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.