The investigations of modern science have borne rich fruit, not only by vastly extending our knowledge of the universe of things around us, but also making us acquainted with the mode in which certain agents act upon our bodily organs, and by revealing, up to a certain point, what may be termed the mechanism of that most wonderful thing—the human mind—or, at least, that part which is immediately concerned in the perceptions of an external world. Of all the physical influences which affect the human mind, those due to light are the most powerful and the most agreeable. One of the most ancient of philosophers says, in the simple words which are appropriate to the expression of an undeniable truth, “Truly the light is sweet, and a pleasant thing it is for the eyes to behold the sun.” The impression produced by light alone is a source of pleasure—a cheering influence of the highest order; and there is a special character in the pleasing effects of light, from the circumstance that they do not exhaust the sense so quickly as do even pleasurable impressions on other organs—such as sweet tastes, fragrant odours, or agreeable sounds. Sight is not liable to that satiety which soon overtakes the enjoyment of sensations arising The nature of the impressions we receive through the eye is extremely varied; for we thus perceive not only the difference between light and darkness, but in the sensations of colour we have quite another class of effects, while the lustre and sparkle of polished and brilliant objects add new elements of beauty and variety. We find examples of the latter qualities in the verdant sheen of the smooth leaf, in the splendid reflections of burnished gold, in the bright radiance of glittering gems, and “in gloss of satin and glimmer of pearls.” The eye is also the organ which conveys to our minds the impressions of visible motion, with all those pleasures of exciting spectacle which enter so largely into our enjoyment of life. It likewise discriminates the forms, sizes, and distances of objects; but by a process long misunderstood, and dependent upon a set of perceptions which, although precisely those whence we derive our most fundamental notions of the objects around us, have been completely overlooked in that time-honoured enumeration of the senses which recognizes only five. If such be the extent to which our minds are dependent upon the wonderful apparatus of the eye, it may easily be imagined what must be the comparative narrowness of mental development in those who have never enjoyed this precious sense, and the feeling of deprivation in those, who, having enjoyed it, have unfortunately lost it. Well may our sublime poet despairingly ask— “Since light so necessary is to life, And almost life itself—if it be true That light is in the soul— The all in every part: why was the sight To such a tender ball as the eye confined, So obvious and so easy to be quenched?” —for he himself, in his own person, experienced this deprivation, and he thus touchingly, in his great work, laments his loss: “Thus with the year Seasons return; but not to me returns Day, or the sweet approach of even or morn, Or sight of vernal bloom, or summer’s rose, Or flocks, or herds, or human face divine; But cloud instead, and ever-during dark Surround me; from the cheerful ways of men Cut off; and for the book of knowledge fair Presented with a universal blank Of Nature’s works—to me expunged and rased, And wisdom at one entrance quite shut out.” An organ which is the instrument of so many nice discriminations as is the eye must, of course, present the most delicate adjustment in its parts. So much has in recent times been learnt of the nature of its mechanism; of the relation between the impressions made upon it and the judgments formed by the mind therefrom; of the illusions which its very structure produces; of the defects to which it is liable; and of its wonderfully THE EYE.Fig. 234.—Vertical Section of the Eye. The form of the human eye and the general arrangement of its parts may be understood by referring to Fig. 234, which is a section of the eyeball. It has a form nearly globular, and is covered on the outside by a tough firm case, A, named the sclerotic coat, which is, for the most part, white and opaque. This covering it is which forms what is commonly termed the “white of the eye;” but in the front part of the eyeball it loses its The general disposition of the parts of the eye with regard to light will be most easily understood by comparing it with an optical instrument, to which it bears no little resemblance, namely, the camera obscura, so well known in connection with photography. We may picture to ourselves a still more complete resemblance, by imagining that the lens of the camera is single, that we have fixed in front of it a watch-glass, with the convex side outwards, and that we have filled with water the whole of the interior of the camera, including the space between the watch-glass and the lens. The focussing-screen of the camera corresponds with the inner surface of the back of the eyeball, about which we shall presently have more to say. Now, even if the camera had no lens, but were simply a box filled with water, and having in front the watch-glass, fixed in the manner just mentioned, we could obtain the images of objects on the screen, as a consequence of the curvature of the watch-glass. It would, however, in this case, be necessary to have the camera much longer, or, in other words, the rays would be brought to a focus at a greater distance than if we put in the glass lens, which would, thus placed in the water, cause the rays to converge to a focus at a much shorter distance, although its effect when surrounded by water would be less powerful than in the air. There we see the effect of the crystalline lens of the eye in bringing the rays to a focus within a much shorter distance than that which would be required had there been present only the curved cornea, and the aqueous and vitreous humours of the eye, which are but little different from pure water in their optical properties. If we focus the camera by adjusting the distance between the lens and the screen so as to get a distinct image of a near object, we should find, on directing the instrument to a distant one, that the image would be blurred and indistinct, and the lens would have to be moved nearer to the screen; or we could get the image of the distant object distinct by replacing the lens by another lens in the same position, but having some flatter curvature. It is plain that the same object would be gained if our lens could be made of some elastic material, which, on being pulled out radially at its edges, could be made to assume the required degree of flatness without losing its lenticular form. Now, it is precisely with an automatic adjustment of this kind that the crystalline lens of the eye is provided, for the lens is suspended by an elastic ligament, G, by the tension of which its surfaces Fig. 235. Section of Retina. These optical adjustments give, on the inner surface of the coats of the eye, a more or less perfect real image of the objects to which the eye is directed, and it is on the back part of this inner surface that the network of nerves, called the retina, H, is spread out. The sclerotic coat, already spoken of, is lined internally with another, named the choroid, which is composed of delicate blood-vessels, intermingled with a tissue of cells filled with a substance of an intensely black colour. It is upon this last layer that the delicate membrane of the retina is spread out between the choroid and the vitreous humour. The retina is, in part, an expansion of the fibres of the optic nerve over the back part of the eyeball. If we suppose the globe of this cut vertically into two portions, and so divide the front from the back part of the eye, the retina would be seen spread out on the concave surface of the back part, and in the middle of this part, opposite the crystalline lens, would be seen a spot in which the retina assumes a yellowish colour, and in the centre of this, a little round pit or depression. The spot is called the macula lutea, or yellow spot, and the little central pit, which is of the highest importance in vision, is termed the fovea centralis. A little way from the yellow spot, and nearer the nose, is a point from which a number of fibres are seen to radiate, and this is, in fact, the part at which the optic nerve enters the eyeball, and from which it sends out its ramifications over the retina. This part, for a reason which will shortly appear, is called the blind spot. When the minute structure of the retina is examined by the microscope, its physiological elements are found to undergo very remarkable modifications at the yellow spot. In the retina, although the total thickness does not exceed the 1 Fig. 236. Of the part played by each of these delicate structures in exciting visual impressions little is yet known. How light, or the pulsations of ether, if such there be, is ultimately converted into sensation will probably for ever remain a mystery, although it is quite likely that the kind of visual impression which is conveyed by each part of the elaborate structure of the retina may ultimately be distinguished. One curious result of modern investigation is that light falling directly upon fibres of the optic nerve is quite incapable of exciting any sensation whatever. Light has no more effect on this nerve and its fibres than it would have on any other nerve of the body if exposed to its action. The apparatus of rods, cones, and other structures are absolutely essential to enable light to give that stimulus to the optic nerve which, conveyed to the brain, is converted into visual sensations. So if this apparatus were absent in our organs of vision, in vain would the optic nerve proper be spread out over the interior of the eyeball: we should be no more able to see with such eyes than we are able to see with our hands. We now invite the reader’s careful consideration to the diagram, Fig. 236, which is a section of the retina through the yellow spot. The upper part of the figure is the front, and the deep depression is the little pit already spoken of—the fovea centralis. The lowest dark line represents the basement membrane of the retina, and immediately above is seen the layer of rods and cones, and the various strata already spoken of are represented in their due order in the marginal parts of the diagram. Now observe the remarkable modifications of the nervous structures in the neighbourhood of the fovea centralis, some of which are visible in the diagram. In the first place, the cones are there much longer, more slender, and more closely set, so that there is a far greater number of them on a given surface; but We should not have risked wearying the reader with these details concerning the little pit in the centre of the retina had it not possessed an extreme importance in the mechanism of the eye, a fact which he will at once appreciate when we say that of the whole surface of the retina, the only spot where the image of an object can produce distinct vision is the fovea centralis. Since this is undoubtedly true, it follows that the physiological elements which we there find are precisely those which are most essential for producing this effect. The case may be exemplified by recurring to the comparison of the eye with a photographer’s camera, by supposing his screen to be of such a nature that only on one very small spot near its centre could a distinct image be possibly obtained of just one point of an object. Such a defect in his camera would render the photographer’s art impossible, and this defect (if it may be so called) in the eye would render it almost equally useless, had not an adjustment, which more than compensates for it, been afforded in the extreme mobility of our organs of vision. This adjustment is so perfect that people in general do not even suspect that the image of each point of an object which they distinctly see must be formed on one particular spot on the retina—a spot about one-tenth of the diameter of an ordinary pin-head! We may venture, without any disrespect to the reader, to assume that the chances are that it is new to him to learn how each letter in the lines beneath his eye must successively, but momentarily, form its image in the very little pit in the centre of his retina; and the chances are at least a hundred to one that, even if aware of this, he has passively received the statement, and that he has not made the least attempt to realize the truth for himself. Yet nothing is easier. Let him request a friend to slowly peruse some printed page, while he meanwhile intently watches his friend’s eyes. He will then perceive that before a single word can be read there is a movement of the eyeballs, which are, quite unconsciously to the person reading, so directed that the image of each letter (for the area of distinct vision is incapable of receiving more than this at once) shall fall upon the only parts of the retinÆ from which a distinct impression can be conveyed along the optic nerve. Thus it is that the eye, without any conscious effort of the observer, is directed in succession to the various points of an object, and it is only by an effort of will in fixing the eyes upon one spot that one becomes aware of the blurred and confused forms of all the rest of the visual picture. Yet so readily do the eyeballs turn to any part of the indistinct picture on which the attention is fixed, that it is not improbable a person unversed in such experiments, wishing to verify our conclusions by looking, Fig. 237.—Muscles of Eyes. This extreme mobility of the eyeballs more than compensates for the loss of the clear and well-defined picture, for it calls into action one of the most sensitive of all the impressions of which we are capable, and one which possesses in so high a degree the power of uniting with our other sensations, that this sixth sense has been, as already stated, utterly overlooked, except by the more modern students of the nature of our sensations. It is usually termed the muscular sense, and to it are due some of the nicest distinctions of impressions of which we are capable. The muscles of every part of our frame take their part in producing impressions in our minds, and those of the eyeballs have a very large share in furnishing us with ideas of forms and motions. Fig. 237 is a diagram showing the general arrangement of these muscles; and their anatomical designations, which need not much concern us at present, are given beneath the figure. The wonder is, that the sensations arising from the relative conditions of parts so few, should afford us the immense variety of notions referrible for their origin to these muscles only. We take one example in Although the blurred and indefinite retinal picture may be compensated, and perhaps more than compensated, by the readiness with which the eyes move, it is, of course, possible that greater precision and delicacy of visual impression over the whole surface of the retina might be consistent with a still greater increase of our powers of perception. There are instances in which the absence of finish, as it may be termed, in all but one little spot in the picture, proves a real inconvenience and a sensible deprivation. Perhaps a friend calls our attention to the fact that a balloon is sailing through the air, or some fine morning, hearing in the fields the blithe song of the sky-lark, we look up and vainly try to bring the small image upon the place of distinct vision. Now, if an image which falls upon any other part of the retina is perceived, even indistinctly, an instant suffices to direct the eyes into the exact position requisite for clear vision—an example of the marvellous precision with which impressions are put in relation to each other by the unconscious action of the brain. But while an image on the fovea, only 1 We have said that the fibres of the optic nerve, entering the back part of the eyeball, at K, Fig. 234, ramify over the anterior surface of the retina in fibres which form a layer of considerable relative thickness. The light, therefore, first encounters these nerves, and only after traversing their transparent substance does it reach the deeper seated layer of rods and cones, where it excites some action that is capable of stimulating the optic Fig. 238. 1. The cones are more developed and more numerous in the spot where vision is most distinct. 2. The “blind spot” is full of fibres of the optic nerve, but is absolutely insensible to light, and is without rods or cones. 3. We can distinguish an image on the fovea, having only 1 To some readers the fact will doubtless be new, that a considerable portion of the eye is quite insensible to light, namely, that portion already designated as the “blind spot.” A simple experiment, made by help of Fig. 238, will prove this. Place the book so that the length of the figure may be parallel to the line joining the eyes, and let the right eye be exactly opposite the white cross, and at a distance from it of about 11 in. If the left eye be now closed, while with the right the cross is steadily viewed so that it is always clear and distinct, the white circle will completely disappear, and the ground will appear of a uniform black colour. In order to insure success, the observer must be careful not to look at the white circle, but at the cross, and some persons find this more difficult than others. The position of the blind spot in the eye has been already mentioned, and its significance in showing the insensibility to light of the fibres of the optic nerve has been pointed out. In the table of the dimensions of some parts of the eye, which, for convenience of reference, is given together below, it will be seen that the diameter of the blind spot is considerable compared with the size of the retina, its greatest diameter being about 8 The following are the dimensions in English inches of some parts of the eye:
By means of an instrument to be presently described, the ophthalmoscope, it is possible to view directly the whole surface of the retina, and to observe the inverted images of the objects there depicted. It is thus observed that it is only on the parts near the yellow spot that the images are formed with clear and sharp definition. Away from this the definition is less perfect; and besides the diminished sensitiveness of the retina, this circumstance contributes to the vagueness of the visual picture, although the falling off in clearness of vision at a very little distance from the yellow spot is far more marked than the loss of definition in the image there formed. Until within the last few years it has been most confidently asserted by many authors that the eye, considered as an optical instrument, is absolutely perfect, and entirely free from certain defects to which artificial instruments are liable. Thus Dr. W. B. Carpenter states, in his “Animal Physiology” (1859): “The eye is much more remarkable for its perfection as an optical instrument than we might be led to suppose from the cursory view we have hitherto taken of its functions; for, by the peculiarities of its construction, certain faults and defects are avoided, to which all ordinary optical instruments are liable.” Among the imperfections which are completely corrected in the eye, he names “spherical aberration” and “chromatic aberration”—both of which give rise to certain defects in optical instruments. But by recent careful investigations it has been conclusively shown that the eye is not free from chromatic aberration; that it has defects analogous to spherical aberration; and that there are, besides, certain optical imperfections in its structure, which are avoided in the artificial instruments. Professor Helmholtz, one of the most distinguished of German mathematicians, physicists, and physiologists, whose great work on “Physiological Optics” is the most complete treatise on the subject which has ever appeared, is so far from considering the eye as possessed of all optical perfections that he remarks that, should an optician send him an instrument having like optical defects, he would feel justified in sending it back. The defects which may be traced in the eye, considered as an optical instrument, do not, however, he admits, detract from the excellence of the eye considered as the organ of vision. When we find that Sir Isaac Newton pointed out the chromatic aberration Although the want of achromatism in the eye thus escapes ordinary notice, it is, on the other hand, easy to render it evident by simple experiments. If, for example, we view from a certain distance the solar spectrum projected on a white screen, it will be found that, when we see the red end quite distinctly, the violet end will, at the same time, appear vague and confused, and vice versÂ. The author believes that the following very simple experiment will at once convince any person that the fact is as stated. Procure a small piece of blue or violet stained glass, and another piece of red glass, and, having cut out of an opaque screen a rectangular opening, say ½ in. long and ¼ in. wide, place the glasses close to it, so that one-half the opening is covered by the red glass and the other half by the violet glass, the two being placed so that, on looking through the screen, a violet square and a red square are visible. The opaque screen may be made of black paper, cardboard, or tinfoil, and the edges of the opening must be cut perfectly even. On looking through this arrangement, held at a distance of about two feet from the eye, both squares may be seen distinctly by a person of ordinary vision; but, at a distance of five inches from the eye, he will find it impossible to see the squares otherwise than with vague and ill-defined edges. This is because the crystalline lens cannot adapt its curvature so as to bring the rays from the object to a focus on the retina. Now, by trial, the nearest distance at which each of the coloured squares becomes visible may be found, and it will be observed, that the violet square is first sharply defined at a less distance than the red, whereas, if the eye brought the red and violet rays to a focus at the same point, the smallest distance of distinct vision would coincide in both cases. The reader may observe the same fact for himself, in even a still simpler manner, by turning to Fig. 238, page 461. When the white circle is viewed by one eye, at a distance of about a foot, and an opaque screen, such as a coin, is held close to the eye, so that the pupil is half covered by it, the one side of the white circle will appear bordered by a narrow fringe of blue, and the other side by a narrow fringe of orange. If the opaque screen be shifted from one side of the pupil to the other, the colours will change places, the orange appearing always on the same side of the white circle as the screen is held before the eye. The same appearances are presented in a still more marked degree when the full moon is made the subject of the experiment. The diagram, Fig. 239, shows the course of the red and violet rays from In viewing an object—the moon, for example—the accommodation of the eye is like that indicated in the diagram. The distinct image due to the red rays would be formed behind the retina, and that due to the violet rays would be in front of it. In the image on the retina the most intense rays—such as the orange, yellow, and green—are those which are blended by the adjustment of the eye, and the red and violet form images more out of focus (to use a common expression), and a very little larger than the more intense image. We might expect that a white disc would therefore appear with a fringe of colour, resulting from a mixture of red and violet; but the fringe is too narrow, and the colour itself too feeble, to become perceptible. When, however, the pupil of the eye is half covered, the red and violet images are displaced in different directions, the position of the retina being too far forward for the one, and too far back for the other. The coincidence therefore ceasing, the colours show themselves at the margins of the image. Fig. 239. The non-perception under ordinary circumstances of the chromatic aberration of the eye is largely due to the greater intensity of the colours which differ least in their refrangibilities. The clearness of our vision does not, therefore, practically suffer from this defect of the eye. Professor Helmholtz constructed lenses which rendered his eyes really achromatic, and looking through these when the pupil was half covered, no coloured fringes were seen at the edges of dark or light objects, or when the objects were looked at with an imperfect accommodation of the eye. He was, however, unable to detect any increase of clearness or distinctness of vision by the correction. The eye is also subject to other aberrations and irregular refractions, which are special to itself; for example, with moderately illuminated objects the crystalline lens produces images apparently well defined, and nothing is visible to suggest the absence of uniformity in its structure. But when the light is intense, and concentrated in a small object surrounded by a dark field, the irregular structure of the crystalline lens shows itself in the most marked manner. Every one must have noticed the appearance presented by the distant street-lamps on a dark night, and by the stars. The latter Fig. 240. The light which enters the eye is partly absorbed by the black pigment of the choroid, and partly sent back by diffused reflection from the retina through the crystalline lens and pupil. The image of a luminous body as depicted on the retina of another person cannot be seen by us under ordinary circumstances, because, by the principle of reversibility already mentioned as of universal application in optics, the rays which issue from the retinal images are refracted on leaving the eye, and follow the same paths by which they entered it, so that they are sent back to the object. An observer cannot see the retinal image of a candle in another person’s eye, unless he allows the rays to enter his own, and this cannot be done directly, because the head of the observer would be interposed between the candle and the eye observed, and the light would then be intercepted. By holding a piece of unsilvered plate glass vertically, we may reflect the light of a candle into the eye of another person, and then the light thrown out from the retinal image of the candle will, on again meeting the surface of the glass, be in part reflected to its source, and in part pass through the glass, on the other side of which it may be received into the eye of an Fig. 241.—Ruete’s Ophthalmoscope. Ruete’s ophthalmoscope is represented in Fig. 241. The parts of the instrument are supported on a stand, C, and about the vertical axis of this the column, D, and the arms, H and K, can turn freely and independently; E is a concave metallic mirror, about 3 in. in diameter, and having an aperture in its centre through which the observer, B, looks. The arm, H, merely carries a black opaque screen, which serves to shield the eye of B from the light of the lamp, and to reduce, if required, the amount of light passing through the aperture in the mirror. The arm, K, which is about a foot in length, carries two uprights which slide along it, and in each of these slides a rod bearing a lens, which can thus be adjusted into any required position. The instrument is used in an apartment where all light but that of the lamp can be excluded. In the instrument just described an inverted image is obtained, which is sufficient for ordinary medical purposes, but this construction does The appearance presented by the back of the eye when viewed in the ophthalmoscope is represented in Fig. 242. The retina appears red, except at the place where the optic nerve enters, which is white. On the reddish ground the retinal blood-vessels can be distinguished; A, A, A, branches of the retinal artery, have a brighter red colour, and more strongly reflect the light than the branches, B, B, B, of the retinal vein. Among these, and especially towards the margin, are seen, more or less distinctly, the broader vessels of the choroid. Above the optic nerve and a little to the right may be observed the fovea centralis. Fig. 242. During the last twenty years the ophthalmoscope has been the chief means of extending the knowledge of oculists regarding the diseased and healthy conditions of the eye. In this way the substance of the lens and the state of the humours can be directly seen, the causes of impaired vision can be discovered, and the nature of many maladies made out with certainty. This modern invention, by which the interesting spectacle of the interior of the living eye can be observed, has therefore been far from proving a barren triumph of science. Many insidious maladies can thus be detected, and may be successfully treated before the organ has become hopelessly diseased. In some cases the ophthalmoscope gives the most certain evidence of the existence of obscure and unsuspected diseases of other parts of the body. VISUAL IMPRESSIONS.Everybody knows that, however well the flat picture of an object may imitate the colours and forms of nature, we are never deceived into supposing that we have the real object before us. There must, therefore, be something different in the conditions under which we see real objects from those under which we view their pictures. The most favourable circumstances for receiving an illusive impression of solidity from a flat picture, is when we view it from a fixed position and with one eye. This is because one means by which we unconsciously estimate distances depends upon the changes in the perspective appearances of objects caused by changes in our point of view. In many cases these changes in the perspective are the only means we have of judging of the relative distances of objects. But there is another circumstance which is still more intimately connected with our perception of solidity. Each eye receives a slightly different image of the objects before us (unless these be extremely remote), inasmuch as they are viewed from a different point. When the objects are very near, the two retinal images may differ considerably, as the reader may convince himself by viewing with each eye, alternately, objects immediately before him, while the other eye is closed, and the head all the while motionless. The nearer objects will plainly appear to shift their positions as seen against the back-ground of the more distant objects; and a somewhat more careful observation will reveal changes of perspective, or apparent form, in every one of these objects. An extreme case is presented in that of a playing card, or thin book, held in the plane which divides the eyes. The back or the face, the one side or the other, will be seen, according as the right or the left eye is opened. If we close the left eye, the displacement and change of apparent form produced by a slight movement of the head are sufficiently obvious; a movement of the head 2½ in. to the left causes a decided change in the relative positions of adjacent objects. It is plain, however, that it is precisely from a point 2½ in. to the left that the left eye views these objects, and hence the perspective appearance seen by the left eye must have the difference due to this shifting of the point of view. On the other hand, if one looks at a picture, or flat surface, placed immediately in front, no change in the relative positions of its parts is discernible by viewing it with either eye alternately. Not but that there is a difference in the retinal images in the two cases, but there is an absence of any point of comparison by which the change may be judged. If we take a photograph of a statue, it will, when viewed by one or the other eye, present the difference of the retinal images which is due to a flat surface; the parts of the photographic image will be of slightly different proportions as seen by each eye. If, instead of the photograph we have before our eyes a statuette, each eye will see a quite different view: the right eye will see a portion which is invisible to the left eye, and vice versÂ, and, in fact, we shall see more than half round the object. Here, then, we have certain differences of the retinal pictures when solid objects are viewed, and these differences by innumerable repetitions have, unconsciously to ourselves, become associated with notions of solidity, of something having length, breadth, and depth, or thickness. The marvellous delicacy of these perceptions will be alluded to hereafter. This may be done without the aid of any instrument, as almost any person may discover after some trials with nothing but a stereoscopic slide, if he can succeed in maintaining the optic axis of his eyes quite parallel. In such a case he will observe the stereoscopic effect by the fusing together, as it were, into one sensation, of the impression received by the right eye from the right photograph, with that received by the left eye from the left photograph. But as each eye will, at the same time, have the photograph intended for the other in the field of view, the observer will be conscious of a non-stereoscopic image on each side of the central stereoscopic one. These outside images are, however, very distracting, for the moment the attention is in the least directed to them, the optic axes converge to the one side or the other, losing their parallelism, and the stereoscopic effect vanishes, because the images no longer fall in the usual positions on the retinÆ. It is, in consequence, only after some practice that one succeeds in readily viewing stereoscopic slides in this manner, but the acquirement is a convenient one when a person has rapidly to inspect a number of such slides, for he can see them stereoscopically without putting them in the instrument. Many persons, however, find great difficulty in acquiring this power. In such cases it is well to begin by separating the two photographs by means of a piece of cardboard, covered with black paper on both sides. When this is held in the plane between the eyes, each eye sees only its own photograph, and the observer is not troubled with the two exterior images. After a little practice in this way, the cardboard may usually be dispensed with, and the observer will insensibly have acquired the habit of viewing the slides stereoscopically, without any aid whatever. Fig. 243.—Wheatstone’s Reflecting Stereoscope. Instruments have, however, been contrived which enable one to obtain the desired result without effort; and one form of these is now tolerably Fig. 244. Brewster’s stereoscope—which is far more widely known than Wheatstone’s—has two acute prisms, or, more usually, two portions of a convex lens are cut out, and placed with their margins or thin parts inwards, and they thus produce the same effect as would be obtained by combinations of a prism with a convex lens. Another very common form of the stereoscope has merely two convex lenses. The effect of the convex lenses is to increase the apparent size of the images by diminishing the divergence of the rays emitted by each point, producing the appearance of larger designs seen at a greater distance. The effect of the prism is to give the rays the direction which they would have if they proceeded from an object placed in a position immediately between the two designs, and an additional element by which we estimate distance, namely, the convergence of the optic axes, is made to aid in the illusion, when the rays proceeding from the two different pictures have approximately the inclination that they would have if they emanated from real objects at the place where the image is apparently formed. The box or case in which the lenses or lenticular prisms are placed takes various forms. One of the most common is represented in Fig. 244, but the stand on which it is mounted is not a necessary part of the instrument, although it is sometimes convenient. A handsome form is met with as a square case, enclosing a number of photographic stereoscopic views mounted on an endless chain in such a manner that they are brought successively into view by turning a knob on the outside. When an instrument of this kind is fitted up with a series of the beautiful landscape transparencies, which are produced by certain continental photographers, a more perfect reproduction of the impressions derived from nature, exclusive of colour, cannot be conceived. We seem to be present on the very spots which are so truthfully depicted by the subtile pencil of the sunbeam; we feel that we have but to advance a foot in order to mix with the passengers in the streets of Paris or of Rome, and that a single step will bring us on the mountain-side, or place us on the slippery glacier; at our own fireside we can feel the forty centuries looking down upon us from the heights of those grand Egyptian pyramids, and find ourselves bodily confronted with the mysterious Sphinx, still asking the solution of her enigma. The truth and force with which these stereoscopic photographs reproduce the relief of buildings are such, that when one sees for the first time the real edifice of which he has once examined the stereoscopic images, it no longer strikes him as new or unknown; for he derives Fig. 245. But of all subjects of stereoscopic photography the glaciers are, perhaps, those which best show the power of the instrument as far surpassing all other resources of graphic presentation. The most careful painting fails to convey a notion of the strange glimmer of light which fills the clefts of the ice, seen through the transparent substance itself. The simple photograph commonly presents nothing but a confused mass of grey patches; but combine in the stereoscope two such photographs, each formed of nothing but slightly different grey patches, and a surprising effect is at once produced: the masses of ice assume a palpable form, and the beautiful effects of light transmitted or reflected by the translucent solid reveal themselves. Another very beautiful class of subjects for stereoscopic slides is found in those marvellous instantaneous photographs, which seize and fix the images of the waves as they dash upon the shore. Here a scene which has tasked the power of the greatest painter is brought home to us with such force and vividness that we all but hear the wild uproar of the breakers. But for the art of photography the stereoscope would not thus be ready to minister to our enjoyment, for no pictures wrought by man’s handiwork could approach the requisite accuracy which the two stereoscopic pictures must possess. All attempts to produce such pictures by engraving or lithography have failed, except only in the case of linear geometrical designs, such as representations of crystals. A very useful and suggestive application Some of the principles of stereoscopic drawings may be seen exemplified by the pair we give in Fig. 245. With this figure the reader may attempt the experiment of seeing the stereoscopic effect without the stereoscope. When he has succeeded in doing this, or when he fuses the images together by placing a simple stereoscope over the page, he will find the result very singular; for he will receive the impression of a solid crystal of some dark polished substance—black lead, for instance—placed on a surface of the same material. The edges of the solid will appear to have a certain lustre, such as one sees on the edges of a real crystal. The reason of this impression being produced by two drawings, one of which is formed by black lines on a white ground, while the other has white lines on a black ground, is probably due to the circumstance that we very often see in nature the lustrous edges of an object with one eye only. That is, one eye is in the path of the rays which are regularly reflected from the object, while the other is not,—a fact which may be verified in an instant by looking first with one eye and then with the other, at a polished pencil, or similar object, when placed in a certain position. There is a kind of modification of the reflecting stereoscope, known under the name of the pseudoscope, which is highly instructive, as showing how much our notions of the solidity of objects are due to the differences of the retinal images. In the pseudoscope the rays reach the eyes after passing through rectangular prisms in such a manner that objects on the right appear on the left, and objects on the left appear on the right; but the images agree by reason of the symmetry of the reflection, although the image of the objects that without the instrument would be formed in the right eye is, by the action of the prisms, formed in the left eye, and vice versÂ. The impressions produced are very curious: convex bodies appear concave—a coin, for example, seems to have the image hollowed out, a pencil appears a cylindrical cavity, a globe seems a concave hemisphere, and objects near at hand appear distant, and so on. These illusions are, however, easily dispelled by any circumstance which brings before the mind our knowledge of the actual forms, and by a mental effort it is possible to perceive the actual forms even with the pseudoscope, and indeed to revert alternately, with the same object, from convexity to concavity. This last effect is very curious, for the object appears to abruptly change its form, becoming alternately hollow and projecting, according as the mind dwells upon the one notion or the other; but the experiment is attended with a feeling of effort, which is very fatiguing to the eyes. Professor Helmholtz has contrived another very curious instrument, depending on the same principles as the stereoscope. He terms it the telestereoscope, and while the effect of the pseudoscope is to reverse the relief of objects, the telestereoscope merely exaggerates this relief; hence Fig. 246.—The Telestereoscope. It is upon a similar principle that stereoscopic views of some of the celestial bodies have been obtained. Admirable stereoscopic slides of the moon have been produced by photographing her at different times, when the illumination of the surface is the same, but when, in consequence of her libration, somewhat different views of our satellite are presented to us. Two such photographs, properly combined in the stereoscope, give not only the spherical form in full relief, but all the details of the surface: the mountains, craters, valleys, and plains are seen in their true relative projection. The telestereoscope may be inverted, so to speak, and its effect reversed; for an arrangement of mirrors similarly disposed, but on such a scale as will permit the eyes to be respectively in the lines c d and f g, would reflect from objects in the direction L R rays which would have but little of the difference of direction to which the stereoscopic effect is due. Hence solid objects viewed with such an instrument appear exactly like flat pictures, the effect being far more marked than in simply viewing them with one eye. An ingenious method of exhibiting a stereoscopic effect to an audience Every student of this interesting subject should examine a few stereoscopic images produced by simple lines representing geometrical figures, or the photographs of the model of a crystal, as these exhibit in the most striking manner the conditions requisite for the production of stereoscopic effects. A person having a little skill in perspective and geometry might construct the two stereoscopic images of a body defined by straight lines, but the drawings must be executed with extreme exactitude, for the least deviation would produce the most marked effect in the stereoscopic appearance. The production of stereoscopic photographs now forms a considerable branch of industrial art. At first, these photographs were made by taking the two different views with the same camera at two operations. But there were difficulties in obtaining uniformity of depth in the impressions, and the change in the shadows produced by the earth’s rotation showed itself—although the interval between the two exposures might not exceed three or four minutes. The increased shadows in such cases show themselves in the stereoscope, like dark screens suspended in the air. It was Sir David Brewster who, in 1849, first proposed the plan now universally adopted, of producing the views simultaneously by twin cameras forming their images on different parts of the same sensitive plate, the centres of the lenses being placed at the same distance apart as a man’s eyes, that is, from 2½ to 3 in. This is, of course, the only manner in which instantaneous views can be secured. Helmholtz, however, advocates the photographs of remote objects being taken at a much greater distance apart, for they otherwise present little appearance of relief. By selecting from an assortment of slides, two views of the Wetterhorn, taken from different points in the Grindelwald valley, and combining these in the stereoscope, he found that a far more distinct idea of the modelling of the mountain could be thus obtained than even a spectator of the actual scene would receive by viewing the mountain from any one point. Such a mode of combining the photographs would produce in the stereoscope the same effect as the telestereoscope would in the landscape, but the effect would be caused to a proportionately far higher degree. The date of Wheatstone’s first publication regarding the stereoscope was 1833; but a complete description and theory of the instrument was not published until five years afterwards. Brewster first made public, in 1843, his invention of the stereoscope with lenses, which is now so familiar to us, and few scientific instruments have become so quickly and extensively popular; certainly no other simple and inexpensive instrument has contributed so largely to the amusement and instruction of our domestic circles. And, to the philosopher who studies the nature of our perceptions, the stereoscope has been even more instructive, for, instead of vague surmises, Fig. 247. The part which the muscles of the eyes take in our perceptions of form has been already alluded to, and it may be interesting to illustrate this point by a curious example or two of illusions arising from their movements. If our reader will glance at Fig. 247, he will see that the lines, a b and c d, appear to be farther apart towards the centre than at the ends, while f g and h i, on the other hand, appear nearest together in the middle. He will hardly be convinced that in each case the lines are quite parallel until he has actually measured the distances. A still more striking example of the same kind of illusion is shown by Fig. 248, due to ZÖllner. This appears a sort of pattern, in which the broad bands are not upright, but sloping alternately to the right and left, and with the spaces between the lines wider at one end than the other. The lines in the figure are, however, strictly parallel. The illusion by which they appear divergent and convergent is still more strongly felt when the book is held so that the wider bands are inclined at an angle of 45° to the horizon. There is another illusion here with reference to the short lines, which will appear to be opposite to the white spaces on the other side of the long lines to which they are attached. That these illusions are really due to movements of the eyes may be proved by viewing the designs in any manner which entirely prevents the movement, as by fixing the gaze on one spot in the case of Fig. 247, when the illusion will vanish; but this plan is not so easily applied to Fig. 248. A convincing proof, however, will be found in the appearance of these figures when they are viewed by the instantaneous light of the electric spark, as when a Leyden jar is discharged in a dark room. The reader viewing the figures, held near the place where the spark appears, Fig. 248. There is a property of the eye which has led to the production of many amusing and curious illusions. This property in itself is no new discovery, for its presence and effects must have been noticed ages ago. The property in question is illustrated when we twirl round a stick or cord, burning with a red glow at the end. We seem to trace a circle of fire; but as the glowing spark cannot be in more than one point of the circle at once, it is plain that the impression produced on the eye must remain until the spark has completed its journey round the circle, and reaching each point successively renews the luminous impression. Like other subjects relating to vision, this phenomenon has been carefully examined in recent times, and its laws accurately determined. The fact which is obvious from such an experiment, may be thus stated: Visual impressions repeated with sufficient rapidity produce the effect of objects continually present. This persistence of the visual impressions is easily made the subject of experiment by means of rapidly rotating discs; and in the common toy called a “colour top” we have a ready means of verifying some of the conclusions of science on this subject. Some very interesting results may be obtained by an apparatus as simple as this, regarding the laws of the phenomenon we are considering, and the effects of various mixtures of tints and colours. The well-known toy, the thaumatrope, depends on the same principle. In this a piece of cardboard is painted on one side, with a bird, for example, and on the other side with a cage: when the cardboard is twirled round very rapidly by means of a cord fixed at opposite points of its length, both bird and cage become visible at once, and the bird appears in the cage. Fig. 249. Fig. 250. Fig. 251. A still more ingenious application of this principle we owe to Plateau, who described it in 1833, under the title of the phenakistiscope; and also to Stampfer, who independently devised the same arrangement about the same time, and named it the stroboscopic disc. The reader may, at almost any toy-shop, purchase one of them, provided with a number of amusing figures; or he may easily construct for himself one which will exemplify the principle. He requires no other materials than Another arrangement for showing the same illusion has lately become a very popular toy, and quite deservedly so, for it has the advantages of requiring no looking-glass, and of making the effect visible to a number of persons at the same time. This apparatus, which has been termed the Zoetrope, consists simply of a cylindrical box, like a drum with the upper end cut off. It is mounted on a pivot, which permits its revolving rapidly about its vertical axis when touched by the finger. The cylinder has a number of equidistant vertical slits round the upper part of its circumference. The figures which produce the illusion are printed on a slip of paper, which is placed in the lower part of the drum, and when this is in rapid rotation, and the figures are viewed through the slits, the illusion is produced in exactly the same manner as in the revolving disc. Fig. 251a.—Edison’s Kinetographic Theatre. At the end of the article on the phonograph in a subsequent page, the reader will find a remark as to the effect that might be produced by a combination of that instrument with instantaneous and simultaneous photographs of some famous speaker. This combination has now been accomplished by the great inventive genius to whom we are indebted for the phonograph. Mr. Edison has done this so effectively that he may be said to have given life to the zoetrope by the perfection in which the ocular illusion is produced together with the audible manifestations that keep time with it. The amount of thought and ingenuity expended on this new contrivance, which Edison has called the kinetoscope, will scarcely be appreciated by anyone who has not given some consideration to the many practical difficulties that have been overcome. No wonder that the announcement made at the beginning of 1892 should have been received with incredulity, for it was to the effect that Edison had contrived some happy combination of photography and electricity by which a man (presumably one who could afford to pay for luxuries) might sit in his own room and see the moving forms of the actors in an opera projected on a screen before his eyes, while at the same time he would hear their voices singing. Every movement, every change of expression, every glance of the eye, and, in fact, all that was visible to the spectator in front of the stage would appear on the screen, while not a note of vocalist, or chord of orchestra, would fail to reach the ear. And all this was to be evoked at will, and repeated as often as desired, not, therefore, of course, as a presentation of what was taking place at the time, but as a reproduction of some previous performance. This wonderful result has virtually been attained by the application of delicate and ingenious machinery designed to make the phonograph and the camera work synchronously. The first part of the problem was the production of a succession of so-called instantaneous photographs at an extremely rapid rate. In the actual apparatus forty-six photographs are taken every second, a feat which would beforehand be thought impracticable. This is accomplished by making use of a band of sensitive celluloid film, which alone admits of being moved and stopped with the desired rapidity. The movement is imparted by an electric motor, and the arrangement is such that for each exposure the film is held stationary for 9 Fig. 252.—Portrait of Sir W. Thomson. 5.Now Lord Kelvin. |