NOTE A.—[Par. 18.]
Leonardo da Vinci observes that "a light object relieved on a dark ground appears magnified;" and again, "Objects seen at a distance appear out of proportion; this is because the light parts transmit their rays to the eye more powerfully than the dark. A woman's white head-dress once appeared to me much wider than her shoulders, owing to their being dressed in black."[1] "It is now generally admitted that the excitation produced by light is propagated on the retina a little beyond the outline of the image. Professor Plateau, of Ghent, has devoted a very interesting special memoir to the description and explanation of phenomena of this nature. See his 'Mémoire sur l'Irradiation,' published in the 11th vol. of the Transactions of the Royal Academy of Sciences at Brussels."[2]—S. F.
NOTE B.—[Par. 23.]
"The duration of ocular spectra produced by strongly exciting the retina, may be conveniently measured by minutes and seconds; but to ascertain the duration of more evanescent phenomena, recourse must be had to other means. The Chevalier d'Arcy (Mém. de l'Acad. des Sc. 1765,) endeavoured to ascertain the duration of the impression produced by a glowing coal in the following manner. He attached it to the circumference of a wheel, the velocity of which was gradually increased until the apparent trace of the object formed a complete circle, and then measured the duration of a revolution, which was obviously that of the impression. To ascertain the duration of a revolution it is sufficient merely to know the number of revolutions described in a given time. Recently more refined experiments of the same kind have been made by Professors Plateau and Wheatstone."—S. F.
[1] "Trattato della Pittura, Roma, 1817," p. 143-223. This edition, published from a Vatican MS., contains many observations not included in former editions.
[2] A few notes (marked with inverted commas and with the signature S. F.) have been kindly furnished by a scientific friend.
NOTE C.—[Par. 50.]
Every treatise on the harmonious combination of colours contains the diagram of the chromatic circle more or less elaborately constructed. These diagrams, if intended to exhibit the contrasts produced by the action and re-action of the retina, have one common defect. The opposite colours are made equal in intensity; whereas the complemental colour pictured on the retina is always less vivid, and always darker or lighter than the original colour. This variety undoubtedly accords more with harmonious effects in painting.
The opposition of two pure hues of equal intensity, differing only in the abstract quality of colour, would immediately be pronounced crude and inharmonious. It would not, however, be strictly correct to say that such a contrast is too violent; on the contrary, it appears the contrast is not carried far enough, for though differing in colour, the two hues may be exactly similar in purity and intensity. Complete contrast, on the other hand, supposes dissimilarity in all respects.