In such cases the unclassed colour is, by the Wernerians, defined by stating it as intermediate between two others: thus we have an object described as between emerald-green and grass-green. The eye is capable of perceiving a gradation from one colour to another; such as may be produced by a gradual mixture in various ways. And if we image to ourselves such a mixture, we can compare with it a given colour. But in employing this method we have nothing to tell us in what part of the scale we must seek for an approximation to our unclassed colour. We have no rule for discovering where we are to look for the boundaries of the definition of a colour which the Wernerian series does not supply. For it is not always between contiguous members of the series that the undescribed colour is found. If we place emerald-green between apple-green and grass-green, we may yet have a colour intermediate between emerald-green and leek-green; and, in fact, the Wernerian series of colours is destitute [344] of a principle of self-arrangement and gradation; and is thus necessarily and incurably imperfect.
8. We should have a complete Scale of Colours, if we could form a series including all colours, and arranged so that each colour was intermediate in its tint between the adjacent terms of the series; for then, whether we took many or few of the steps of the series for our standard terms, the rest could be supplied by the law of continuity; and any given colour would either correspond to one of the steps of our scale or fall between two intermediate ones. The invention of a Chromatometer for Impure Colours, therefore, requires that we should be able to form all possible colours by such intermediation in a systematic manner; that is, by the mixture or combination of certain elementary colours according to a simple rule: and we are led to ask whether such a process has been shown to be possible.
The colours of the prismatic spectrum obviously do form a continuous series; green is intermediate between its neighbours yellow and blue, orange between red and yellow; and if we suppose the two ends of the spectrum bent round to meet each other, so that the arrangement of the colours may be circular, the violet and indigo will find their appropriate place between the blue and red. And all the interjacent tints of the spectrum, as well as the ones just named, will result from such an arrangement. Thus all the pure colours are produced by combinations two and two of three primary colours, Red, Yellow, and Blue: and the question suggests itself whether these three are not really the only Primary Colours, and whether all the impure colours do not arise from mixtures of the three in various proportions. There are various modes in which this suggestion may be applied to the construction of a scale of colours; but the simplest, and the one which appears really to verify the conjecture that all possible colours may be so exhibited, is the following. A certain combination of red, yellow, and blue, will produce black, or pure grey, and when diluted, will give all the shades of grey which intervene between [345] black and white. By adding various shades of grey, then, to pure colours, we may obtain all the possible ternary combinations of red, yellow, and blue; and in this way it is found that we exhaust the range of colours. Thus the circle of pure colours of which we have spoken may be accompanied by several other circles, in which these colours are tinged with a less or greater shade of grey; and in this manner it is found that we have a perfect chromatometer; every possible colour being exhibited either exactly or by means of approximate and contiguous limits. The arrangement of colours has been brought into this final and complete form by M. Merimée, whose Chromatic Scale is published by M. Mirbel in his Elements of Botany. We may observe that such a standard affords us a numerical exponent for every colour by means of the proportions of the three primary colours which compose it; or, expressing the same result otherwise, by means of the pure colour which is involved, and the proportion of grey by which it is rendered impure. In such a scale the fundamental elements would be the precise tints of red, yellow, and blue which are found or assumed to be primary; the numerical exponents of each colour would depend upon the arbitrary number of degrees which we interpose between each two primary colours; and between each pure colour and absolute blackness. No such numerical scale has, however, as yet, obtained general acceptation[28].
[28] The reference to Fraunhofer’s Lines, as a means of determining the place of a colour in the prismatic series, has been objected to, because, as is asserted, the colours which are in the neighbourhood of each line vary with the position of the sun, state of the atmosphere and the like. It is very evident that coloured light refracted by the prism will not give the same spectrum as white light. The spectrum given by white light is of course the one here meant. It is an usual practice of optical experimenters to refer to the colours of such a spectrum, defining them by Fraunhofer’s Lines.
I do not know whether it needs explanation that the ‘first spectrum’ in Newton’s rings is a ring of the prismatic colours.
I have not had an opportunity of consulting Lambert’s Photometria, sive de mensura et gradibus luminis, colorum, et umbræ, published in 1760, nor Mayer’s Commentatio de Affinitate Colorum, (1758), in which, I believe, he describes a chromatometer. The present work is not intended to be complete as a history; and I hope I have given sufficient historical detail to answer its philosophical purpose.
Sect. IV.—Scales of Light.
9. Photometer.—Another instrument much needed in optical researches is a Photometer, a measure of the intensity of light. In this case, also, the organ of sense, the eye, is the ultimate judge; nor has any effect of light, as light, yet been discovered which we can substitute for such a judgment. All instruments, such as that of Leslie, which employ the heating effect of light, or at least all that have hitherto been proposed, are inadmissible as photometers. But though the eye can judge of two surfaces illuminated by light of the same colour, and can determine when they are equally bright, or which is the brighter, the eye can by no means decide at sight the proportion of illumination. How much in such judgments we are affected by contrast, is easily seen when we consider how different is the apparent brightness of the moon at mid-day and at midnight, though the light which we receive from her is, in fact, the same at both periods. In order to apply a scale in this case, we must take advantage of the known numerical relations of light. We are certain that if all other illumination be excluded, two equal luminaries, under the same circumstances, will produce an illumination twice as great as one does; and we can easily prove, from mathematical considerations, that if light be not enfeebled by the medium through which it passes, the illumination on a given surface will diminish as the square of the distance of the luminary increases. If, therefore, we can by taking a fraction thus known of the illuminating effect of one luminary, make it equal to the total effect of another, of which equality the eye is a competent judge, we compare the effects of the two luminaries. In order to make this comparison we may, with Rumford, look at the shadows of the same object made by the two lights, [347] or with Ritchie, we may view the brightness produced on two contiguous surfaces, framing an apparatus so that the equality may be brought about by proper adjustment; and thus a measure will become practicable. Or we may employ other methods as was done by Wollaston[29], who reduced the light of the sun by observing it as reflected from a bright globule, and thus found the light of the sun to be 10,000,000,000 times that of Sirius, the brightest fixed star. All these methods are inaccurate, even as methods of comparison; and do not offer any fixed or convenient numerical standard; but none better have yet been devised[30].
[29] Phil. Trans. 1820, p. 19.
[30] Improved Photometers have been devised by Professor Wheatstone, Professor Potter, and Professor Steinheil; but they depend upon principles similar to those mentioned in the text.
10. Cyanometer.—As we thus measure the brightness of a colourless light, we may measure the intensity of any particular colour in the same way; that is, by applying a standard exhibiting the gradations of the colour in question till we find a shade which is seen to agree with the proposed object. Such an instrument we have in the Cyanometer, which was invented by Saussure for the purpose of measuring the intensity of the blue colour of the sky. We may introduce into such an instrument a numerical scale, but the numbers in such a scale will be altogether arbitrary.