an erect image.

The above phenomena may likewise be illustrated, by holding a heated iron above a tumbler of water, until the whole becomes changed; then withdraw the iron, and, through the water, the phenomena of the mirage may be seen in the finest manner.

Or, look directly above the flame of a candle, or over the glass of a lighted lamp, and a tremulous motion may be observed; because the warm air rises, and its refracting power being less than that of the colder air, the currents are rendered visible by the distortion of objects viewed through them. The same effect is observable over chimney pots, and slated roofs which have been heated by the sun.

MOTION OF THE EYE.

On entering a room, we imagine that we see the whole side of it at once, as the cornice, the pattern of the paper-hanging, pictures, chairs, &c., but we are deceived; for each object is rapidly, but singly presented to the eye, by its constant motion. If the eye were steady, vision would be lost. For example, fix the eye on one point, and you will find the whole scene become more and more obscure, till it vanishes. Then, if you change the direction of the eye ever so little, at once the whole scene will be again perfect before you.

SINGLE VISION WITH TWO EYES.

As we have two eyes, and a separate image of every external object is formed in each, it may be asked, why do we not see double? The answer is, it is a matter of habit. Habit alone teaches us, that the sensations of sight correspond to any thing external, and shows to what they correspond. Thus, place a wafer on a table before you; direct your eyes to it, that is, bring its image on both retinÆ to those parts which habit has ascertained to be the most sensible, and best situated for seeing distinctly, and you will see only the single wafer. But, while looking at the wafer, squeeze the upper part of one eye downwards, by pressing on the eyelid with the finger, and thereby forcibly throw the image on another part of the retina of that eye, and double vision will be immediately produced; that is, two wafers will be distinctly seen, which will appear to recede from each other as the pressure is stronger, and approach, and finally blend into one, as it is relieved. The same effect maybe produced without pressure, by directing the eyes to a point nearer to, or farther from them, than the wafer; the optic axes, in this case, being both directed away from the object seen.

TWO OBJECTS SEEN AS ONE.

On a sheet of black paper, or other dark ground, place two white wafers, having their centres three inches distant. Vertically above the paper, and to the left, look with the right eye, at twelve inches from it, and so that, when looking down on it, the line joining the two eyes shall be parallel to that joining the centre of the wafers. In this situation, close the left eye, and look full with the right perpendicularly at the wafer below it, when this wafer only will be seen, the other being completely invisible. But, if it be removed ever so little from its place, either to the right or left, above or below, it will become immediately visible, and start, as it were, into existence. The distances here set down may, perhaps, vary slightly in different eyes.

Upon this curious effect, Sir John Herschel observes: “It will cease to be thought singular, that this fact of the absolute invisibility of objects in a certain point of the field of view of each eye, should be one of which not one person in ten thousand is apprised, when we learn, that it is not extremely uncommon to find persons who have for some time been totally blind with one eye, without being aware of the fact.”

ONLY ONE OBJECT CAN BE SEEN AT A TIME.

Look at the pattern of the paper-hanging of a room, a picture, or almost any other object in it; then, without altering your position, call to mind the magnificent dome of St. Paul’s Cathedral; the pattern of the paper-hanging, or the subject of the picture, though actually impressed on the retina of the eye, will be momentarily lost sight of by the mind; and, during the instant, the recollected image of the dome rising from the dingy roofs of London, will be distinctly seen, but in indistinct colouring and outline. When the object of the recollection is answered, the dome will quickly disappear, and the paper-hanging pattern, or the picture, again resume the ascendancy.

STRAIGHT OBJECTS SEEN CROOKED.

Look through a series of vertical bars, as those of a palisade, or of a Venetian window-blind, at the wheel of a carriage passing along the street, and the spokes of the wheel, instead of appearing straight, as they naturally would do, if no bars intervened, seem to be of a curved form. The velocity of the wheel must not be so great as to prevent the eye from following the spokes as they revolve.

Again, when the disk of the wheel, instead of being marked by a number of radiant lines, has only one radius marked upon it, it presents the appearance, when rolled behind the bars, of a number of radii, each having the curvature corresponding to its situation, their number being the same as that of the bars through which you look at the wheel. It is, therefore, evident that the several portions of one and the same line, seen through the intervals of the bars, form on the retina of the eye so many different radii.

OPTICAL ILLUSION.

Shut one eye, direct the other to any fixed point, as the head of a pin, and you will indistinctly see all other objects. Suppose one of these to be a strip of white paper, or a pen lying upon a table covered with a green cloth: either of them will disappear altogether, as if taken off the table; for the impression of the green cloth will entirely extend itself over that part of the retina which the image of the pen occupied. The vanished pen will, however, shortly re-appear, and again vanish; and the same effect will take place when both eyes are open, though not so readily as with one eye.

PIN-HOLE FOCUS.

Make a pin-hole in a card, which hold between a candle and a piece of white paper, in a dark room, when an exact representation of the flame, but inverted, will be seen depicted upon the paper, and be enlarged as the paper is drawn from the hole; and if, in a dark room, a white screen or sheet of paper be extended at a few feet from a small round hole, an exact picture of all external objects, of their natural colours and forms, will be seen traced on the screen; moving objects being represented in motion, and stationary ones at rest.

OPTICAL DECEPTIONS.

Prick a hole in a card with a needle; place the same needle near the eye, in a line with the card-hole, look by daylight at the end of the needle, and it will appear to be behind the card, and reversed.

Prick a hole with a pin in a black card, place it very near the eye, look through it at any small object, and it will appear larger as it is nearer the eye; while, if we observe it without the card, it will appear sensibly of the same magnitude at all parts of the room.

ACCURACY OF SIGHT.

Rule a short line upon a slate, and upon another slate rule another line, one-eleventh longer than the first: a person possessing what is called “a true eye,” may perceive the difference in length, even though fifty or sixty seconds elapse between looking at the first and the second lines. If they differ only one-twentieth, then an interval of thirty-five seconds may elapse without destroying the judgment; but, if it be longer, the estimate will be incorrect. When the difference between the lines amounts only to one-fiftieth, an interval of three seconds between the examination of each, is the longest that can be allowed without interfering with the correctness of the comparison.

VISUAL DECEPTION.

Let a room be only lit by the feeble gleam of a fire, almost extinguished, and the eye will see with difficulty the objects in the apartment, from the small degree of light with which they happen to be illuminated. The more exertion is made to ascertain what these objects are, as by fixing the eye more steadily upon them, the greater will be the difficulty in accomplishing it. The eye will be painfully agitated, the object will swell and contract, and partly disappear, but will again become visible when the eye has recovered from its delirium.

HAND-WRITING UPON THE WALL.

Cut the word or words to be shown, out of a thick card or pasteboard, place it before a lighted lamp, and the writing will be distinctly seen upon the wall of the apartment.

IMITATIVE HALOES.

Look at a candle, or any other luminous body, through a plate of glass, covered with vapour, or dust in a finely divided state, and it will be surrounded with a ring of colours, like a halo round the sun or moon. These rings increase with the size of the particles which produce them; and their brilliancy and number depend on the uniform size of these particles.

Or, haloes may be imitated by crystallizing various salts upon thin plates of glass, and looking through the plate at a candle or the sun. For example, spread a few drops of a strong solution of alum over a plate of glass so as to crystallize quickly, and cover it with a crust scarcely visible to the eye. Then place the eye close behind the smooth side of the glass plate, look through it at a candle, and you will perceive three fine haloes at different distances, encircling the flame.

TO READ A COIN IN THE DARK.

By the following simple method, the legend or inscription upon a coin may be read in absolute darkness. Polish the surface of any silver coin as highly as possible; touch the raised parts with aqua-fortis, so as to make them rough, taking care that the parts not raised retain their polish. Place the coin thus prepared upon red-hot iron, remove it into a dark room, and the figure and inscription will become more luminous than the rest, and may be distinctly seen and read by the spectator. If the lower parts of the coin be roughened with the acid, and the raised parts be polished, the effect will be reversed, and the figure and inscription will appear dark, or black upon a light or white ground.

This experiment will be more surprising if made with an old coin, from which the figure and inscription have been obliterated; for, when the coin is placed upon the red-hot iron, the figure and inscription may be distinctly read upon a surface which had hitherto appeared blank.

This experiment may be made with small coins upon a heated poker, a flat iron, or a salamander. The effect will be more perfect if the red-hot iron be concealed from the eye of the spectator: this may be done by placing upon the iron a piece of blackened tin, with a hole cut out, the size of the coin to be heated.

TO MAKE A PRISM.

Provide two small pieces of window-glass and a lump of wax. Soften and mould the wax, stick the two pieces of glass upon it, so that they meet, as in the cut, where w is the wax, g and g the glasses stuck to it, (Fig. 1.) The end view (Fig. 2) will show the angle, a, at which the pieces of glass meet; into which angle put a drop of water.

To use the instrument thus made, make a small hole, or a narrow horizontal slit, so that you can see the sky through it, when you stand at some distance from it in the room. Or a piece of pasteboard placed in the upper part of the window-sash, with a slit cut in it, will serve the purpose of the hole in the shutter. The slit should be about one-tenth of an inch wide, and an inch or two long, with even edges. Then hold the prism in your hand, place it close to your eye, and look through the drop of water, when you will see a beautiful train of colours, called a spectrum; at one end red, at the other violet, and in the middle yellowish green.

The annexed figure will better explain the direction in which to look: here, e, is the eye of the spectator, p, is the prism, h, the hole in the shutter or pasteboard, s, the spectrum. By a little practice, you will soon become accustomed to look in the right direction, and will see the colours very bright and distinct.

By means of this simple contrivance, white light may be analysed and proved to consist of coloured rays, and several of its properties be beautifully illustrated.

OPTICAL AUGMENTATION.

Take a glass rummer that is narrow at bottom and wide at top, into which put a half-sovereign, and fill the glass three-fourths with water; place on it a piece of paper, and then a plate, and turn the glass upside down quickly, that the water may not escape: by looking sideways at the glass, you will perceive a sovereign at the bottom, and higher up the half-sovereign, floating near the surface. Fill the glass with water, and the large piece only will be visible.

GOLD FISH IN A GLASS GLOBE.

A single gold fish in a globe vase, is often mistaken for two fishes, because it is seen as well by the light bent through the upper surface of the water, as by straight rays passing through the side of the vase.

COLOURS PRODUCED BY THE UNEQUAL ACTION OF LIGHT UPON THE EYES.

If we hold a slip of white paper vertically, about a foot from the eye, and direct both eyes to an object at some distance beyond it, so as to see the slip of paper double, then, when a candle is brought near the right eye, so as to act strongly upon it, while the left eye is protected from its light, the left-hand slip of paper will be of a tolerably bright green colour, while the right-hand slip of paper, seen by the left eye, will be of a red colour. If the one image overlaps the other, the colour of the overlapping parts will be white, arising from a mixture of the complementary red and green. When equal candles are held equally near to each eye, each of the images of the slip of paper is white. If, when the paper is seen red and green by holding the candle to the right eye, we quickly take it to the left eye, we shall find that the left image of the slip of paper gradually changes from green to red, and the right one from red to green, both of them having the same tint during the time that the change is going on.

OPTICAL DECEPTION.

Look steadily at a carpet having figures of one colour, green, for example, upon a ground of another colour, suppose red, and you will sometimes see the whole of the green pattern as if the red one were obliterated; and at other times, you will see the whole of the red pattern, as if the green one were obliterated. The former effect takes place when the eye is steadily fixed on the green part, and the latter, when it is steadily fixed on the red portion.

COLOURED SHADOWS.

Provide two lighted candles, and place them upon a table before a whitewashed or light papered wall: hold before one of the candles a piece of coloured glass, taking care to remove to a greater distance the candle before which the coloured glass is not placed, in order to equalize the darkness of the two shadows. If you use a piece of green glass, one of the shadows will be green, and the other a fine red; if you use blue glass, one of the shadows will be blue, and the other a pale yellow.

COLOURS OF SCRATCHES.

An extremely fine scratch on a well-polished surface, may be regarded as having a concave, cylindrical, or, at least, a curved surface, capable of reflecting light in all directions; this is evident, for it is visible in all directions. Hence, a single scratch or furrow in a surface, may produce colours by the interference of the rays reflected from its opposite edges. Examine a spider’s thread in the sunshine, and it will gleam with vivid colours. These may arise from a similar cause, or from the thread itself, as spun by the animal, consisting of several threads agglutinated together, and thus presenting, not a cylindrical, but a furrowed surface.

OCULAR SPECTRA.

One of the most curious affections of the eye is that, in virtue of which it sees what are called ocular spectra, or accidental colours. If we place a red wafer on a sheet of white paper, and, closing one eye, keep the other directed for some time to the centre of the wafer, then, if we turn the same eye to another part of the paper, we shall see a green wafer, the colour of which will continue to grow fainter and fainter, as we continue to look at it.

By using differently coloured wafers, we obtain the following results:

BEAUTIFUL COLOURS OF MOTHER-OF-PEARL.

This substance, obtained from the shell of the pearl oyster, is much admired for the fine play of its colours. To observe them accurately, select a plate of regularly formed mother-of-pearl, with its surface nearly parallel, and grind this surface upon a hone, or upon a plate of glass, with the powder of slate, till the image of the candle, reflected from the surfaces, is of a dull reddish white colour, when it will glow with all the colours of the rainbow. The colours of mother-of-pearl may be communicated to soft black wax; and to clean surfaces of lead and tin by hard pressure, or the blow of a hammer. Or, dissolve gum arabic, or isinglass, in water, and allow it to harden upon a surface of mother-of-pearl, when it will take a perfect impression from it, and exhibit all the colours in the finest manner. Or, place the isinglass between two finely-polished surfaces of mother-of-pearl, and you may obtain a film of artificial mother-of-pearl, which, when seen by the light of a candle, or by an aperture in the window, will shine with the brightest hues.

WHITE LETTERS SEEN FURTHER THAN BLACK.

Paint the same letters of the same size precisely on two boards, the one white on a black ground, and the other a black on a white ground; the white letters will appear larger, and be read at a greater distance than the black.

ARTIFICIAL RAINBOW.

Observe the various colours which are reflected from the glass drops usually suspended from a lustre or chandelier, and you will witness a mimic rainbow. A rainbow may also be made by a garden engine, if the water be thrown high in the air, and the spectator stand between it and the sun.

FRINGE ABOUT A CANDLE.

Provide two small pieces of plate glass, moisten two of their sides with water, and put them together; then look through them at a candle, and you will perceive the flame surrounded with beautifully coloured fringes: these are the effect of moisture, intermixed with portions of air, and exhibiting an appearance similar to dew.

THE DOUBLE-COLOURED REFLECTION.

Provide a circular piece of coloured glass, and pierce its centre by means of a common awl, well moistened with oil of turpentine: encircle the glass with the fingers and thumb, hold it in the sunshine or the strong light of a lamp, and the following beautiful effects will be produced. If the glass be red, the luminous spot in the centre will be reflected green; if the glass be green, the spot will be red; if blue, orange; and if yellow, indigo.

LUMINOUS CROSS.

Place a lighted candle before a looking-glass, and there will appear a luminous cross radiating from the flame of the candle. This is produced by the direction of the friction by which the glass is polished; the scratches placed in a horizontal direction, exhibiting the perpendicular part of the cross, and the vertical scratches the horizontal part.

RINGS OF COLOURS ROUND A CANDLE.

Look at a candle through a plate of glass, upon which you have gently breathed, or over which are scattered particles of dust, or any fine powder, and you will perceive the flame surrounded with beautiful rings of colours. By using the seed of the lycopodium, or by placing a drop of blood diluted with water between two pieces of glass, the rings of colour will be still more finely exhibited. Round the luminous body there will be seen a light area, terminating in a reddish dark margin; this will be succeeded by a ring of bluish-green, and then by a red ring; these two last colours succeeding each other several times when the particles are of uniform diameter, as are the seeds of the lycopodium, each of which is but the 850th part of an inch in diameter.

SIMPLE AND CHEAP OPERA-GLASS.

In this new instrument, no tubes are necessary, as in the ordinary opera-glass; their place being supplied by a slender elastic conical spring of wire, into the upper extremity of which is inserted the eye-glass; the object-glass being fixed to the other extremity, as shown in the engraving. The two glasses must, of course, be kept parallel to each other when in use; which is very easily effected.

In using this opera-glass, rest the finger and thumb of one hand on the rim of the object-glass, B, whilst, with the thumb and finger of the other hand you hold the rim of the eye-glass, A. The spring tube may then be drawn out or shut up to very minute distances. Thus, the ordinary sliding tubes are superseded; nor is any external covering necessary, as the hand in grasping the instrument serves the purpose. If, however, a covering be preferred, a piece of silk may be sewn to the spirals of the spring.

This kind of opera-glass may be made very cheaply; it may be shut into a small space for the pocket, merely by pressing the object-glass and eye-glass together.

MULTIPLYING THEATRES.

Place two pieces of looking-glass, one at each end, parallel to one another, and looking over, or by the edge of one of them, the images of any objects placed on the bottom of the box, will appear continued to a considerable distance.

Or, line each of the four sides of the box with looking-glass, and the bottom of the box will be multiplied to an astonishing extent, there being no other limitation to the number of images but what is owing to the continued loss of light from reflection. The top of the box may be almost covered with thin canvas, which will admit sufficient light to render the exhibition very distinct.

The above experiments may be made very entertaining, by placing on the bottom of the box some toy, as sentry soldiers, &c.; and, if these be put in motion, by wires attached to them, or passing through the bottom or side of the box, it will afford a still more entertaining spectacle. Or the bottom of the box may be covered with moss, shining pebbles, flowers, &c.; only, in all cases, the upright figures between the pieces of looking-glass should be slender, and not too numerous, else they will obstruct the reflected light.

In a box with six, eight, or more sides, lined with looking-glass, as above, the different objects in it will be multiplied to an almost indefinite extent.

APPARATUS FOR WRITING IN THE DARK.

In this ingenious contrivance, A is a frame of wood, into the back and front of which are inserted two thin boards, the front one, B, reaching about half the height of the frame, and the back one being movable, by sliding in grooves, for better fixing the paper to be written on, C, to a roller at top, with a handle and ratchet working into a spring.

To use the apparatus, the paper is to be fixed on the roller, and a strip of lead, or other weight, suspended from the bottom of the paper, to keep it smooth: then, by resting the right hand on the edge of the board B, and turning, with the left hand, the ratchet, the distance of the lines may be regulated by the number of clicks caused by the spring on the ratchet. D, is a foot to support the apparatus, which, however, should be light enough to be held in the hand as a slate.

PORTABLE MICROSCOPE.

This cheap and useful instrument consists of a handle of hard wood, a, which is screwed into a brass piece, d, having, at its top, a ring, with screws on back and front, into which are to be screwed two cells with lenses of different foci. There is also a projecting piece formed on the side of the brass piece, d, in which is a hole to receive the screwed end of a cylindrical rod of brass, c. Upon this rod, a springing slit socket, e, slides backwards and forwards, and is also capable of being turned round. This socket has affixed to it, on one side, a projecting part, with a screwed cavity in it, to receive a short screwed tube, with a small hole in its centre, made to fit the steel stem of the spring forceps; a corresponding hole being made at the bottom of the screwed cavity, where is lodged a piece of perforated cork; which, being pressed upon by the action of the screw, closes upon the steel stem of the forceps, and steadies them, and the objects held in them. The stem of the forceps being removed from its place in the short tube; the handles and lenses, and the rod, c, and the sliding socket upon it, being unscrewed from its place in the handle; they can all three be packed in a black paper case, which is only three and a half inches long, one inch broad, and half an inch thick.

This microscope possesses three different magnifying powers, namely, those of two lenses separately, and the two in combination.

Microscopes of a still simpler nature are small globules of glass, formed by smelting the ends of fine threads of glass in the flame of a candle; and small globular microscopes of great magnifying power, made of hollow glass about the size of a small walnut, may be purchased very cheaply at the opticians’.

THE PHENAKISTISCOPE, OR STROBOSCOPE.

This amusing instrument consists of a turning wheel, upon which figures are seen to walk, jump, pump water, &c. The disc or wheel should be of stout card-board, upon which should be painted, towards the edge, figures in eight or ten postures. Thus, if it is wished to represent a man bowing, the first position is a man standing upright; in the second, his body has a slight inclination; in the third, still more; and so on, to the sixth position, where the body is most bent: the four following, represent the figure recovering its erect posture, so that the fifth and seventh, the fourth and eighth, the third and ninth, and second and tenth figures, have the same posture. Between each of the figures on the wheel, should be a slit, three-fourths of an inch long, and one-fourth of an inch wide, in a direction parallel with the radii of the wheel, and extending to an equal distance from the centre.

To work this instrument, place the figured side of the wheel before a looking-glass, and cause it to revolve upon its centre; then look through the slits or apertures, and you may observe, in the glass, the figures bowing continually, and with a rapidity proportionate to the rate at which the wheel turns. The illusion depends on the circumstance, that the wheel between each aperture is covered, while the figure goes further. That the deception may be complete, it is necessary that every part of the figures not bowing shall be at an equal distance from the centre of the wheel, and from the slits; also that the figures possess equal thickness and colour.

TO LOOK AT THE SUN WITHOUT INJURY.

Provide a wine-glass filled with plain water, which will keep off the heat so effectually, that the brightest sun may be viewed some time through it without any inconvenience. If a little black ink be added to the water, the image of the sun will appear through it, as white as snow; and when the ink is still more diluted, the sun will be of a purple hue.

BRILLIANT WATER MIRROR.

Nearly fill a glass tumbler with water, and hold it, with your back to the window, above the level of the eye, as in the engraving. Then look obliquely as in the direction E, a, c, and you will see the whole surface shining like burnished silver, with a strong metallic reflection; and any object, as a spoon, A C B, immersed in the water, will have its immersed part C B, reflected on the surface, as in a mirror, but with a brilliancy far surpassing that which can be obtained from quicksilver, or from the most highly-polished metals.

OPTICAL ILLUSION UNDER WATER.

Procure a large gallipot; place on the bottom, next the side furthest from you, a sixpence, and next to it, but towards the centre, a shilling; move to such a distance as will render the coins invisible; then let another person pour water gently in, and as it rises in the gallipot, it will cause both the sixpence and shilling to be seen, without your approaching nearer to the gallipot, or moving it towards you.

THE MAGIC WHEELS.

Cut out two card-board cog-wheels of equal size; place them upon a pin, and whirl them round with equal velocity in opposite directions; when, instead of producing a hazy tint, as one wheel would do, or as the two would if revolving in the same direction, there will be an extraordinary appearance of a fixed wheel. If the cogs be cut slantwise on both wheels, the spectral wheel, as it may be called, will exhibit slanting cogs; but if one of the wheels be turned, so that the cogs shall point in opposite directions, then the spectral wheel will have straight cogs. If wheels with radii, or arms, be viewed when moving, the deception will be similar; and however fast the wheels may move, provided it be with equal velocity, the magic of a fixed wheel will be presented.

Or, cut a card-board wheel with a certain number of teeth or cogs at its edge; a little nearer the centre, cut a series of apertures resembling the cogs in arrangement, but not to the same number; and still nearer the centre cut another series of apertures, different in number, and varying from the former. Fix this wheel upon another, with its face held two or three yards from an illuminated mirror; spin it round, the cogs will disappear, and a greyish belt, three inches broad, will become visible; but, on looking at the glass through the moving wheel, appearances will entirely change; one row of cogs, or apertures, will appear fixed, as if the wheel were not moving, whilst the other two will appear as if in motion; and, by shifting the eye, other and new effects appear.

These amusing deceptions were first experimented by Mr. Faraday. The simple apparatus for their exhibition may be purchased, for a trifling sum, of any respectable optician.

ACOUSTIC RAINBOW.

A sounding-plate, made of brass, nine inches long, and half a line in thickness, covered with a layer of water, may be employed to produce a rainbow in a chamber which admits the sun. On drawing a violin bow strongly across the plate, so as to produce the greatest possible intensity of tone, numerous drops of water fly perpendicularly and laterally upwards. The size of the drops is smaller as the tone is higher. The inner and outer rainbows are very beautifully seen in these ascending and descending drops, when the artificial shower is held opposite to the sun. When the eyes are close to the falling drops, each eye sees its appropriate rainbow; and four rainbows are perceived at the same time, particularly if the floor of the room is of a dark colour. The experiment succeeds best, if, when a finger is placed under the middle of the plate, and both of the angular points at one side are supported, the tone is produced at a point of the opposite side, a fourth of its length from one of its angles. An abundant shower of drops is thus obtained.

TRANSMISSION OF SOUND.

Suspend any sonorous body, as a bell, a glass, a silver spoon, or a tuning-fork, from a double thread, and put with the finger the extremities of the thread, one in each ear; if the body be then struck, the apparent loudness and depth of the sound will be surprising.

Again, if you shut your ears altogether, you will yet feel very sensible of the impression of any sound conveyed through the mouth, the teeth, or the head: if you put one end of a small stick or rod in the mouth, and touch with the other extremity a watch lying on the table, the beatings will become quite audible, though the ears be actually shut. So, also, if a log of wood be scratched at one end with a pin, a person who applies his ear to the other end will hear the sound distinctly.

Fogs and falling rain, but especially snow, powerfully obstruct the free propagation of sound; and the same effect is produced by a coating of fresh-fallen snow on the ground, though when glazed and hardened at the surface by freezing, it has no such influence.

Over water, or a surface of ice, sound is propagated with remarkable clearness and strength. Dr. Hutton relates, that on a quiet part of the Thames, near Chelsea, he could hear a person distinctly at 140 feet distance, while on the land the same could only be heard at 76 feet. Lieutenant Forster, in the third Polar expedition of Captain Parry, held a conversation with a man across the harbour of Port Bowen, a distance of 6696 feet, or about a mile and a quarter. This, however remarkable, falls short of what is related by Dr. Young, on the authority of the Rev. W. Derham, viz. that, at Gibraltar, the voice has been heard ten miles, perhaps, across the strait.

The cannonade of a sea-fight between the English and Dutch, in 1672, was heard across England as far as Shrewsbury, and even in Wales, a distance of upwards of 200 miles from the scene of action.

At Carisbrook Castle, in the Isle of Wight, is a well 210 feet in depth, and twelve feet in diameter, into which if a pin be dropped, it will be distinctly heard to strike the water. The interior is lined with very smooth masonry.

PROGRESS OF SOUND.

A stretched string, as that of a piano-forte, may be made to vibrate not only from end to end, but in aliquot parts, the portions being separated by points of rest which interrupted the progress of the sound. This kind of effect may be shown by shaking a long piece of cane in the air, when there will be one, two, or three points of rest, according to the mode of vibrating it.

An elastic surface has, likewise, some parts in motion and others at rest; and these parts may be made visibly distinct, by strewing pieces of bristle over them upon the sounding-board of an instrument.

When a bow is drawn across the strings of a violin, the impulses produced may be rendered evident by fixing a small steel bead upon the bow; when looked at by light or in sunshine, the bead will seem to form a series of dots during the passage of the bow.

SOUND TURNING CORNERS.

Take a common tuning-fork, strike it, and hold it, (when set in vibration,) about three or four inches from the ear, with the flat side towards it, when the sound will be distinctly heard; let a strip of card, somewhat longer than the flat of the tuning-fork, be interposed at about half an inch from the fork, and the sound will be almost entirely intercepted by it; and, if the card be alternately removed and replaced in pretty quick succession, alternations of sound and silence will be produced; proving that sound is by no means propagated with so much intensity round the edge of the card, as straight forward. Indeed, to be convinced of this fact, you have only to listen to the sound of a carriage turning a corner from the street in which you happen to be, into an adjoining one. Even where there is no obstacle in the way, sounds are by no means equally audible in all directions from the sounding body; as you may ascertain, by holding a vibrating tuning-fork or pitch-pipe near your ear, and turning it quickly on its axis.

TO TELL THE DISTANCE OF THUNDER.

Count, by means of a watch, the number of seconds that elapse between seeing the flash of lightning and hearing the report of the thunder; allow somewhat more than five seconds for a mile, and the distance may be ascertained. Thus, say the number of seconds is

or the distance may be estimated by remarking the number of beats of the pulse in the above interval; provided, of course, that we know the rate at which the pulse beats in a certain time. In a French work, it is stated that if the pulse beat six times, the distance of the thunder will be about 30,000 feet, or five miles and a half; thus reckoning 5000 feet for each pulsation.

In a violent thunder-storm, when the sound instantly succeeds the flash, the persons who witness the circumstance are in some danger; when the interval is a quarter of a minute, they are secure.

HEARING BY THE TOUCH.

If a deaf person merely place the tips of his finger-nails on the window-shutters or door of a room in which instruments are playing, he may enjoy their concert of harmony.

CONVERSATION FOR THE DEAF.

If two persons stop their ears closely, they may converse with each other by holding a long stick between their teeth, or by resting their teeth against them. The person who speaks may rest the stick against his throat or his breast; or he may rest the stick, which he holds in his teeth, against a glass tumbler or china basin into which the other speaks. The sound may also be heard when a thread is held between the teeth by both persons, so as to be somewhat stretched.

GLASS BROKEN BY THE VOICE.

On vibrating bodies, which present a large surface, the effects of sounds are very surprising. Persons with a clear and powerful voice have been known to break a drinking-glass, by singing the proper fundamental note of their voice close to it. Looking-glasses are also said to have been broken by music, the vibrations of the atoms of the glass being so great as to strain them beyond the limits of their cohesion.

FIGURES PRODUCED BY SOUND.

Stretch a sheet of wet paper over the mouth of a glass tumbler, which has a footstalk, and glue or paste the paper at the edges. When the paper is dry, strew dry sand thinly upon its surface. Place the tumbler on a table, and hold immediately above it, and parallel to the paper, a plate of glass, which you also strew with sand, having previously rubbed the edges smooth with emery powder. Draw a violin bow along any part of the edges, and as the sand upon the glass is made to vibrate, it will form various figures, which will be accurately imitated by the sand upon the paper; or, if a violin or flute be played within a few inches of the paper, they will cause the sand upon its surface to form regular lines and figures.

TRANSMITTED VIBRATION.

Provide a long, flat glass ruler or rod, as in the engraving, and cement it with mastic to the edge of a drinking-glass fixed into a wooden stand; support the other end of the rod very lightly on a piece of cork, and strew its upper surface with sand; set the glass in vibration by a bow, at a point opposite where the rod meets it, and the motions will be communicated to the rod without any change in their direction. If the apparatus be inverted, and sand be strewed on the under side of the rod, the figures will be seen to correspond with those produced on the upper surface.

DOUBLE VIBRATION.

Provide two discs of metal or glass, precisely of the same dimensions, and a glass or metal rod; cement the two discs at their centres to the two ends of the rod, as in the engraving, and strew their upper surfaces with sand. Cause one of the discs, viz. the upper one, to vibrate by a bow, and its vibration will be exactly imitated by the lower disc, and the sand strewed over both will arrange itself in precisely the same forms on both discs. But if, separately, they do not agree in their tones, the figures on them will not correspond.

CHAMPAGNE AND SOUND.

Pour sparkling champagne into a glass until it is half full, when the glass will lose its power of ringing by a stroke upon its edges, and will emit only a disagreeable and puffy sound. Nor will the glass ring while the wine is brisk, and filled with air-bubbles; but, as the effervescence subsides, the sound will become clearer and clearer, and when the air bubbles have entirely disappeared, the glass will ring as usual. If a crumb of bread be thrown into the champagne, and effervescence be re-produced, the glass will again cease to ring. The same experiment will also succeed with soda-water, ginger wine, or any other effervescing liquid.

MUSIC FROM PALISADES.

If a line of broad palisades, set edgewise in a line directed from the ear, and at even distances from each other, be struck at the end nearest the auditor, they will reflect the sound of the blow, and produce a succession of echoes: these, from the equal distance of the palisades, will reach the ear at equal intervals of time, and will, therefore, produce the effect of a number of impulses originating in one point. Thus, a musical note will be heard.

THEORY OF THE JEW’S HARP.

If you cause the tongue of this little instrument to vibrate, it will produce a very low sound; but, if you place it before a cavity, (as the mouth,) containing a column of air, which vibrates much faster, but in the proportion of any simple multiple, it will then produce other higher sounds, dependent upon the reciprocation of that portion of the air. Now, the bulk of air in the mouth can be altered in its form, size, and other circumstances, so as to produce by reciprocation, many different sounds; and these are the sounds belonging to the Jew’s Harp.

A proof of this fact has been given by Mr. Eulenstein, who fitted into a long metallic tube a piston, which, being moved, could be made to lengthen or shorten the efficient column of air within at pleasure. A Jew’s Harp was then so fixed that it could be made to vibrate before the mouth of the tube, and it was found that the column of air produced a series of sounds, according as it was lengthened or shortened; a sound being produced whenever the length of the column was such that its vibrations were a multiple of those of the Jew’s Harp.

MUSIC OF THE SNAIL.

Place a garden-snail upon a pane of glass, and in drawing itself along, it will frequently produce sounds similar to those of musical glasses.

TO TUNE A GUITAR WITHOUT THE ASSISTANCE OF THE EAR.

Make one string to sound, and its vibrations will, with much force, be transferred to the next string: this transference may be seen by placing a saddle of paper (like an inverted v, ?) upon the string, at first in a state of rest. When this string hears the other, the saddle will be shaken, or fall off; when both strings are in harmony, the paper will be very little, or not at all, shaken.

MUSIC FROM GLASS OR METAL RODS.

Provide a straight rod of glass or metal; strike it at the end in the direction of its length, or rub it lengthwise with a moistened finger, and it will yield a musical sound, which, unless its length be very great, will be of an extremely acute pitch; much more so than in the case of a column of air of the same length, as in a flute. The reason of this is the greater velocity with which sound is propagated in solids than in the air. If the rod be metal, the friction will be found to succeed best when made with a bit of cloth, sprinkled with powdered resin; or, if of glass, the cloth or the finger may be moistened and touched with some very fine sand or pumice powder.

Generally speaking, a fiddle-bow, well resined, is the readiest and most convenient means of setting solid bodies in vibration. To bring out their gravest or fundamental tones, the bow must be pressed hard and drawn slowly; but, for the higher harmonies, a short, swift stroke, with light pressure, is most proper.

THE TUNING-FORK A FLUTE-PLAYER.

Take a common tuning-fork, and on one of its branches fasten with sealing-wax a circular piece of card, of the size of a small wafer, or sufficient nearly to cover the aperture of a pipe, as the sliding of the upper end of a flute with the mouth stopped: it may be tuned in unison with the loaded tuning-fork (a C fork), by means of the moveable stopper or card, or the fork may be loaded till the unison is perfect. Then set the fork in vibration by a blow on the unloaded branch, and hold the card closely over the mouth of the pipe, as in the engraving, when a note of surprising clearness and strength will be heard. Indeed, a flute may be made to “speak” perfectly well, by holding close to the opening a vibrating tuning-fork, while the fingering proper to the note of the fork is at the same time performed.

MUSICAL BOTTLES.

Provide two glass bottles, and tune them by pouring water into them, so that each corresponds to the sound of a different tuning-fork. Then apply both tuning-forks to the mouth of each bottle alternately, when that sound only will be heard, in each case, which is reciprocated by the unisonant bottle, or, in other words, by that bottle which contains a column of air susceptible of vibrating in unison with the fork.

THEORY OF WHISPERING.

Apartments of a circular or elliptical form are best calculated for the exhibition of this phenomenon. If a person stand near the wall, with his face turned to it, and whisper a few words, they may be more distinctly heard at nearly the opposite side of the apartment, than if the listener was situated nearer to the speaker.

THEORY OF THE VOICE.

Provide a species of whistle, common as a child’s toy or a sportsman’s call, in the form of a hollow cylinder, about three-fourths of an inch in diameter, closed at both ends by flat circular plates, with holes in their centres. Hold this toy between the teeth and lips; blow through it, and you may produce sounds varying in pitch with the force with which you blow. If the air be cautiously graduated, all the sounds within the compass of a double octave may be produced from it; and, if great precaution be taken in the management of the wind, tones even yet graver may be brought out. This simple instrument or toy, has, indeed, the greatest resemblance to the larynx, which is the organ of voice.

A speaking-machine has been invented in Germany, with which have been distinctly pronounced the words, mamma, papa, mother, father, summer. This instrument consists of a pair of bellows, to which is adapted a tube terminating in a bell, the aperture of which is regulated by the hand, so as to produce the articulate sounds.

SOUND ALONG A WALL.

Whisper along the bare wall of an apartment, and you will be heard much further than in the middle of the room; for the trough or angle between the wall and the floor, forms two sides of a square pipe which conveys the sound.

SOUNDS MORE AUDIBLE BY NIGHT THAN BY DAY.

The experiment with the glass of champagne (page 40) has been employed by Humboldt, in explanation of the greater audibility of distant sounds by night than by day. This he attributes to the uniformity of temperature in the atmosphere by night, when currents of air no longer rise and disturb its equilibrium; as the air-bubbles in the champagne interfere with the vibration within the glass. Again, the universal and dead silence generally prevalent at night, renders our auditory nerves sensible to sounds which would otherwise escape them, and which are inaudible among the continual hum of noises which is always going on in the day time.

MUSICAL ECHO.

If a noise be made in a narrow passage, or apartment of regular form, the echoes will be repeated at equal very small intervals, and will always impress the ear with a musical note. This is, doubtless, one of the means which blind persons have of judging of the size and shape of any room they happen to be in.

VENTRILOQUISM.

The main secret of this surprising art simply consists in first making a strong and deep inspiration, by which a considerable quantity of air is introduced into the lungs, to be afterwards acted upon by the flexible powers of the larynx, or cavity situated behind the tongue, and the trachea, or windpipe: thus prepared, the expiration should be slow and gradual. Any person, by practice, can, therefore, obtain more or less expertness in this exercise; in which, though not apparently, the voice is still modified by the mouth and tongue; and it is in the concealment of this aid, that much of the perfection of ventriloquism lies.

But the distinctive character of ventriloquism consists in its imitations being performed by the voice seeming to come from the stomach: hence its name, from venter, the stomach, and loquor, to speak. Although the voice does not actually come from that region, in order to enable the ventriloquist to utter sounds from the larynx without moving the muscles of his face, he strengthens them by a powerful action of the abdominal muscles. Hence, he speaks by means of his stomach; although the throat is the real source from whence the sound proceeds. It should, however, be added, that this speaking distinctly, without any movement of the lips at all, is the highest perfection of ventriloquism, and has but rarely been attained. Thus, MM. St. Gille and Louis Brabant, two celebrated French ventriloquists, appeared to be absolutely mute while exercising their art, and no change in their countenances could be discovered.

It has lately been shown, that some ventriloquists have acquired by practice the power of exercising the veil of the palate in such a manner, that, by raising or depressing it, they dilate or contract the inner nostrils. If they are closely contracted, the sound produced is weak, dull, and seems to be more or less distant; if, on the contrary, these cavities are widely dilated, the sound will be strengthened, the voice become loud, and apparently close to us.

Another of the secrets of ventriloquism, is the uncertainty with respect to the direction of sounds. Thus, if we place a man and a child in the same angle of uncertainty, and the man speaks with the accent of a child, without any corresponding motion in his mouth or face, we shall necessarily believe that the voice comes from the child. In this case, the belief is so strengthened by the imagination; for if we were directed to a statue, as the source from which we were to expect sounds to issue, we should still be deceived, and refer the sounds to the lifeless stone or marble. This illusion will be greatly assisted by the voice being totally different in tone and character from that of the man from whom it really comes. Thus, we see how easy is the deception when the sounds are required to proceed from any given object, and are such as they actually yield.

The ventriloquists of our time, as M. Alexander and M. Fitz-James, have carried their art still further. They have not only spoken by the muscles of the throat and the abdomen, without moving those of the face, but have so far overcome the uncertainty of sound, as to become acquainted with modifications of distance, obstruction, and other causes, so to imitate them with the greatest accuracy. Thus, each of these artists has succeeded in carrying on a dialogue; and each, in his own single person and with his own single voice, has represented a scene apparently with several actors. These ventriloquists have likewise possessed such power over their faces and figures, that, aided by rapid changes of dress, their personal identity has scarcely been recognised among the range of personations.

Vocal imitations are much less striking and ingenious than the feats of ventriloquism. Extraordinary varieties of voice may be produced, by speaking with a more acute or grave pitch than usual, and by different contractions of the mouth. Thus may be imitated the grinding of cutlery on a wheel, the sawing of wood, the frying of a pancake, the uncorking of a bottle, and the gurgling noise in emptying its contents.

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