FOOTNOTES:
[A] What is here stated regarding hydrogen is true of all the liquids and solids which have hitherto been examined,—but whether any exceptions occur, future experience must determine. It is only when in combination that it exhibits this impermeability to the obscure rays.
[B] In my own experiments I have never yet been able to obtain a pure blue, the nearest approach to it being a blue-green.
COLOURS OF THE SKY.
(7.)
NEWTON'S HYPOTHESIS.
In treating of the Colours of Thin Plates we found that a certain thickness was necessary to produce blue, while a greater thickness was necessary for red. With that wonderful power of generalization which belonged to him, Newton thus applies this apparently remote fact to the blue of the sky:—"The blue of the first order, though very faint and little, may possibly be the colour of some substances, and particularly the azure colour of the skies seems to be of this order. For all vapours, when they begin to condense and coalesce into small parcels, become first of that bigness whereby such an azure is reflected, before they can constitute clouds of other colours. And so, this being the first colour which vapours begin to reflect, it ought to be the colour of the finest and most transparent skies, in which vapours are not arrived at that grossness requisite to reflect other colours, as we find it is by experience."
M. Clausius has written a most interesting paper, which he endeavours to show that the minute particles of water which are supposed by Newton to reflect the light, cannot be little globes entirely composed of water, but bladders or hollow spheres; the vapour must be in what is generally termed the vesicular state. He was followed by M. Brücke, whose experiments prove that the suspended particles may be so small that the reasoning of M. Clausius may not apply to them.
But why need we assume the existence of such particles at all?—why not assume that the colour of the air is blue, and renders the light of the sun blue, after the fashion of a blue glass or a solution of the sulphate of copper? I have already referred to the great variation which the colour of the firmament undergoes in the Alps, and have remarked that this seems to indicate that the blue depends upon some variable constituent of the atmosphere. Further, we find that the blue light of the sky is reflected light; and there must be something in the atmosphere capable of producing this reflection; but this thing, whatever it is, produces another effect which the blue glass or liquid is unable to produce. These transmit blue light, whereas, when the solar beams have traversed a great length of air, as in the morning or the evening, they are yellow, or orange, or even blood-red, according to the state of the atmosphere:—the transmitted light and the reflected light of the atmosphere are then totally different in colour.
GOETHE'S HYPOTHESIS.
Goethe, in his celebrated 'Farbenlehre,' gives a theory of the colour of the sky, and has illustrated it by a series of striking facts. He assumed two principles in the universe—Light and Darkness—and an intermediate stage of Turbidity. When the darkness is seen through a turbid medium on which the light falls, the medium appears blue; when the light itself is viewed through such a medium, it is yellow, or orange, or ruby-red. This he applies to the atmosphere, which sends us blue light, or red, according as the darkness of infinite space, or the bright surface of the sun, is regarded through it.
As a theory of colours Goethe's work is of no value, but the facts which he has brought forward in illustration of the action of turbid media are in the highest degree interesting. He refers to the blueness of distant mountains, of smoke, of the lower part of the flame of a candle (which if looked at with a white surface behind it completely disappears), of soapy water, and of the precipitates of various resins in water. One of his anecdotes in connexion with this subject is extremely curious and instructive. The portrait of a very dignified theologian having suffered from dirt, it was given to a painter to be cleaned. The clergyman was drawn in a dress of black velvet, over which the painter, in the first place, passed his sponge. To his astonishment the black velvet changed to the colour of blue plush, and completely altered the aspect of its wearer. Goethe was informed of the fact; the experiment was repeated in his presence, and he at once solved it by reference to his theory. The varnish of the picture when mixed with the water formed a turbid medium, and the black coat seen through it appeared blue; when the water evaporated the coat resumed its original aspect.
SUSPENDED PARTICLES.
With regard to the real explanation of these effects, it may be shown, that, if a beam of white light be sent through a liquid which contains extremely minute particles in a state of suspension, the short waves are more copiously reflected by such particles than the long ones; blue, for example, is more copiously reflected than red. This may be shown by various fine precipitates, but the best is that of Brücke. We know that mastic and various resins are soluble in alcohol, and are precipitated when the solution is poured into water: Eau de Cologne, for example, produces a white precipitate when poured into water. If however this precipitate be sufficiently diluted, it gives the liquid a bluish colour by reflected light. Even when the precipitate is very thick and gross, and floats upon the liquid like a kind of curd, its under portions often exhibit a fine blue. To obtain particles of a proper size, Brücke recommends 1 gramme of colourless mastic to be dissolved in 87 grammes of alcohol, and dropped into a beaker of water, which is kept in a state of agitation. In this way a blue resembling that of the firmament may be produced. It is best seen when a black cloth is placed behind the glass; but in certain positions this blue liquid appears yellow; and these are the positions when the transmitted light reaches the eye. It is evident that this change of colour must necessarily exist; for the blue being partially withdrawn by more copious reflection, the transmitted light must partake more or less of the character of the complementary colour; though it does not follow that they should be exactly complementary to each other.
THE SUN THROUGH LONDON SMOKE.
When a long tube is filled with clear water, the colour of the liquid, as before stated, shows itself by transmitted light. The effect is very interesting when a solution of mastic is permitted to drop into such a tube, and the fine precipitate to diffuse itself in the water. The blue-green of the liquid is first neutralized, and a yellow colour shows itself; on adding more of the solution the colour passes from yellow to orange, and from orange to blood-red. With a cell an inch and a half in width, containing water, into which the solution of mastic is suffered to drop, the same effect may be obtained. If the light of an electric lamp be caused to form a clear sunlike disk upon a white screen, the gradual change of this light by augmented precipitation into deep glowing red, resembling the colour of the sun when seen through fine London smoke, is exceedingly striking. Indeed the smoke acts, in some measure, the part of our finely-suspended matter.
MORNING AND EVENING RED.
By such means it is possible to imitate the phenomena of the firmament; we can produce its pure blue, and cause it to vary as in nature. The milkiness which steals over the heavens, and enables us to distinguish one cloudless day from another, can be produced with the greatest ease. The yellow, orange, and red light of the morning and evening can also be obtained: indeed the effects are so strikingly alike as to suggest a common origin—that the colours of the sky are due to minute particles diffused through the atmosphere. These particles are doubtless the condensed vapour of water, and its variation in quality and amount enables us to understand the variability of the firmamental blue, and of the morning and the evening red. Professor Forbes, moreover, has made the interesting observation that the steam of a locomotive, at a certain stage of its condensation, is blue or red according as it is viewed by reflected or transmitted light.
These considerations enable us to account for a number of facts of common occurrence. Thin milk, when poured upon a black surface, appears bluish. The milk is colourless; that is, its blueness is not due to absorption, but to a separation of the light by the particles suspended in the liquid. The juices of various plants owe their blueness to the same cause; but perhaps the most curious illustration is that presented by a blue eye. Here we have no true colouring matter, no proper absorption; but we look through a muddy medium at the black choroid coat within the eye, and the medium appears blue.[A]
COLOUR OF SWISS LAKES.
Is it not probable that this action of finely-divided matter may have some influence on the colour of some of the Swiss lakes—as that of Geneva for example? This lake is simply an expansion of the river Rhone, which rushes from the end of the Rhone glacier, as the Arveiron does from the end of the Mer de Glace. Numerous other streams join the Rhone right and left during its downward course; and these feeders, being almost wholly derived from glaciers, join the Rhone charged with the finer matter which these in their motion have ground from the rocks over which they have passed. But the glaciers must grind the mass beneath them to particles of all sizes, and I cannot help thinking that the finest of them must remain suspended in the lake throughout its entire length. Faraday has shown that a precipitate of gold may require months to sink to the bottom of a bottle not more than five inches high, and in all probability it would require ages of calm subsidence to bring all the particles which the Lake of Geneva contains to its bottom. It seems certainly worthy of examination whether such particles suspended in the water contribute to the production of that magnificent blue which has excited the admiration of all who have seen it under favourable circumstances.