4670 lines
405 KiB
Plaintext
4670 lines
405 KiB
Plaintext
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BABBITT’S PRINCIPLES OF LIGHT AND COLOR.—PLATE I.
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BABBITT’S PRINCIPLES OF LIGHT AND COLOR.—PLATE II.
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VARIOUS SHADES OF GRAY ARRANGED IN ANALOGICAL HARMONY.
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CHROMATIC HARMONY OF GRADATION AND CONTRAST.
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SPECTRA OF THE SUN, SIRIUS, AND SEVERAL ELEMENTS.
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CONTRASTING HARMONY
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CHROMATIC COLORS PLACED OPPOSITE THOSE WHICH FORM A CHEMICAL AFFINITY WITH THEM
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ANALOGICAL HARMONY
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In the above elaborate combination of colors the artist has found it impossible to get every feature accurate although he has many beautiful and pure tints. The grays on both plates I. and II. are not sufficiently
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dued, the chromatic colors standing out too brilliantly, the red, for instance, in the house, fig. 6, being strong, etc. For description of plates see pp. 63, 65, 66, 69, 71, etc. The spectra are described on p. 217.
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THE
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PRINCIPLES
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OF
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LIGHT AND COLOR:
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INCLUDING AMONG OTHER THINGS
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THE HARMONIC LAWS OF THE UNIVERSE, THE ETHERIO-ATOMIC PHILOSOPHY OF FORCE, CHROMO CHEMISTRY, CHROMO THERAPEUTICS, AND THE GENERAL PHILSOPHY OF THE FINE FORCES, TOGETHER WITH NUMEROUS DISCOVERIES AND PRACTICAL APPLICATIONS.
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ILLUSTRATED BY 204 EXQUISITE PHOTO-ENGRAVINGS, BESIDES FOUR SUPERB COLORED PLATES PRINTED ON SEVEN PLATES EACH.
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BY EDWIN D. BABBITT.
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"Study the Light; attempt the high; seek out The Soul's bright path."—Bailey.
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NEW YORK:
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BABBITT & CO.,
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SCIENCE HALL, 141 EIGHTH STREET. 1878.
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PREFACE.
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———
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THE preface of my work is like a Hebrew book; it begins at its very end. Having spent several years in developing this large volume, what is my excuse for thrusting it out upon mankind? None at all unless human knowledge and upbuilding can be enhanced thereby.
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Am I laboring under a vain delusion when I assert that no science whatever, excepting pure mathematics, has thus far reached down to basic principles—that in spite of the wonderful achievements of experimental scientists, no definite conceptions of atomic machinery, or the fundamental processes of thermal, electric, chemical, physiological or psychological action have been attained, and that because the correlations of matter and force have been misapprehended? If I am deluded and cannot depend upon the thousand facts that seem to sustain me and clear up so many mysteries, it is certainly a sad matter, for then no one will be made the wiser for my labors; if I am right, and so many scientists are wrong in their conceptions of force, then too there is a melancholy side to the question, for great will be the trouble of having to pull up old stakes and put down new ones, and some opinionated persons will be so indignant at having dear old beliefs attacked, that if unable to demolish my facts in fair discussion will present one-sided views of them, or attack the author himself. I hope and pray that I may be duly abused, however, by all such crystallized conservatives, otherwise it will show that my efforts to advance this great cause of truth have been but feeble. After all, if this work shall develop some new and better foundations of scientific truth, scientific men themselves should rejoice at it even if it does cause a little trouble to adjust themselves to new conditions, for the more truth they get, the more luminous and triumphant will their pathway of progress become, and they will be able to build a superstructure upon these new foundations that is far more magnificent than any which my own limited efforts could achieve.
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My discovery of the form and constitution of atoms, and their working in connection with etherial forces to produce the effects of heat, cold, electricity, magnetism, chemical action, light, color, and many other effects, was announced during our centennial year, 1876, in some New York and Chicago papers, and my ideas have been brought to still further maturity since. Having acquired this knowledge, it seemed quite possible at last to crystallize the subjects of
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viii
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PREFACE.
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Light, Color, and other Fine Forces into a science, and learn their chemical and therapeutical potencies as well as many of their mystic relations to physical and psychological action.
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Before reaching out into the unknown and invisible it was important to establish briefly the laws of the known and visible, the misapprehension of which has led scientists into various errors, as it seemed to me, hence my first chapters. Before being able to understand Light and Color, with any exactness, it was absolutely necessary to investigate the working of atoms, and the general laws of the fine forces, so that we may not always have to move in the dark when considering them. Hence my chapter on the Etherio-atomic Philosophy of Force. Whatever may be thought of my details of atoms, it seems quite impossible that a thoughtful mind should dispute the correctness of their general features, so absolutely capable are they of being demonstrated by facts.
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It is quite time that the wonderful world of light and color which is invisible to the ordinary eye, and which is capable of being demonstrated by spectrum analysis and otherwise, should be made known, especially as so many mysteries of nature and human life are cleared up thereby, and such marvelous powers of vital and mental control are revealed.
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I would especially ask one favor of all critics, which is, that they will examine and weigh well all departments of the work before they condemn, for it has cost too much thought and careful investigation to have it rudely and hastily passed upon. Comprising, as it does, so large a field of heretofore untrodden ground, there certainly must be some errors in spite of all my great care and desire for exact truth.
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I have chosen a diluted sky-blue tint for my paper, not only because it is soothing to the nerves of the eye, but as I deem it, handsome. Calendered white, or yellowish paper is known to be irritating to the retina.
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The beautiful engravings of this work, many of which have the steel plate finish, have been executed by the sun under the control of the Photo-Engraving Co., 67 Park Place, N. Y. For the very careful and conscientious labors of this company I am greatly indebted. The Superintendent, Mr. J. C. Moss, Vas the first, I believe, to bring these finest solar relief plates into practical use.
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I owe a word of acknowledgment also to Mr. John Fahnestock, of 25 Rose St., N. Y., for the colored plates, which for beauty I have not seen surpassed on either side of the ocean.
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EDWIN D. BABBITT. SCIENCE HALL, N. Y.
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CONTENTS.
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——— CHAPTER FIRST.—HARMONIC LAWS OF THE UNIVERSE. I. Light, I.—II. Nature our Guide, I.—III. Unity, 3.—IV. Diversity, II. —V. Harmony, 12.—VI. Gradation or Progression, 16-—VII. Contrast, 23.—VIII. Harmony of Analogy, 31.—IX. Violent Contrasts contrary to Nature's General Laws, 35.—X. Nature's unrestricted Growth never discordant, 36.—XI. All unrestricted Growth exemplifies Moral Perfection, 38. —XII. The Law of Perfection, 40.—XIII. Adaptation or Fitness, 49.— XIV. Truth, 53.—XV. Refinement of Material, 54.—XVI. Gradation of Instrumentalities, 56.—XVII. Division of Colors, 58.—XVIII. Triad of Primary Colors, 61.—XIX. Triad of Secondary Colors, 61.—XX. Triad of Achromatic Colors, 61.—XXI. Triad of Primary Grays, 62.—XXII. Triad of Secondary Grays, 62.—XXIII. Trinal Division of Tints and Shades. 62.—XXIV. Trinal Division of Hues, 62.—XXV. Nomenclature of Colors, 63.—XXVI. Triad of Colors, Tones and Forms, 64.—XXVII. Harmony of Gradation in Colors, 65.—XXVIII. Gradation of Color in the Spectrum, 66. —XXIX. Harmony of Contrast in Colors, 69.—XXX. Harmonic Colors in Architecture, 71.—XXXI. Colors in Dress, 73.—XXXII. Colors in Floriculture, 74.—XXXIII. Synopsis of Harmonic Laws, 76. CHAPTER SECOND.—INSUFFICIENCY OF THE PRESENT
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THEORIES OF LIGHT AND FORCE. I. Science and Philosophy should be combined, 80.—II. Basic Principles not yet reached. Cohesion, 81.—III. Chemical Affinity, 81.-- IV. Electricity, 82. —V. Gravitation, 82.—VI. Physiology and Psychology, 83.—VII. Light and Color, 83.—VIII. Colors must be Formulated by Law, 84.—IX. How isLight projected so far? 85.—X. How explain Chromatic Phenomena? 85.— XI. Chemical and Therapeutical Properties of Color, 86.—XII. Shadow is an Entity, 87.—XIII. Correct Science requires a Knowledge of Atoms, 87. —XIV. The Dynamic and Material Theory, 87.—XV. Faraday, 88.—XVI. Lord Bacon, 90.—XVII. Locke and Tyndall, 90.—XVIII. Kant, Fichte, Schelling, etc., 90.—XIX. The Laws of Optics, 91.—XX. New Worlds of Light and Color, 92.—XXI. Summation of Points, 92.
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CHAPTER THIRD.—THE ETHERIO-ATOMIC PHILOSOPHY OF FORCE.
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I. Atoms, 94.—II. Force, 94.—III. The Size of Atoms, 94.—IV. The Form of Atoms, 95.—V. The Heat end of Atoms, 99.—VI. Nature of Atomic Spinals, 100.—VII. General Features of Atoms, 101.—VIII. Thermo Spirals, 105.—IX. Ethereal Forces, 106.—X. The Primate of Force, 107.—XI. Different Grades of Ether, 107.—XII. Ethers have Weight, 114, —XIII. Polar Cohesion of Atoms, 114.—XIV. Lateral Cohesion, 115.—XV. The Unity of Atoms, 116.—XVI. Converse Layers of Atoms, 117.—XVII. Transverse Layers of Atoms, 117.—XVIII. Laws of Atomic Combination; 117.—XIX. Paraverse Layers of Atoms, 119.—XX. Crystalloid and Amorphous Bodies, 120.—XXI. Heat and Cold, 120.—XXII. Atomic Divisions, 121.—XXIII. Cohesion, 123.—XXIV. Different kinds of Electricity, 124. —XXV. Frictional Electricity, 124. —XXVI. Chemico Electricity, 125. —XXVII. Galvano Electricity, 126.—XXVIII. Magneto Electricity, 126.— XXIX. Chromo Electricity, 127.—XXX. Magnetism, 129.—XXXI. Diamagnetism, 132.—XXXII. Phosphorescence, 135.—XXXIII. Fluorescence, Calorescence, etc., 136.—XXXIV. Galvanism, 139.—XXXV. Direction of Frictional Electricity, 142.—XXXVI. Positive and Negative Electricities, 142.—XXXVII. Chemical Affinity, 145.—XXXVIII. Are Atoms Animals? 151.—XXXIX. Count Rumford and the Dynamic Theory, 152.—XL. Weight and Specific Heat of Atoms, 155.—XLI. Latent and Sensible Heat, 157. —XLII. Theories of Atoms, 158.—XLIII. Summation of Points, 161.
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X
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CONTENTS.
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CHAPTER FOURTH.—THE SOURCES OF LIGHT. I. Introductory Point, 166.—II. World Formations, 166.—III. Nebulous Matter, 167.—IV. The Sun Forming Process, 168.—V. The Planet Forming Process, 169—VI. Comets, 170.—VII. Refinement of Matter, 172.— VIII. The Atmosphere of Space, 175.—IX. Aurora Borealis, 180.—X. Terrestrial Forces, 181.—XI. The Solar Atmosphere, 185.—XII. Faculæ and Spots on the Sun, 188.—XIII. Solar Statistics, 190.—XIV. Sun Power, 190.—XV. The Production of Light, 193.—XVI. Constitution of the Atmosphere, 194.—XVII. How Color Effects are Produced, 196.—XVIII. Shadow as an Entity. 198.—XIX. The Moon, 109.—XX. Planets and Fixed Stars, 202.—XXI. Combustion, 203.—XXII. Flame, 204.—XXIII. Smoke, 206.—XXIV. Non-luminous Flames, 206.—XXV. Coal Gas, 207.—XXVI. Kerosene and Coal Oil, 207.—XXVII. The Oxyhydrogen Blow-Pipe, 208. XXVIII. Calcium Light, 208.—XXIX. Electric Light, 209.—XXX. Electric Candle, 212.—XXXI. Heat of Various Combustibles, 214.—XXXII. Spontaneous Combustion, 215.
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CHAPTER FIFTH.—CHROMO CHEMISTRY. I. Character of Spectrum Analysis, 216.—II. The Spectroscope, 218. III. Metals discovered by the Spectroscope, 219.—IV. The Spectrum, 220.— V. Laws of Color and Phenomena of Spectrum Analysis, 222.—VI. The Spectrum of an Element, 224.—VII. Chemical Repulsions and Affinities, 225. —VIII. White or Light Gray Elements, 226.—IX. Spectra of White Colors, 227.—X. Spectra of the Alkaline Metals, 228.—XI. Spectra of other White Metals, 229.—XII. Spectra of Black or Dark Elements, 230.— XIII. Spectra of Elements with Gray or neutral Colors, 231.—XIV. Spectra of Elements with Positive Colors, 232.—XV. Spectra of Transparent Substances, 234.—XVI. The most Powerful Substances, 235.—XVII. Transparent Fluids, 235.—XVIII. Transparent Solids, 238.—XIX. Chromatic Repulsion, 239.—XX. Chromatic Attraction, 243.—XXI. The Material of Sunlight, 259.—XXII. Metachromism, or Color Change, 264.— XXIII. Proofs of other Octaves of Color, 270.—XXIV. Color as related to Taste, 274.—XXV. Complexion as related to Sunlight, 275.—XXVI. Summation of Points in Chromo Chemistry, 276.
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CHAPTER SIXTH.—CHROMO-THERAPEUTICS, OR CHROMOPATHY.
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I. The Healing Power of Color, 279.—II. Comparative Fineness of Healing Elements, 279.—III. Healing Power of Red, 280.—IV. Healing Power of Red Light, 282.—V. When the Red is injurious, 284.—VI. The Healing Power of Yellow and Orange, 286.—VII. Emetics—Yellow with some Red and Orange, 286.—VIII. Laxatives and Purgatives—Yellow the Principal Color, or Red in Drastic Purgatives, 287.—IX. Healing Power of Yellow Light, aided by some Red and Orange—Laxative, Animating. &c., 290.—X. Diuretics, Diaphoretics, Emmenagogues, etc.—Yellow aided by a considerable Red. 293.—XI. Cerebral Stimulants—Yellow with some Red and Orange, 294.—XII. Tonics—Yellow and Red Predominant, 295.— XIII. When Yellow is injurious, 295.—XIV. Healing Power of Blue and Violet—Nervine, Astringent, Refrigerant, etc., 298.—XV. Healing Power of Blue and Violet Light—Nervine, Anti-inflammatory, etc.,302.—XVI. Healing Power of Blue and White Sunlight, 308.—XVII. When Blue and Violet are injurious, 321.—XVIII. Healing by means of substances charged with Blue Light, 322.—XIX. Healing powers of Pure Sunlight, 326.—XX. Disastrous Effects of a Lack of Sunlight, 329.—XXI. When Sunlight is injurious, 333.—XXII. Sleep Producing Elements, 334.—XXIII. Practical Instruments for Color Healing, 343.—XXIV. Heat Transmitted by Colored
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CONTENTS.
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XI
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Substances, 340. —XXV. The Chromolume, 341.—XXVI. Use of the Chromolume in Healing, 343.—XXVII. Chromo Disc, 347.—XXVIII. General Healing with the Chromo Disc, 348.—XXIX. Hints for Treating Special Diseases with Chromo Disc, 349.—XXX. The Chromo Lens, 356.—XXXI. The Solarium, 364.—XXXII. The Hygiene of Color in Dress, 365. —XXXIII. The General Vagueness of Idea concerning Colors, 367.— XXXIV. A Word to Physicians, 373.—XXXV. Summation of Points in Chromo Therapeutics, 374.
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CHAPTER SEVENTH.—CHROMO CULTURE OF VEGETABLE LIFE.
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I. Review of Ground already Covered, 378.—II. Germination, 378.—III. Healthy Growth above Ground. 380.—IV. Florescence and the Reproductive Function of Plants, 381.—V. Blue and Transparent Glass for Hot Houses, 382—VI. Marvelous Vegetable Growth, 384.—VII. Plants which become withered and parched, 386.—VIII. Insect Life as influenced by Colors, 387.—IX. Effects of Light and Shadow on Plants, 388.—X. Light of Plants, 389.—XI. Affinities and Repulsions of Plants, 389.—XII. Color as related to Fragrance, 389.—XIII. Adaptation of the Seasons to Vegetable Growth, 390.—XIV. Summation of Points, 391.
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CHAPTER EIGHTH.—CHROMO PHILOSOPHY. I. Plan of this Chapter, 393.—II. Refraction, 394.—III. Reflection of Light, 397.—IV. Absorption, 400.—V. Transparency, 402.—VI. Polarized Light, 404.—VII. The Undulatory Theory, 410.—VIII. Summation of Points in Chromo Philosophy, 414. CHAPTER NINTH.—CHROMO DYNAMICS, OR HIGHER
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GRADE LIGHTS AND FORCES. I. Introductory Points, 415.—II. Odic Light, 416.—III. Nature of Odic Light and Color, 418. —IV. Warm and Cold Substances, 423.—V. Influence of Solar and Lunar Rays, 424.—VI. Magnetism and Odic Force, 426.—VII. Opaque Bodies become Transparent, 427.—VIII. Is Odyl an Imaginary Power? 427.—IX. Proof that Odic Light comprises Fluidic Forces, 431.—X. Does Odic Light produce the Aurora Borealis? 431.— XI. Terrestrial Dynamics. 432.—XII. Terrestrial Dynamics in Human Life, 436.—XIII. Miscellaneous Points, 443.—XIV. Summation of Points in Chromo Dynamics, 444.
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CHAPTER TENTH.—CHROMO MENTALISM. I. Mentality, 446.—II. Beauty of the Fine Forces, 446.—III. This Finer Vision exalts one's Conceptions, 448.—IV. Many Persons can see these Higher Colors, 449.—They reveal the Primary Laws of Force, 450.— VI. This Light renders Opaque Substances Transparent, 452.—VII. Explanation of this Higher Vision, 459.—VIII. How to Develop this Finer Vision, 463.—IX. The Psychic Force a great Power to Bless Mankind, 464. —X. Statuvolence, or Self-Psychology, 465.—XI. The Colors and Forces of the Brain, 471.—XII. The Right and Left Brain, 483.—XIII. Radiations and Laws of Power, 485.—XIV. Intuition and the Relation of the Sexes, 489.—XV. Positive and Negative Poles, 403.—XVI. Interior Machinery of Life, 494.—XVII. Processes of Mental Action, 502.—XVIII. The Organ of this Higher Vision, 509.—XIX. The Medical World, 519.—XX. Miscellaneous Points, 523.—XXI. Summation of Points, 527.
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CHAPTER ELEVENTH.—VISION. I. General Machinery of the Eye, 534.—II. The Retina considered in Detail, 538.—III. The Sensation of Light, 542.—IV. The Perception of Colors, 543.—V. Diseases of the Eye, 549.—VI. Conclusion, 552.
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LIST OF PLATES AND ENGRAVINGS. ————
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COLORED PLATES. I. Various Shades and Hues of Gray, and
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Spectra of the Sun, Sirius, Sodium, Oxygen, Hydrogen, Nitrogen etc. II. 1, Chromattc Harmony of Gradation and Contrast; 2, Analogical Harmony; 3, Chromatic Colors placed opposite those which form a Chemical Affinity with them; 4, Achromatic Colors; 5, Contrasting Harmony in houses; 6 Analogical Harmony in do. III. Odic Colors illustrating horizontal Terrestrial Forces, and Odic Flames from a Magnet. IV. Psychic Color-Radiations.
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PHOTO-ENGRAVINGS.
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FIG. 1-5. Triangle, Snow-Crystals, etc…………. 6-14. Leaves, Shells, Flowers……………..
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15-20. Tree Forms and Grasses……………. 21. The Nervous System……………………. 22. Crystalline, forms in block of ice………. 23. Magnetic Centers of Unity……………… 24-18. Vibrating Plates of Sand…………….. 29. The Solar Family……………………….. 30-33. Star Clusters………………………… 34-36, Diversity and Unity shown…………. 37. An Etching from Rubens………………. 38,39. The Astronomer, (Galileo), etc……… 40. Sketch from Gustave Dore…………….. 41,42. Tomb of Plautus Lucanus, etc……… 43-45. Gradation of size in trees…………… 46, 47. Spire of the N. Y. Cathedral, etc…... 48. Curves of the Parabola………………… 49. 50. Lines of Beauty and Grace………. 51. Undulations; 52. A Fern………………. 53, 54. Vibrations of Compound Sounds… 55. Rings of Colored Light; 56. Ovoid…… 57. Emma; 58 Katie…………………........ 59. Infant; 60 French Market Girl………… 61. Childhood and Youth; 62. Maturity….. 63. Lightning—the sublime in Clouds…… 64. The Sublime in Landscape…………… 65. The Beautiful in Landscape………….. 66. Niagara—the Sublime in Water……… 67. Gradation in Sky Scenery……………. 68. Contrast in Sky Scenery……………… 69. A Night Scene.; 70. Stony Point…….. 71. Queen of Delhi. Gradation…………. 72. Emperor of Germany. Contrast……. 73. Audubon. Contrast Deficient………. 74. Contrasts caused by Reflection……… 75. Contrast in Typography……………… 76. Shadow. Analogical Harmony…….. 77. Moonlight on the Hudson……………. 78. Part of Au Sable Chasm……………… 79. Portion of Yale College Library…….. 80. Mont St. Michael……………………. 81. Cattskill Mountain House…………… 82, 83. Grecian and Roman Windows….. 84. Romanesque Arches at Lucca………. 85, 86. Gothic forms—-Holyrood Abbey.. 87. Elizabethan Architecture……………. 88. Lavinia, Daughter of Titian………….. 89. Happy Childhood……………………. 90-93. Discordant Human Faces……….. 94. Harmonious and Concordant Leaves. 95. Leaf—Moral Perfection……………… 96. Aurora Borealis……………………… 97-101. Forms of Roofs and Cottage…… 102. A Greek Portico…………………….. 103. Eton Hall, England. (Gothic)……..
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PAGE. 3 4 5 6 6 7 7 8 9
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12 13 14 14 15 17 17 18 18 18 19 19 20 20 21 23 23 24 24 25 25 25 27 27 28 28 29 31 31 31 31 32 32 32 33 33 34 37 37 37 39 39 43 44 45 43
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FIG.
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PAGE.
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104, 105. Oriental Architecture…………….
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46
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106-110. Celebrated Domes and Towers….
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47
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122. Towers, Monuments, Sic………………
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48
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123-126. Different Styles of Windows……
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49
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127. A Newport Cottage…………………….
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50
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128. Gradation of Elements and Forces…….. 57
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129. Decomposition of Light………………..
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59
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130. Gradation of Normal Gray……………..
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65
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131. Spectrum Analyzed…………………….. 67
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132. Outline of an Atom…………………….. 97
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133. Piece of Atomic Spiral…………………. 99
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134. Extra Spirals and Intra Spirals…………. 100
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135. Form of an Atom with details………….. 102
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136. Atoms joined………………………….. 103
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137. Polarized Atoms……………………….. 115
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138. Atoms arranged Conversely…………… 115
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139. Transverse lines of Atoms…………….. 117
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140. Transverse Diagonals…………………. 117
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141. Paraverse Layers of Atoms…………….. 119
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142. Horse Shoe Magnet…………………….. 133
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243. Magnetic lines of force…………………. 133
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144. Diamagnetic Lines……………………… 133
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145. A Galvanic Battery…………………… 140
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146. Atomic Forces………………………… 142
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147. A Chemical Molecule………………….. 146
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148, 149. Thermal and Electrical Atoms……. 147
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150. Comet of 1680……………………….. 171
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151. Halley's Comet…………………………. 171
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152. Ethereal Atmosphere of Space………..... 176
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153. Sun, Earth and Atomic Lines…………… 179
|
|||
|
|
|
|||
|
|
154, 155. Solar Eclipses……………………… 185
|
|||
|
|
|
|||
|
|
156. Sun's Corona; in Eclipse of 1868………. 186
|
|||
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|
|
|||
|
|
157. Comparative sizes of Sun and Planets…. 189
|
|||
|
|
|
|||
|
|
158. The Full Moon; 159. The Crescent……. 201
|
|||
|
|
|
|||
|
|
160. Eclipses and Phases of the Moon……….. 202
|
|||
|
|
|
|||
|
|
161. The Milky Way…………………………. 202
|
|||
|
|
|
|||
|
|
162. Flame of Candle analyzed………………. 205
|
|||
|
|
|
|||
|
|
163, 164. Voltaic Arcs……………………….. 209
|
|||
|
|
|
|||
|
|
165. Spectrum and Prism……………………. 216
|
|||
|
|
|
|||
|
|
166. The Spectroscope……………………….. 218
|
|||
|
|
|
|||
|
|
167. Spectrum with Scale…………………….. 220
|
|||
|
|
|
|||
|
|
168. Chemically Combined Atoms…………… 266
|
|||
|
|
|
|||
|
|
169. The Chromolume………………………... 344
|
|||
|
|
|
|||
|
|
170. The Chromo Disc………………………... 348
|
|||
|
|
|
|||
|
|
171. The Chromo Lens……………………… 356
|
|||
|
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|
|||
|
|
172. Refraction and Reflection……………… 395
|
|||
|
|
|
|||
|
|
173. The Spectrum, etc……………………… 395
|
|||
|
|
|
|||
|
|
174. A Convex Lens, etc…………………….. 397
|
|||
|
|
|
|||
|
|
175, 176. Crystals of Tourmaline………….. 405
|
|||
|
|
|
|||
|
|
177. Crystal of Iceland Spar……………….. 406
|
|||
|
|
|
|||
|
|
178. Polarization illustrated………………… 406
|
|||
|
|
|
|||
|
|
179. The Polarizer and Analyzer…………… 407
|
|||
|
|
|
|||
|
|
180. Imaginary Structure of Selemte………. 408
|
|||
|
|
|
|||
|
|
181. Propagation of Liquid Waves…………. 410
|
|||
|
|
|
|||
|
|
182. Billows, illustrating undulations………. 411
|
|||
|
|
|
|||
|
|
183. Solar Cyclone, 1857, (Secchi)…………. 412
|
|||
|
|
|
|||
|
|
184. Undulations (Guillemin)……………… 412
|
|||
|
|
|
|||
|
|
185. Odic Colors from revolving Magnet…. 479
|
|||
|
|
|
|||
|
|
186. Radiations—Angel of Innocence…….. 480
|
|||
|
|
|
|||
|
|
187. The Psycho Magnetic Curves…………. 481
|
|||
|
|
|
|||
|
|
188. Diagram of a Ganglion………………… 488
|
|||
|
|
|
|||
|
|
189-191. Electrical Tension shown……….
|
|||
|
|
|
|||
|
|
488
|
|||
|
|
|
|||
|
|
192. Interior Radiations of the Brain………. 495
|
|||
|
|
|
|||
|
|
193. Iron Filings on Magnetized Disc……… 496
|
|||
|
|
|
|||
|
|
194. Geo. Combe…………………………… 496
|
|||
|
|
|
|||
|
|
195. The Brain laid open…………………… 497
|
|||
|
|
|
|||
|
|
196. Vertical Section of the Brain………….. 504
|
|||
|
|
|
|||
|
|
197. The Eye……………………………….. 534
|
|||
|
|
|
|||
|
|
198, 199. Iris, Ciliary Processes, etc……….. 536
|
|||
|
|
|
|||
|
|
200. The Optic Nerves……………………..
|
|||
|
|
|
|||
|
|
537
|
|||
|
|
|
|||
|
|
201. Pit of Retina (Fovea Centralis)……….
|
|||
|
|
|
|||
|
|
540
|
|||
|
|
|
|||
|
|
202. Objects inverted on Retina……………. 543
|
|||
|
|
|
|||
|
|
203. The Crystal Light……………………… 551
|
|||
|
|
|
|||
|
|
CHAPTER FIRST.
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
1. LIGHT.
|
|||
|
|
LIGHT reveals the glories of the external world and yet is the most glorious of them all. It gives beauty, reveals beauty and is itself most beautiful. It is the analyzer, the truth-teller and the exposer of shams, for it shows things as they are. Its infinite streams measure off the universe and flow into our telescopes from stars which are quintillions of miles distant. On the other hand, it descends to objects inconceivably small, and reveals through the microscope objects fifty millions of times less than can be seen by the naked eye.* Like all other fine forces, its movement is wonderfully soft, and yet penetrating and powerful. Without its vivifying influence vegetable, animal and human life must immediately perish from the earth, and general ruin take place. We shall do well, then, to consider this potential and beautiful principle of light and its component colors, for the more deeply we penetrate into its inner laws, the more will it present itself as a marvelous store-house of power to vitalize, heal, refine and delight mankind.
|
|||
|
|
II. NATURE OUR GUIDE.
|
|||
|
|
1. But light is one of the fine forces of nature, and we cannot understand it until we learn the laws of the fine forces generally. Nor can we understand the fine forces themselves, until we become acquainted with the coarser elements upon which, or in connection with which, they act. And we cannot apprehend this interrelation of the finer with the coarser, without a knowledge of the fundamental principles of force, and the great central harmonic laws of nature and mind in unison with which all things
|
|||
|
|
*A London Optician has constructed a lens which will magnify fifty million times.
|
|||
|
|
|
|||
|
|
2
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
must work. There has been too much mere superficial presentation of these matters. Unless we can go beyond mere exter-
|
|||
|
|
nal phenomena to basic principles, we must still build upon conjecture and work more or less in the dark. It is proper, then,
|
|||
|
|
that we should inquire into the general constitution of the universe, and get a clear conception of universal law before we
|
|||
|
|
can go with entire correctness into the details of any subject whatever, just as it is important to consider details, more or less, before we can comprehend the whole.
|
|||
|
|
2. Why should we thus go to nature as the standard of ultimate appeal? First, because we are a part of nature and amen-
|
|||
|
|
able to its laws; 2dly, because nature bears the stamp of divinity upon it, and therefore its laws are perfect. Is it consistent for the theologian to disparage nature so long as he admits that its
|
|||
|
|
source is that of absolute perfection.* Can imperfection ever come from perfection? Do not effects ever resemble their
|
|||
|
|
cause? To gain a knowledge, then, of nature's laws is to acquire the perception of divine harmony, by the aid of which all science, art, social life, government and religion may be measured.
|
|||
|
|
Without this knowledge we may use many brilliant words, and indulge in the most plausible speculations, but this is merely to
|
|||
|
|
build upon the clouds instead of the eternal rock-work of truth. 3. Many writers of the present day are presenting noble
|
|||
|
|
glimpses of the real teachings of nature, among whom is Ruskin,
|
|||
|
|
who has opened many blind eyes. Chevreul, of France, discovered to the world the laws of contrast in colors, and many
|
|||
|
|
artists and scientific writers have been revealing rich lessons from the infinite treasure-house. It has occurred to me, how-
|
|||
|
|
|
|||
|
|
*The late Prof. Taylor Lewis, one of the prominent theological writers of the day, speaking of nature in the N. Y. Independent of Dec. 30, 1874, says:—"Our oracle may but mock us as Crœsus was mocked by the ambiguous answer of Apollo.
|
|||
|
|
Our deepest understanding of nature may bring us a new peril, requiring a new study. * * * It would almost seem as though there were some truth in the old legend that nature had been cursed for man's sake." Thus illogically talks this scholarly gentleman about the peril of studying the workmanship of him who, as he
|
|||
|
|
admits, is the Divine Perfection. The only danger lies in ignorance of these laws, and to see danger in them is to look superficially at the matter. Throughout all nature is such amazing system, such law, such unity in the infinite diversity, such simplicity in the midst of complexity, that it is not difficult to understand its funda-
|
|||
|
|
mental principles, if we can only bring to the task minds which are not preoccupied with old theories.
|
|||
|
|
|
|||
|
|
UNITY.
|
|||
|
|
|
|||
|
|
3
|
|||
|
|
|
|||
|
|
ever, that some more definite crystallization of principles may be arrived at, and with the reader's permission I shall now pause
|
|||
|
|
for a little time in making the attempt to arrive at these fundamental harmonies of things, so that we may go with open eyes
|
|||
|
|
into these marvelous fields of the fine forces, and also be the better able to regulate our art as well as our science.
|
|||
|
|
|
|||
|
|
III. UNITY.
|
|||
|
|
|
|||
|
|
The Law of Unity is universal through all matter and mind, and is the expression of wholeness, oneness, centralization and organization.
|
|||
|
|
1. Unity exists in absolutely all unimpeded natural growth, and as we have seen that nature's development is on the law of perfection, we may be sure that unity is a universal harmonic law. The different methods by which nature expresses unity are almost infinite in number. Being a law of vast importance, a few examples will be given.
|
|||
|
|
|
|||
|
|
Fig. I is a triangle, a form common in many crystals, and
|
|||
|
|
when equilateral, has three points at the angles and three at the sides, which have a common center of unity. Fig. 2, the hexagon, so common in crystallization, has twice as many points of
|
|||
|
|
unity; fig. 3 has many more points than fig. 2, each projecting line being a point of unity for other lines, while the figures of
|
|||
|
|
the animalcules, 4 and 5, which are but examples of countless millions of amazingly minute skeletons of animals out of which whole mountains are sometimes built, have an unlimited num-
|
|||
|
|
ber of points of unity, the circle itself being a figure which is defined as being composed of an infinite number of straight
|
|||
|
|
lines, which are equidistant from the same center. Fig. 6 has a general center of unity for a variety of fibres which
|
|||
|
|
|
|||
|
|
4
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
branch out from each side. Fig. 7 has several centers of unity which meet at a general center. Fig. 8, a shell of Echinus, forms a little dome-shaped animal with a great variety of lines
|
|||
|
|
of forms which have their center of unity at the apex. Fig. 9 presents a few of the radiating lines of the asterias, which has a
|
|||
|
|
flower-like center. Fig. 10 shows how the leaves and other parts of flowers affectionately meet at a center of unity. When the cactus blossoms it is said to have an array of five hundred
|
|||
|
|
stamens which encircle the pistil as its center of unity. 2. Leaves and other natural forms not only have centers of
|
|||
|
|
unity in themselves, but their very contour is apt to give a portion of some other beautiful outline with centers outside of themselves, as seen in fig. II. While the fibre 1, 3, forms the
|
|||
|
|
general center for the other parts of the leaf, its graceful outline 1, 2, 3, or 1, 10, 3,
|
|||
|
|
describes the line of beauty which consists of a part of two eliipses, or rather of two ovals, which latter have two unequal centers
|
|||
|
|
of unity instead of two equal centers like the ellipse. I have dotted out the ovals,
|
|||
|
|
arcs of which are included in a single side of the leaf. Fig. 12, consisting of leaves of the castor-oil plant,
|
|||
|
|
presents one general center, seven sub-centers, and a large num-
|
|||
|
|
|
|||
|
|
ber of still smaller centers of unity and many outlines. Fig. 13
|
|||
|
|
|
|||
|
|
UNITY.
|
|||
|
|
|
|||
|
|
5
|
|||
|
|
|
|||
|
|
has a general point for a system of both radiating and concentric lines. Fig. 14 has the line of grace which winds around a
|
|||
|
|
general center of unity, and has also the unity of parallel lines, etc. Figures 15, 16, 17 and 18,
|
|||
|
|
illustrate various styles of unity in foliage and tree growth, and
|
|||
|
|
are taken from Ruskin's "Elements of Drawing." The methods of unity in the combina-
|
|||
|
|
tions of leaves, branches and trees are beyond all computation, and I simply give a few examples to get the reader to notice a
|
|||
|
|
great truth which all nature proclaims. "The number of systems," says Ruskin, "is incalculable, and even to represent anything like a representative number of types, I should have to
|
|||
|
|
give several hundreds of figures."
|
|||
|
|
|
|||
|
|
3. Notice how many varieties of unity are presented in a
|
|||
|
|
simple cluster of leaves, grasses and flowers, as in fig. 19. Not only have these objects many styles of unity when taken singly, but in spite of all their seeming lawlessness they have a general
|
|||
|
|
harmonic unity of direction, growing, like trees as a general law,
|
|||
|
|
|
|||
|
|
6
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
in a vertical direction, and hence more or less parallel to each other.
|
|||
|
|
4. I will now present a whole world of unities within unities in a beautiful tree cluster which grows by the tomb of Washing-
|
|||
|
|
ton at Mount Vernon. (Fig. 20.) Here the trunks of the
|
|||
|
|
trees may be seen as the centers of unity for the branches, the branches as centers for still
|
|||
|
|
smaller branches, and these for kingdoms of foliage growing
|
|||
|
|
less and less in size until we reach a single leaf, which after all is a miniature realm of it-
|
|||
|
|
self, having organizations within organizations.
|
|||
|
|
5. The human system contains thousands of centers of unity, among the most impor-
|
|||
|
|
tant of which are the brain and spinal column as the general
|
|||
|
|
center of the nervous system (fig. 21), and the heart as the general center of the vascular
|
|||
|
|
system.
|
|||
|
|
|
|||
|
|
6. Crystallizations have their innumerable centers of unity.
|
|||
|
|
|
|||
|
|
Fig. 22 shows some of the elegant crystalline forms of a block of ice as dissected by the solar rays in an experiment made by
|
|||
|
|
|
|||
|
|
UNITY.
|
|||
|
|
|
|||
|
|
7
|
|||
|
|
|
|||
|
|
Mr. Tyndall. Snow abounds in the most elegant crystals, generally hexagonal, or at least arranged in six projections, which
|
|||
|
|
are just 60 degrees apart, as is the case with ice. But crystalline forms are too numerous to even hint at.
|
|||
|
|
7. Forces of all kinds in nature, when unrestricted, move according to absolute laws of unity. Gravitation makes it im-
|
|||
|
|
possible for any object to exist without a tendency toward some more powerful object, all objects on a planet, for instance, tending toward its center, and all planets tending toward their
|
|||
|
|
parent suns, their tendency, however, being balanced by their centrifugal or projectile motion. In fact the unities of form al-
|
|||
|
|
ready given result from some principle of unity in force, as will be seen hereafter. Fig. 23 shows some of the billions of lines of force which encircle a magnet as
|
|||
|
|
their center, shown by iron filings on card-board above a magnet, as well as
|
|||
|
|
some of the straight lines which pass through the bar itself as a polarizing center. Figs. 24, 25, 26, 27, 28, show
|
|||
|
|
nodal lines of vibrating circular or polygonal plates according to Chladni
|
|||
|
|
and Savart. These plates are sprinkled with dry sand, and may
|
|||
|
|
|
|||
|
|
be vibrated by a violin bow under different circumstances, under all of which they develop some principle of unity as sig-
|
|||
|
|
nified by the forms of the sand, and show how wonderfully nature's freest operations are developed according to law.
|
|||
|
|
8 All vibrations, all undulations, all motions of falling or
|
|||
|
|
projected bodies, move according to some mathematical law of unity, such as the curve of the parabola, the circle, the oval, or
|
|||
|
|
generally some other section of a cone. 9. Verse and musical composition have a unity in the length
|
|||
|
|
of steps, called rhythm; melody demands, some ruling tone,
|
|||
|
|
|
|||
|
|
8
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE
|
|||
|
|
|
|||
|
|
called the key note, around which the other notes cluster as
|
|||
|
|
their element of unity; logic lays down its central idea or proposition, and either reasons from external points toward this
|
|||
|
|
center (a posteriori), or from this center toward external points (a priori), and all true art must crystallize its esthetic jewels
|
|||
|
|
upon some thread of unity. 10. All light emanates in untold millions of rays from some
|
|||
|
|
center of unity, such as the sun, a gas burner, etc.
|
|||
|
|
11. All colors combine in a wonderful unity to form white light, and even when separated by a prism or by a rainbow, they
|
|||
|
|
blend so perfectly as seemingly to constitute a single band of hues.
|
|||
|
|
12. Gravitation binds the whole physical universe into one-
|
|||
|
|
ness of law and oneness of existence, and is everlastingly bringing all objects toward some central point by its infinite chains
|
|||
|
|
of power. Cohesion, dealing with atoms, binds solids into a firm unity of mass, and rolls up fluids into little spheres, each of which has its center of infinite points. Gravitation, however,
|
|||
|
|
binds all atoms and all masses of atoms into one family, first chiseling out all worlds into beautiful globular shapes and then
|
|||
|
|
tying them together. By its means the sun becomes a center of unity for 137 planets, moons and asteroids,* as well as for
|
|||
|
|
comets, which are so numerous as to be estimated by
|
|||
|
|
millions. The following remark by Guillemin will show that the sun, mere point as
|
|||
|
|
it is compared with the universe, has after all a vast
|
|||
|
|
reach into space: "Whereas the radius of Neptune's or-
|
|||
|
|
bit is equal to 30 times the mean distance from the sun to the earth, the aphelion of
|
|||
|
|
the comet of 1844, whose period is 100,000 years, is lost in extra planetary space at a distance 4000 times as great."
|
|||
|
|
|
|||
|
|
*This includes the two moons of Mars lately discovered; but new asteroids are being looked up yearly, and the above estimate will prove too small.
|
|||
|
|
|
|||
|
|
UNITY.
|
|||
|
|
|
|||
|
|
9
|
|||
|
|
|
|||
|
|
13. The star Alcyone, in the Pleiades, is supposed by many astronomers to be the mightier sun which forms the center of
|
|||
|
|
unity for our own sun and a great number of other solar systems. 14. To show that the universe follows this law of unity in
|
|||
|
|
the large as well as small, I will give a few star clusters, sometimes called nebulas, as seen by Sir John Herschel. I would
|
|||
|
|
first remark that our own solar system is situated in the vast cluster called the Milky Way, which William Herschel, aided by his telescope, estimates as composed of 18,000,000 stars. If
|
|||
|
|
Alcyone is the center around which move our own and many other solar systems, it is reasonable to suppose that the Milky
|
|||
|
|
|
|||
|
|
Way itself has some vast center around which Alcyone and all
|
|||
|
|
the other stars of this immense cluster make their almost infinite circuit. Otherwise how could they be held in a mass sepaate from the rest of the universe? But all stars seem to be
|
|||
|
|
situated in some cluster, and held there by a law of unity with the other stars. These clusters are counted by thousands. In
|
|||
|
|
the Constellation Virgo is what seems to the naked eye to be a small star called ω (omega) Centauri, but when viewed through a large telescope proves to be a magnificent globular cluster of
|
|||
|
|
thousands of stars, represented by fig. 30. These globular clusters are very common. Fig. 31 simply gives the central portion
|
|||
|
|
of a spiral nebula in the lower jaw of Leo, the whole of which is supposed to contain millions of stars. There must have been
|
|||
|
|
|
|||
|
|
10
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
a center of amazing power around which inconceivably vast whirlwinds of force swept this array of stellar systems. Fig. 32 is an oval nebula in the constellation Vulpecula, the brightest part of which resembles a dumb-bell. Fig. 33 is a nebula in Gemini near the bright star Castor, with rings and a star in the center.
|
|||
|
|
15. But have we reached the ultimate of the law of unity in these thousands of star clusters, each of which is almost a universe in itself in its immensity? Is there no omnipotent, ubiquitous bond of unity which binds even these clusters of solar systems into one almighty center which "we call God and know no more? (Derzhavin.) If not, then all analogies fail and all attempt to arrive at universal law is a mockery, for we see that the principle of unity is absolutely universal, whether we progress toward telescopic or microscopic infinities.
|
|||
|
|
16. But the unity of the material universe is not all. The common supposition that spirit is wholly unlike matter, in other words is immaterial, is quite superficial; for if there were no bonds of unity between the two, spirit could never act upon matter nor matter upon spirit. The teaching of such absurdities drives logical minds to the denial of all spirit, and the advocacy of materialism and atheism. It should be understood that the very same laws rule in the spiritual and intellectual phases of being as in the material; in other words, unity of principle
|
|||
|
|
rules in every department of the universe and binds the whole in one. Mankind intuitively understand this, and constantly express it in their language, using such expressions as "heat of passion" and "heat of fire;" "the light of knowledge,” as well as the light of the sun; "harmony of colors and sounds," as well as harmony of feeling. A person is spoken of as having a "cool, reasoning style" of mind, while another is said to have a "warm and loving heart." The eyes are talked of as "flashing fire" as, for instance, a New York paper speaks of Verdi, the composer of Trovatore, as having "fiery, flashing eyes." Words are said to burn, the heart to "boil with indignation" and so on. In the chapter on Chromo-Mentalism, it will be shown that mind and body work after precisely the same laws; that the eye can flash real fire, only it is of a higher grade than ordinary fire; that the process of reasoning is attended with blue emanations
|
|||
|
|
|
|||
|
|
DIVERSITY.
|
|||
|
|
|
|||
|
|
11
|
|||
|
|
|
|||
|
|
from the front brain, which may be seen by certain persons, and as the blue is the cold principle in colors, we see that it is literally exact to speak of a "cool, reasoning mind;" that the impulsive and loving processes are attended with red emanations, and as red is the principle of heat among colors, we are absolutely correct when we speak of the "warmth of love" or the "heat of passion," and are not using figurative words; that when we say the "heart boils with indignation," we are literally correct, as heat of the spiritual forces causes a hot condition of the heart which sends the blood into a boiling motion, and that there is a chemical affinity ruling in the psychological and ethereal forces just as absolute as that which works in physiological and ordinary material conditions, will be abundantly shown hereafter. Unity, then, being thus ubiquitous in all realms of matter and force, we may be guided by the following rule:—
|
|||
|
|
All things in their basic principles resemble all other things,
|
|||
|
|
and we are safe in judging of the unknown by the known, of
|
|||
|
|
the invisible by the visible, and of the whole by a part. Great and important as is this law, and giving us as it does
|
|||
|
|
a key to the mysteries of things, we come now to another law which is equally important and without which all harmonious unity itself is impossible.
|
|||
|
|
|
|||
|
|
IV. DIVERSITY.
|
|||
|
|
|
|||
|
|
Diversity is a universal law of nature, and exemplifies freedom,
|
|||
|
|
life, individuality, infinity, etc.
|
|||
|
|
In other words, nature consists of infinite unity differentiated into infinite diversity. The reader will now please review all the engravings which illustrate unity, and see how absolutely they also illustrate diversity, otherwise they would have been a perverted style of unity quite contrary to all free natural development. In the triangle, fig. I, we see lines moving in three directions; in fig. 2, lines moving in six directions; in fig. 3, the diversity is far greater; in fig. 4, we have the circle which, geometrically speaking, consists of an infinite number of straight lines, and we have also diversity in the size of the dots; in fig. 5, we have a variety of circles and arcs of circles; in figs. 2 and 5, we have also a diversity caused by light and shade; in the
|
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|
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|
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|
|
12
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
illustrations following, diversities of form, of size, of direction, and of color. In all foliage the outline and color of the leaf and
|
|||
|
|
the size and direction of the fibres and texture are a constant source of diversity. Trees afford a remarkable diversity of di-
|
|||
|
|
rection size and color of their branches and sub-branches, and leaves, bark, flowers, fruit, etc., as well as in the light and shade
|
|||
|
|
of their different parts. In short, the earth and man—the land, and sea, and sky—are rich and delightful in their infinitude of forms, and sounds, and colors, and motions, while the world of
|
|||
|
|
literature and spiritual power is richer than even the outward world.
|
|||
|
|
V. HARMONY.
|
|||
|
|
|
|||
|
|
Harmony consists in the equal balance of Unity and Diversity,
|
|||
|
|
and this harmony is increased in exquisiteness in proportion
|
|||
|
|
to the number of these parts of Unity and Diversity
|
|||
|
|
1. In other words, organization and individual freedom must be combined. In fig. 1, we have three points of general unity, and three lines moving in diverse directions, to constitute the triangle. In fig. 2, we have twice as many points of unity balanced by twice as many points of diversity, consequently the hexagon is more beautiful than the triangle. On the same principle fig. 3 is more beautiful than fig. 2, and figures 4 and 5 than fig. 3, although fig. 3 is more spirited than these last mentioned.
|
|||
|
|
2. Colors must combine this variety of tints, hues and shades an the law of unity to please. If we should see a daub of various colors on an object without any unity of law in their arrangement, taste would be offended, for it would be diversity
|
|||
|
|
|
|||
|
|
HARMONY.
|
|||
|
|
|
|||
|
|
13
|
|||
|
|
|
|||
|
|
run wild. If we should see only one color everywhere and always, it would be insupportable from its unvaried unity (see fig.
|
|||
|
|
35); or if we should see light and shade mingled in a lawless manner on the plan of mere diversity, as in fig. 34, it would be
|
|||
|
|
equally distressing. The one would be well represented in a treeless, barren desert, or by a condition of absolute darkness,
|
|||
|
|
the other by a mass of ruins, or debris, while both would be a violation of the regular development of nature. It is a relief to turn from these to fig. 36, where freedom and law combined de-
|
|||
|
|
light every eye. 3. Chiaroscuro, or the fine balance of light and shade, consti-
|
|||
|
|
tutes a most effective feature in art. Joshua Reynolds made a rule that one-third of a picture should be in shadow and twothirds in light, but this would interfere with our rule, which re-
|
|||
|
|
quires, on the average, an equal distribution of opposite princeples, such as light and shade. If light or shade predominates
|
|||
|
|
too much, the diversity is not sufficient to balance the unity, and the objects portrayed are less distinct and spirited than they should be. Take, for instance,
|
|||
|
|
fig. 37, in which an etching from Rubens is given, and al-
|
|||
|
|
though the features and expression are brought out by a master hand, yet the effect as
|
|||
|
|
a who'e is much less brilliant than the head of the "Astron-
|
|||
|
|
omer," fig. 38, presumably Galileo, which I copy from the London Art Journal, or rather
|
|||
|
|
which the potent beams of the sun have copied for me as
|
|||
|
|
they have also engraved the Rubens. In this way I get a
|
|||
|
|
fac-simile of both. It will be seen that the light and shadow are very finely distributed in the "Astronomer," the greatest light being on the face where nature
|
|||
|
|
has placed it: and the shadow being on the hair and beard where nature has also placed it, while the dark back ground
|
|||
|
|
brings out the light of the whole head by contrast. Diversity
|
|||
|
|
|
|||
|
|
14
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
thus developed; but what is the principle of unity? The sameness of general tone throughout the picture, or so far
|
|||
|
|
as there is diversity of light and shade, such a gradation from one to the other as not to interfere with the oneness
|
|||
|
|
of effect. Swinging to the other extreme of too little
|
|||
|
|
shadow, as in fig. 39, we find the law of diversity lacking equally with the Rubens, fig.
|
|||
|
|
37, and the same indistinctness of detail as in that picture.
|
|||
|
|
Both utility and beauty then require a balance of light and shade. Fig. 40 is a fac-simile
|
|||
|
|
of one of the ruder sketches of the brilliant artist Gustave
|
|||
|
|
Doré, showing the frightened Sancho Panza lying on the ground. The blackest shadow
|
|||
|
|
is made to fade suddenly into absolute light without the gra-
|
|||
|
|
dations which nature adopts, and the little patches of ground at the lower part of the
|
|||
|
|
engraving seem to stand out like islands by themselves, without any relationship to the ground on which he lies. Compare this
|
|||
|
|
|
|||
|
|
to the engraving of the tomb of Plautus Lucanus, fig. 41, which has an effective display of light and shade. Every stone and piece of soil or other object stands out distinctly, and while
|
|||
|
|
|
|||
|
|
HARMONY.
|
|||
|
|
|
|||
|
|
15
|
|||
|
|
|
|||
|
|
there is a fine diversity and gradation, there is also a general unity of spirit and tone throughout. In this picture it will be
|
|||
|
|
seen that the sun, though slightly in front of the bridge, must be nearly perpendicular, as the light does not pass under the
|
|||
|
|
arches. In fig. 42, however, the sun must be behind the bridge and
|
|||
|
|
near the horizon, judging by the distance that its rays are able to
|
|||
|
|
|
|||
|
|
penetrate beneath it over the water, and by the dark shadows which it casts.
|
|||
|
|
4. But we shall hereafter see some great and distinctive methods
|
|||
|
|
by which light and shade and other principles are combined to consti-
|
|||
|
|
tute real harmony, which is the golden mean made up of the two extremes, rather than the golden mean between extremes. In all things that harmony which
|
|||
|
|
is the foundation of beauty, life, health, happiness and power, comes from the union of the two extremes of power, and these
|
|||
|
|
extremes generally find their type, if not their exact character, in unity and diversity. Some of these combinations are as follows:—
|
|||
|
|
Light and shade, which are exactly balanced in nature, the nights and days having the same average length the world over.
|
|||
|
|
Positive and negative forces, which must ever be combined equally to make smooth and perfect action.
|
|||
|
|
Heat and cold, which are balanced in the temperate zones
|
|||
|
|
and over the world taken as a whole, but being blended onesidedly in the torrid and frigid zones they cause more or less
|
|||
|
|
distress and interference with nature's harmonious processes.
|
|||
|
|
|
|||
|
|
16
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
Life and physical harmony are impossible without a balance of these two principles of heat and cold, heat being the principle of
|
|||
|
|
diversity and outward expansion, and cold the principle of unity, organization and crystallization, but either one being destructive
|
|||
|
|
if alone. Sweetness and acidity, as combined in strawberries, peaches,
|
|||
|
|
apples, lemonade, etc., or sweetness and bitterness, as combined in coffee, tea and many other substances, set into motion that harmonious flow of forces through the organs of taste which
|
|||
|
|
lead us to call them luscious or delicious. They delight the physical taste. Unity and diversity, as combined equally, espe-
|
|||
|
|
cially on the law of Gradation or Contrast, which I shall now proceed to explain, reach a more spiritual part of our nature and delight the esthetic taste, as in the beautiful or sublime. It is
|
|||
|
|
plain, then, that when we reach basic principles they apply to every department of the universe, including both matter and mind.
|
|||
|
|
|
|||
|
|
VI. GRADATION OR PROGRESSION.
|
|||
|
|
|
|||
|
|
1. There are two great leading and distinctive methods of combining unity and diversity for the production of harmony,
|
|||
|
|
common through universal nature and of course through all correct human art, which should be a mirror of nature, namely, GRADATION, whose characteristics are exquisiteness, progression,
|
|||
|
|
beauty, femininity, typical of the love principle, and CONTRAST, whose characteristics are spiritedness, decision, power, pictur-
|
|||
|
|
esqueness, sublimity and masculinity, typical of justice. 2. Gradation consists in delicate degrees of progression from
|
|||
|
|
one quality or condition to another, and nature's progressions,
|
|||
|
|
when unrestricted, are ever toward superiority of some kind. Thus in Æolian tones there are crescendos progressing toward
|
|||
|
|
superior power, and diminuendos progressing toward superior sweetness; in all leaves, fibres, branches, trees, flowers, etc.,
|
|||
|
|
there are endless progressions toward superior size and power in one direction, and superior fineness and delicacy in the other, see figs. 4, 8, 9, 10, 11, 12, 13, 14, 16, 19, 20, 21, etc. In a sun-
|
|||
|
|
set sky, the gradation is toward superior brilliancy as we move from east to west, and toward superior softness of color as we
|
|||
|
|
move from west to east; in the rainbow or solar spectrum, we
|
|||
|
|
|
|||
|
|
GRADATION OR PROGRESSION.
|
|||
|
|
|
|||
|
|
17
|
|||
|
|
|
|||
|
|
have another beautiful example of gradation or blending of colors, the progression being toward superior fineness, coolness
|
|||
|
|
and penetrating power, as we move from the red through orange, yellow, green, blue, indigo and violet, and toward superior
|
|||
|
|
warmth and animation as we move in the opposite direction. Examples of this gradation of colors may be seen in all of the
|
|||
|
|
colored plates of this work. I will give a few divisions of nature's infinity of gradations.
|
|||
|
|
3. Gradation of Size. I have just mentioned a number of
|
|||
|
|
gradations of size as in the fibres, branches and leaves of plants, etc. The gradation of human limbs and features
|
|||
|
|
is especially beautiful. Trees abound in many styles of gradation. Fig. 43 shows the ordinary round-topped tree, such as the beech, the maple,
|
|||
|
|
etc., in which there is a progression in direction of
|
|||
|
|
|
|||
|
|
the outline and progression in size. Fig. 44 is an
|
|||
|
|
oblong-headed tree, like the poplar, which has too little diversity in its progression toward a point at
|
|||
|
|
the top, and consequently its appearance is rather stiff. Fig. 45 is a spiry-topped tree, and includes in its class, cedars, firs, larches, etc. It is more at-
|
|||
|
|
ractive than the poplar, from its greater diversity of angles and forms, both angular and curved, and presents sharp contrasts of
|
|||
|
|
direction as well as its gradations. Fig. 46 is the spire in decorated Gothic of the Cathedral, corner of Fifty-first Street and
|
|||
|
|
Fifth Avenue, New York. It has a beautiful and gradual progression from top to bot-
|
|||
|
|
tom, that makes it far more graceful than the spire in fig. 47, which at a point a little
|
|||
|
|
above the roof widens so abruptly as to
|
|||
|
|
|
|||
|
|
18
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
make a contrast rather than a gradation. Such a spire may be called picturesque, but it is not graceful.
|
|||
|
|
4. Gradation of Direction, is simply curvature, and curves are among the leading features of beauty in forms. I have given in
|
|||
|
|
figures 48, 49 and 50 three leading curves in natural forms and motions. Fig. 48 shows the beautiful
|
|||
|
|
curves of the parabola, such as are described by fountains, cataracts and all missiles thrown upward outside of a
|
|||
|
|
perpendicular line. Fig. 49 gives what the famous old English artist Hogarth
|
|||
|
|
called the line of beauty, and moves in two directions like the meandering of a stream or the form of undulations (see fig. 51). It may be seen
|
|||
|
|
in the forms of many grasses, leaves, flowers, shells, streams, etc., and is given in figures 6, 7,
|
|||
|
|
11, 12, 13, 15, 16, 19, 20, 21, 37, 38, 39, 51, etc. Fig. 50 is called the line of grace,
|
|||
|
|
named also by Hogarth, and is a spiral. It is seen in the
|
|||
|
|
climbing of vines as they encircle a tree, in many seashells (see fig. 14), in curls
|
|||
|
|
of hair, etc. It is perhaps the most beautiful of all
|
|||
|
|
simple continuous lines, and, as will be seen hereafter (chapter III.), is the most common form in the universe. It not only has a leading center for the whole form, but is composed, geometri-
|
|||
|
|
cally speaking, of an infinite number of circles as points of both unity and diversity. Undulations not only progress in size but
|
|||
|
|
in delicacy of form as they advance. The fern branch, fig. 52, has not only gradation of size as a
|
|||
|
|
whole, but of each branch and part of a branch, and has also many gradations of direction. Fig. 53 consists of gradations of gradations, which are
|
|||
|
|
formed by superposing compound sounds on simple sounds and causing their vibrations to be re-
|
|||
|
|
corded in lamp-black by a graphic instrument
|
|||
|
|
|
|||
|
|
GRADATION OR PROGRESSION.
|
|||
|
|
|
|||
|
|
19
|
|||
|
|
|
|||
|
|
devised by Savart. Fig. 54 has gradations of size and direction, and was written in lamp-black by a combination of tuning forks.
|
|||
|
|
Fig. 55 is an example of progressive rings of colored light, which were produced by electricity, as seen and drawn by an artist and quoted by Dr.
|
|||
|
|
Jerome Kidder of New York, in his pamphlet on Electro-Allotropo-Physiology:—“Placing
|
|||
|
|
the sponge of an electrical machine to my left eye, and making the current strong, I saw stars in about four seconds. Rings vibrating
|
|||
|
|
came from the ends, growing weaker as they approached the center, where they died out entirely. This was very beauti-
|
|||
|
|
ful. It commenced with yellow at the first ring, at about the fourth or fifth ring they became red, and disappeared in a faint blue." It will be noticed that these waves of light progress in
|
|||
|
|
size, in thickness, in color, and in direction of outline according to the line of beauty, and have a general unity as a whole, as
|
|||
|
|
well as a special unity of breadth, of parallelism and of a common center, while the features of diversity are equally marked.
|
|||
|
|
5. Gradations in the Human Form. The human form being
|
|||
|
|
the highest development of the external universe should have the highest manifestations of harmonic features. It may be re-
|
|||
|
|
marked, first, that the contour of a mature and graceful countenance, as well as of the top head, is on the plan of the oval, while the unripe period of infancy and early childhood approaches the
|
|||
|
|
circle. The Romans advocated the circle as the highest form of beauty, while the
|
|||
|
|
more cultured taste of the Greeks preferred the ellipse, the oval and other sections of
|
|||
|
|
a cone. The circle is the stiffest of curves, in fact is a curve of limitation, while the oval may have a great variety of curved
|
|||
|
|
forms all of which have their centers of unity. Fig. 56 is an ovoid, or egg-shaped
|
|||
|
|
form, which has its center of gravity at G,
|
|||
|
|
|
|||
|
|
20
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
within, but its general center of form around a line which should extend through the center of the whole ovoid longitudinally.
|
|||
|
|
I will now present some faces as illustrations of the principle.
|
|||
|
|
|
|||
|
|
GRADATION OR PROGRESSION.
|
|||
|
|
|
|||
|
|
21
|
|||
|
|
|
|||
|
|
Figs. 57 and 58 are a copy from life of two sisters, who at the same age had a good deal of resemblance to each other. Emma
|
|||
|
|
is 18 months old and has fine round features. Katie is 6 years old and her features have become much more oval, the curve
|
|||
|
|
of the chin being more delicate and yet more marked as
|
|||
|
|
|
|||
|
|
compared with that of the cheek, while the hair contrasts more distinctly in color and prominence with the face. Figures 59 and 60 present subjects still younger and still older
|
|||
|
|
than those of Emma and Katie, the infant which I have copied from the London Art Journal having a face so nearly circular
|
|||
|
|
that its chin almost disappears; while the French market girl, having reached early womanhood, has a fine oval face and more distinct features of every kind. In fig. 61, the same
|
|||
|
|
principle is well illustrated in the three faces presented, which lengthen out as their age progresses, while womanhood, as
|
|||
|
|
represented by Genevieve in fig. 62, presents a still greater variety of gradations as seen in the curves of her form as well as greater contrasts. The line of beauty will be seen on her
|
|||
|
|
cheeks, top hair, shoulders and bust, and the lines of grace in her lower hair, although the artist has not given her a very
|
|||
|
|
superior expression of countenance. 6. Gradations of Light and Shade so beautifully exemplified in
|
|||
|
|
sky and hill and valley and lake, and in most of the manifestations
|
|||
|
|
of nature, must be imitated as far as possible in art. In most of the foregoing pictures these gradations are easily seen, especially
|
|||
|
|
in that of the Astronomer, fig. 38, in which the light fades into shadow as we pass from the forehead to the temples, or into
|
|||
|
|
still deeper shadow on passing to the eyes, which are overhung by his prominent and intellectual brow. This latter, in fact, may be called a contrast of light and shade, although it is graded
|
|||
|
|
|
|||
|
|
22
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
off so as to be quite refined in comparison with the rude masses of light and shadow in fig. 40, which are almost lacking in grada-
|
|||
|
|
tion. 7. We have already seen that Gradation of Colors appears in
|
|||
|
|
those that blend as in the rainbow, and that this gradation, although so diversified in its hues, has the property of binding a
|
|||
|
|
mass of colors into oneness or unity of effect, hence its beauty. 8. In the Motions and Forces of Nature, gradation seems to
|
|||
|
|
be a universal law, extending to gravitation, chemical affinity,
|
|||
|
|
etc. All projected or falling bodies, all movements of suns, planets, moons and comets forever progress either with increase-
|
|||
|
|
ing or retarded velocities and momentum. 9. Rhetorical and Musical Gradations consist of those cli-
|
|||
|
|
maxes or passages of increasing power or sweetness which move
|
|||
|
|
on step by step until they culminate. In music, there are various dynamical, melodic and climacteric gradations such as crescendos,
|
|||
|
|
diminuendos, curves of the voice, upward or downward movements of the voice, etc., all of which, when on the law of gradation, are beautiful. In rhetoric it is often said that climaxes are
|
|||
|
|
beautiful, but that it is impossible to tell the reason. It is very easy to see the reason when we remember that a climax is
|
|||
|
|
simply a progression or gradation of ideas in harmony with nature's universal law of beauty. Fine rhetoricians are ever apt to arrange the clauses of their sentences in an increasing
|
|||
|
|
gradation, and when this is attended with increasing importance of ideas, it becomes doubly effective. I will give only a single
|
|||
|
|
passage from Burke:
|
|||
|
|
There is one thing and one thing only,
|
|||
|
|
which defies all mutation: that which existed before the world, and will survive the fabric of the world itself,
|
|||
|
|
I mean JUSTICE, etc.
|
|||
|
|
10. Miscellaneous Gradations. I have given my last paragraphs partly to show that a unity of law exists in the world of intellect and language as well as in external nature itself. The
|
|||
|
|
same law of gradation could be traced all through refined social life, through government, through religion and through every
|
|||
|
|
department of nature, mind, and art.
|
|||
|
|
|
|||
|
|
CONTRAST.
|
|||
|
|
|
|||
|
|
23
|
|||
|
|
|
|||
|
|
VII. CONTRAST.
|
|||
|
|
|
|||
|
|
Harmonic Contrast combines Unity and Diversity in bold degrees or
|
|||
|
|
in distinct masses.
|
|||
|
|
I. Contrast of Direction consists of straight lines and acute angles, just as gradation of direction consists of curvature. These right lines and bold angles are generally attended with power, sublimity, spiritedness, or picturesqueness, as is the case with flashes of lightning (see fig. 63), or great cliffs, or stormtossed billows, or lofty cataracts. In fig. 64 the bold angles of the cliffs, the dash of billows, the lowering clouds and the lightning's track all betoken great power, are especially sublime, and are manifestations of contrast. The contrast of light and shade which the artist has represented adds to the spiritedness of the scene.
|
|||
|
|
2. We shall see the distinction between gradation and contrast all the better by means of fig. 65, in which the graceful predominates everywhere from the curvature and other gradations that rule, including the bridge with its vases, the winding drive and walk, the arched pavilion, the flowing foliage, and flowers, the placid water picturing surrounding objects on its bosom, the easy slope of the land, the swan and the spirit of the scene generally which soothes and delights the mind.
|
|||
|
|
|
|||
|
|
24
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
CONTRAST
|
|||
|
|
|
|||
|
|
25
|
|||
|
|
|
|||
|
|
Figure 66 presents some elements of the beautiful in the curved form and sparkling effect of the waters of Niagara Falls, a part of which appear, but the loftiness, vastness, power, and the terrific contrasts and whirling motions of such mighty currents are especially sublime.
|
|||
|
|
3. Light and Shadow appear in countless beautiful and startling manifestations, in the sky especially, as well as on water, and over the mountains and valleys. Gradation of light and color in the sky, represented in fig. 67, is apt to be the most delicate where no clouds are, the light of course being most brilliant where the sun is, and having a progression
|
|||
|
|
*This pretty piece of landscape was drawn for me by a young artist, Miss May Kidder, daughter of Mrs. M. A. Kidder, the well known poetess.
|
|||
|
|
|
|||
|
|
toward shadow as we recede from the sun. In a sunset sky, or a sunrise scene, there are often millions of degrees of tint from the point where the sun is all the way over to the opposite side of the sky, when it is not cloudy; but in case of clouds, magnificent contrasts of light, shade and color are apt to appear with their more exciting effects. The clouds and light of a tempest often manifest brilliant contrasts, something as in fig. 68. Fig. 69 shows a scene in which contrast and diversity are almost entirely lacking, so that the land can scarcely be distinguished from the water, and the whole effect is feeble. In fig. 70 contrasts of various kinds appear and give a brilliant effect. There is a con-
|
|||
|
|
trast of size and direction in the rocks and bold scenery as placed side by side with the placid sheet of water; and there is the contrast of the deep shadow in which these rocks are placed with the brilliant light that flashes over the water, and this light is toned
|
|||
|
|
|
|||
|
|
26
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
down by a gradation of shading which gives refinement. The contrast of luminous branches on the shadowy rocks should also
|
|||
|
|
be noticed. 4. The contrast of Masculinity with Femininity is one of na-
|
|||
|
|
ture's great strokes of harmony, being an admirable method of employing diversity in the sexes to bind them together in unity
|
|||
|
|
of spirit. It is really a contrast of gradation of style as predominating in woman with contrast of style as ruling in man. In fig. 71, I have presented the beautiful queen of Delhi, in contrast with
|
|||
|
|
the manly head of the Emperor of Germany in fig. 72. The queen's forehead, eyebrows, cheeks, chin, mouth, neck and shoul-
|
|||
|
|
ders are all graceful with gradation; her hair progresses from lines of beauty above to lines of grace below; her drapery and jewelry are arranged on the flowing and curved style of grada-
|
|||
|
|
tion, while all very strong contrasts both of color or form are avoided. The Emperor with his firm shoulders and neck, his
|
|||
|
|
massive forehead and eyebrows, his bold features approaching angularity, his beard and mustache contrasting in form and color with his face, his angular ornaments with their bright colors
|
|||
|
|
placed in contrast with the dark color of his coat, give him an appearance of dignity and power. Nothing is more effective in
|
|||
|
|
a social circle than a manly man by the side of a womanly woman, the man setting off by his size and ruder power the delicacy and grace of the woman, while the woman enhances the majesty of the
|
|||
|
|
man by her more petite and yielding form. The true woman naturally desires in man masculine force of character, and the
|
|||
|
|
true man naturally loves in woman feminine refinement and gentleness. By feminine I do not mean effeminate, and by gentleness I do not mean lacking in firmness of principle. When
|
|||
|
|
such natures form a matrimonial union their harmony, both physical and spiritual, will be far greater than two natures which
|
|||
|
|
are too much alike, or rather which do not contrast properly. By contrast I do not mean contrariness, or opposition, but distinctly
|
|||
|
|
marked diversity in unity; for natures that are almost totally opposite cannot harmonize any better than those which are almost wholly alike.
|
|||
|
|
Fig. 73 presents the face of our eminent ornithologist Audubon, certainly one of the most feminine of masculine faces,
|
|||
|
|
from the delicacy of his chin and mouth and the fine curves of
|
|||
|
|
|
|||
|
|
CONTRAST.
|
|||
|
|
|
|||
|
|
27
|
|||
|
|
|
|||
|
|
28
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
his cheeks and eyebrows. His forehead alone seems to have
|
|||
|
|
masculine prominence of outline. To make this femininity the more extreme in style he wears
|
|||
|
|
his hair long and laid carefully in curls over his forehead, his collar
|
|||
|
|
and drapery flowing and his face wholly without beard, which is certainly a mistaken conception of what
|
|||
|
|
is appropriate in manhood. This same mistake is made by many
|
|||
|
|
priests, who shave their faces closely and wear those flowing gowns which simply make them resemble women of a large and coarse type.
|
|||
|
|
The uncomfortable and heat-producing wigs with long and curled hair which are still worn by barristers in England, are a very
|
|||
|
|
unmasculine and very absurd ornament. But the subject of dress will be considered hereafter. The contrasts of the masculine and feminine form are shown in fig. 39.
|
|||
|
|
5. Contrasts caused by Reflection. Nature is not satisfied with filling all things with her fine effects and harmonies which
|
|||
|
|
inhere in the objects themselves, but has turned every lake and river and sea into a burnished surface of quicksilver to mirror forth in softer light her real objects, thus making shadows con-
|
|||
|
|
trast with their substances, as seen in fig. 74, also in fig. 65. 6. Contrasts in Typogra-
|
|||
|
|
phy. I will throw out just a hint as to how different styles of lettering and pen-
|
|||
|
|
manship may be combined to produce an effective con-
|
|||
|
|
trast, and also gradation. In fig. 70, the upper and
|
|||
|
|
lower words have gradation as their ruling feature, while the middle word has those
|
|||
|
|
firm straight lines and sharp angles which make contrast,
|
|||
|
|
and so taking them all together is a pretty contrast of gradation and contrast. The grad-
|
|||
|
|
|
|||
|
|
CONTRAST.
|
|||
|
|
|
|||
|
|
29
|
|||
|
|
|
|||
|
|
ual swelling and diminishing of the shaded line in the capitals is a gradation of size, while the light and
|
|||
|
|
shaded strokes which come near each other form a contrast of size. The word
|
|||
|
|
eminent has different contrasts, both horizontal and perpendicular, but the
|
|||
|
|
shaded ground work of the word should be extended to the other two words or omitted altogether to have perfect unity
|
|||
|
|
of effect; but I have chosen them from their applicability in other respects.
|
|||
|
|
11. Contrast in Music. Rhythmical contrast consists of sudden changes from short to long or long to short tones; dynamical, in sudden bursts of tone after soft and gentle movements,
|
|||
|
|
the use of rests, etc.; melodic, in sudden transitions from high to low or low to high notes, and in straightforward and angular
|
|||
|
|
movements of the voice rather than in fanciful curvatures and warblings.
|
|||
|
|
12. Contrast of Ideas and length of clauses may be seen in
|
|||
|
|
the following antitheses of Mirabeau:
|
|||
|
|
"Be firm........not obstinate; Courageous........not turbulent; Free........not undisciplined; Prompt........not precipitate."
|
|||
|
|
13. A Gradation of Contrasts in Language may be seen in the following extract from Chateaubriand, in which each of the
|
|||
|
|
three leading steps of gradation from less to more important ideas has a contrast of a smaller with a larger object, as "insect" with "elephant," etc:—
|
|||
|
|
|
|||
|
|
The unity of idea in the above finds its central point in "There is a God," while the diversity consists of the seven
|
|||
|
|
clauses which cluster around it, as leaves cluster around a branch.
|
|||
|
|
|
|||
|
|
30
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
14. Crystallized or other hard forms usually have that predominance of straight lines and angles which constitutes con-
|
|||
|
|
trast, and their effect is generally spirited, or if large, sublime, while the more soft or yielding forms of natural growth have
|
|||
|
|
usually a predominance of curvature on the graceful law of gradation. For examples of the first see figures 2, 3, 64, etc.; for
|
|||
|
|
examples of the second, see vines, leaves, human forms, etc., as in figures11, 12, 19, 20, 60, etc.
|
|||
|
|
15. What is the principle of unity in contrasting objects? my
|
|||
|
|
reader may ask. The principle of diversity is evident enough. Take the picture of Stony Point, fig. 70, which presents marked
|
|||
|
|
contrasts. Are the rocks so black as to be entirely separated in effect from the white appearing water near it? No, for the water is graded down with shadow so as not to be entirely white,
|
|||
|
|
while the rocks are softened down with light to prevent blackness. So far, then, there is unity of effect. But there is also
|
|||
|
|
another kind of unity, for the darkness of the rocks works in harmony with the water to develop its brilliancy, while the brilliancy of the water, on the other hand, works harmoniously with
|
|||
|
|
the rocks to bring out their bold and massive power the more distinctly. But these contrasts by means of which one object
|
|||
|
|
works to glorify its neighbor, are seen all through nature. The red of the flower makes the green of the surrounding foliage seem the more pure by comparison, while the green on the other
|
|||
|
|
hand sets off the red and gives it a deeper hue. The foliage harmonizes with the reddish brown of the soil; a violet flower is
|
|||
|
|
very apt to be associated with yellow lines or a yellow center, and various other harmonic contrasts exist in different departments of nature, developed on the principle of chemical affinity
|
|||
|
|
which deals in contrasts as will be shown in chapter V. 16. How is Contrast the type of justice? A true philosopher
|
|||
|
|
will always see an interior spiritual meaning in every manifestation of nature. The earthquake, the tempest and the lightning,
|
|||
|
|
which so abound in sublime contrasts, are great purifying and corrective agencies of the physical world. Is not Justice the great purifier of the moral world? But as in nature the moun-
|
|||
|
|
tains and cliffs which have been developed by the earthquake are softened down by many yielding and beautiful gradations
|
|||
|
|
typical of love, so should human justice be tempered by the gentle hand of mercy.
|
|||
|
|
|
|||
|
|
HARMONY OF ANALOGY.
|
|||
|
|
|
|||
|
|
31
|
|||
|
|
|
|||
|
|
VIII. HARMONY OF ANALOGY.
|
|||
|
|
|
|||
|
|
Analogical harmony requires that there shall be some distinctive
|
|||
|
|
expression or special character throughout any work of art or
|
|||
|
|
nature in order to the highest perfection.
|
|||
|
|
I. This is really a broad application of the principle of unity, and yet this very law will impart such an individuality to an object, or series of objects, as to enhance the diversity of things as
|
|||
|
|
a whole. Nature carries it out in a wonderful way. Thus the sky may be greatly varied with clouds and sunlight, but its analogical principle is the blue color. During a sunset, not only does a golden tint rule near the sun, but it touches the whole sky and landscape into analogical harmony. When the sky becomes overcast with dark clouds, the forest, the water, and the whole landscape partakes of the somberness, as in fig. 76. The artist has given a little piece of the Hudson at West Point by moonlight (fig. 77), and the dimness of the water, of the distant highlands and of the sky itself, shows the analogical principle which is so common in nature. In a romantic or picturesque region, contrast is the presiding genius, and we are apt to find bluffs, cliffs, torrents, and jagged or spiry-topped trees all combined. Fig. 78 shows a small portion of the Au Sable Chasm, in which the spire-like trees surmount the cliffs somewhat as pinnacles surmount a Gothic edifice, and greatly add to the spiritedness
|
|||
|
|
|
|||
|
|
32
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
of the scene. Fig. 79 shows a portion of the Library building
|
|||
|
|
of Yale College, which, throwing upward its turrets and pinnacles, as well as its pointed windows and roof, shows how
|
|||
|
|
well adapted the Gothic style is to hillsides or other romantic situations, as it would be in harmony with surrounding features.
|
|||
|
|
Many architects, recognizing this fact, have placed Gothic churches or other buildings in the same spirited style, on the top of some peak or hillside, and enhanced the effect which
|
|||
|
|
nature itself produces. Such an effect is seen on Mont St. Michael, fig. 80. The
|
|||
|
|
well known Catskill Mountain House, fig. 81, with its tame horizontal lines, violates in this respect the spirit of the wild gran-
|
|||
|
|
deur around it, where the very trees and cliffs themselves proclaim a different
|
|||
|
|
style. 2. Analogical Harmony does not ne-
|
|||
|
|
cessarily interfere with diversity as might
|
|||
|
|
be supposed at first thought. Figs. 82 and 83 are portions of New York
|
|||
|
|
business buildings. Although the square topped Grecian windows are the simplest of all styles, the architect has found
|
|||
|
|
a way (fig. 82) to vary them with their surroundings on different floors without
|
|||
|
|
injuring the unity of effect. The same is the case with the Romanesque windows of fig. 83. Fig. 84, which I have
|
|||
|
|
|
|||
|
|
HARMONY OF ANALOGY.
|
|||
|
|
|
|||
|
|
33
|
|||
|
|
|
|||
|
|
taken from Ruskin's "Stones of Venice," has an analogical harmony in the great general outline of its beautiful Roman arches, although every arch, as will be seen, has an entirely different
|
|||
|
|
style of ornamentation from every other arch, and each pillar differently sculptured capitals, while the space above is filled
|
|||
|
|
with constantly diversified figures. Mediocrity clamors for a dead sameness of all windows of a building, or of all ornamental
|
|||
|
|
features, or of all pillars, and would balance one tower on one side of a building with another absolutely similar to it on the other side, just as mediocrity in the world of fashion aims at a
|
|||
|
|
slavish imitation of some style which is supposed to be à la mode, however foolish, unbeautiful, destructive of health, or lack-
|
|||
|
|
ing in adaptation it may be. Genius, however, while carrying out a general analogical spirit, is so rich in resources of creation
|
|||
|
|
|
|||
|
|
or invention as to develop endless diversity in the midst of his
|
|||
|
|
unity, in imitation of nature itself. In fig. 85, we have a specimen of Gothic architecture with
|
|||
|
|
its pointed arches, being the doorway of Holyrood Abbey, England, while fig. 86 shows
|
|||
|
|
some of the windows in the same structure. It will be seen that
|
|||
|
|
the windows in each story are highly different in plan and yet entirely harmonious in effect,
|
|||
|
|
not only with themselves but with the doorway, and even the
|
|||
|
|
|
|||
|
|
34
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
doorway itself has various analogical principles in the series of
|
|||
|
|
arches and parallel lines with which it is formed, while these very arches have a diversity of ornamentation. Fig. 87 gives a
|
|||
|
|
fair specimen of the Elizabethan architecture, which is a mongrel of styles, quite in violation of
|
|||
|
|
the analogical harmonies, having no general effect of contrast or gradation; of straight lines or curves, although it has some picturesqueness of effect.
|
|||
|
|
There is the arched doorway and rectangular window, and roof-piece, with no special style at all,
|
|||
|
|
projecting quite above the rest of the house, and pretending to be a part of the house, just as the pompous Elizabethan style of dress was full of in-
|
|||
|
|
flation and vanity, pretending to be more than it was. 3. In landscape, a picturesque or romantic location needs
|
|||
|
|
more or less of spirited angles in the buildings which may be placed there, as we have just seen, as well as deep contrasts of light and shade in the form of lawns and thick tufts of foliage,
|
|||
|
|
decided angles in some of the trees as well as in the walks, and not too much of the polishing effects of art, while in landscapes
|
|||
|
|
where the beautiful predominates, winding paths, lawns finished off with smooth surfaces and curved forms, and architecture in which gradation and gentle angles are prevalent, such as Gre-
|
|||
|
|
cian, Italian, the curved Mansard roof or ornamented Gothic, are in place. (See fig. 65.)
|
|||
|
|
4. In Society, while both sexes must abound more or less with both gradation and contrast of style in their features, conversation and general character, yet in the true man we expect
|
|||
|
|
power as the leading trait, however much it may be modified by goodness and refinement, while in the true woman we expect
|
|||
|
|
the gentle and graceful style, and ability to hold in repose when necessary, any depth of feeling.
|
|||
|
|
5. In Music, analogical harmony demands some general keynote or style throughout a part or the whole of a composition.
|
|||
|
|
6. In Painting, it demands some general tone of color and
|
|||
|
|
leading design throughout the whole piece. 7. In Logic, it requires a constant adherence to the point to
|
|||
|
|
be proved. 8. In Versification, it causes some general style of rhythm
|
|||
|
|
|
|||
|
|
VIOLENT CONTRASTS.
|
|||
|
|
|
|||
|
|
35
|
|||
|
|
|
|||
|
|
and metre to be adopted throughout a poem, excepting where the principle of adaptation may require a change.
|
|||
|
|
9. In Colors, any hue harmonizes analogically with a different shade of the same color, as Chevreul has observed; for instance,
|
|||
|
|
blue will harmonize with light blue, light blue-gray with a darker blue-gray, red with light red, etc. (See Plate II., fig. 2.) This
|
|||
|
|
is analogical contrast. In the case of ordinary contrast, however, light red does not harmonize well with dark green, nor a deep orange with a pale blue, nor light red-gray with dark green-gray,
|
|||
|
|
but the depth of tone in each must be equal to have the best effect of analogical harmony. But chromatic harmony will be
|
|||
|
|
explained under its proper head. 10. Thus in all nature and art and society, whatever diver-
|
|||
|
|
sity in the form of contrast or of gradation there may be, the
|
|||
|
|
principles of analogical harmony demand that some leading sympathetic thread of unity must bind the whole into one. Liberty
|
|||
|
|
and law must be combined. This prepares the way for my next paragraph.
|
|||
|
|
|
|||
|
|
IX. VIOLENT CONTRASTS ARE CONTRARY TO THE GENERAL LAWS OF NATURE.
|
|||
|
|
|
|||
|
|
I. Harmonic contrast is not antagonism or absolute opposetion, it should be remembered. The contrasts and hues of na-
|
|||
|
|
ture are not violent or pretentious in their general manifestations. The blue of the sky is diluted by the light in the day-
|
|||
|
|
time or by shadow at night. The green of the foliage is far better than a luminous color, as it does not dazzle the vision. The sunrise and sunset and the rainbow are all the more beauty-
|
|||
|
|
ful by being temporary, and the awful contrasts of vast overhanging cliffs, great cataracts, tempests and earthquakes, would
|
|||
|
|
be unendurable if prevailing everywhere and always. The rocks, the earth, the clouds, the body of plants and trees are
|
|||
|
|
generally composed of delicate rich grays or browns which have a modest grace that gives enduring pleasure. Nature has for thousands of years made building materials, such as stones and
|
|||
|
|
woods, of these grays and browns; but man, too slow to take the hint, insists too often in painting his houses in such glaring,
|
|||
|
|
positive colors, as white, red, etc.
|
|||
|
|
|
|||
|
|
36
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
2. Exquisite taste of course avoids what are called loud colors, and barbarians have taken charge of most of the flaming red
|
|||
|
|
and purple hues for dress, excepting in the case of children, whose sunny nature renders gay colors apropos.
|
|||
|
|
3. In society such rude contrasts as harsh words, violent gestures and screeching tones of passion are relegated to the
|
|||
|
|
low and vulgar, although at times great truths and great reforms may be projected upon a careless and ignorant community with a fiery earnestness that may displease for the time being as they
|
|||
|
|
tear up old errors, just as the lightning and the earthquake may bring occasional alarm in doing a much needed work of punfica-
|
|||
|
|
tion. 4. The great leading plan of nature is to combine gentleness
|
|||
|
|
and power, or in other words, Gradation and Contrast, sunshine
|
|||
|
|
being more potent than the storm, while violence occurs only at rare intervals and even then in order that peace and harmony
|
|||
|
|
may the better be brought about.
|
|||
|
|
|
|||
|
|
X. NATURE'S UNRESTRICTED GROWTH NEVER RESULTS IN DISCORD OR UGLINESS.
|
|||
|
|
|
|||
|
|
1. We have seen that nature's progressions when unimpeded are ever toward beauty and perfection of some kind, and yet there are objects of deformity to be seen in the world around
|
|||
|
|
us. How is this? These objects do not result from nature's growth but from the cessation of this growth, as in decay, in-
|
|||
|
|
terference, sickness and death. Plants and animals naturally grow into beauty when unimpeded, but become repulsive in decay or in disease or imperfect conditions. Figures 88 and 89
|
|||
|
|
are specimens of faces formed by harmonious natural conditions, either pre-natal or post-natal, or both; fig. 90 has had the har-
|
|||
|
|
monious growth of nature interfered with by means of the poisonous element of alcohol; fig. 91, by sickness ; fig. 92, by a
|
|||
|
|
one-sided development of her beastly nature to the neglect of her higher powers; fig. 93, by such a diseased condition of his liver, spleen, stomach, and perhaps kidneys and nervous system,
|
|||
|
|
such a pressure and inflowing of forces upon the heart, that he almost dies of hypochondria, or perhaps declares at times that
|
|||
|
|
he is actually dead.
|
|||
|
|
|
|||
|
|
NATURE’S UNRESTRICTED GROWTH NEVER DISCORDANT.
|
|||
|
|
|
|||
|
|
37
|
|||
|
|
|
|||
|
|
2. All Crystallizations when formed by natural and slow processes are beautiful; but the violence of volcanoes and earthquakes throws up lava and jagged ore in which unity is quite deficient, and consequently deformity reigns, just as lines of ugliness are painted on the human countenance by the continuous indulgence of violent passions. The barren waste of deserts is also unbeautiful from lack of diversity; but this too comes from impeding nature's processes, as the vapors of the atmosphere which give the rain are obstructed by some intervening mountain ranges.
|
|||
|
|
3. The Human Form when developed naturally, without compressions of tight garments, without paints and cosmetics or stimuli, with abundance of pure air, sunlight, natural, simple food, exercise, and a genial noble soul within to illuminate the whole, grows naturally into every style of beautiful outline, color, motion and expression. Pale hollow cheeks with spiritless expression and walk, and fitful nervous action, result from a wrong life in
|
|||
|
|
|
|||
|
|
38
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
one's self, or in one's ancestors, or in some adverse conditions of life, all of which are at war with nature's harmonious unfolding.
|
|||
|
|
4. But decay itself is only a process of a higher development, a decomposing and recomposing into superior conditions. By
|
|||
|
|
means of change and death the earth has progressed up through the geological epochs to the present refinement of things, develop-
|
|||
|
|
ing first mollusks, then fishes, then birds and reptiles, then mammalia, and last and highest, man. Judging then by all analogies, even death must be but transition to superior life, and man him-
|
|||
|
|
self a link in this wonderful chain of upward progression. Is it not an inspiriting thought then that all gradations of color, form,
|
|||
|
|
sound and motion, all harmonies of the outward universe, forever exemplify and teach this great principle of progression?
|
|||
|
|
|
|||
|
|
XI. ALL UNRESTRICTED GROWTH OF NATURE EXEMPLIFIES SPIRITUAL AND MORAL PERFECTION.
|
|||
|
|
|
|||
|
|
1. In other words, beautiful growths exemplify beautiful ideas, and all objects are positively deformed which do not do so. Take the sun for example. The orb itself typifies the parent principle. Its infinitude of rays work harmoniously side by side and typify fraternal harmony. They combine together to glorify the parent orb itself and thus exemplify filial love. This parent sphere gives them life and power and thus exemplifies the love of both the divine and human parent for the children. The light expands toward all the rest of the universe, and thus preaches progression and a sympathy for all. This immense progression at the rate of 186,000 miles a second enhances its luminosity and beauty through attrition on our atmosphere and earth, and thereby shows the glory of action. Thus the sun and stars are ever flashing out upon us their wonderful lessons of individual progression and freedom, and yet fraternal harmony and organization, writing the thoughts of the Infinite over the whole heavens. Suppose that anarchy should reign among the sunbeams and they should war upon each other as do the lines in fig. 34, or sink into the stupid blank of death and inactivity as in fig. 35, the whole matter becomes at once disgusting. Thus we see that
|
|||
|
|
while moral perfection is expressed we have beauty, but so soon as immorality of idea prevails we have deformity.
|
|||
|
|
|
|||
|
|
NATURAL GROWTH EXEMPLIFIES MORAL PERFECTION.
|
|||
|
|
|
|||
|
|
39
|
|||
|
|
|
|||
|
|
2. But again, suppose the leaves of the Gum Arabic Twig (Acacia Arabica) should rebel against the fraternal harmony
|
|||
|
|
with which nature has endowed them, as seen in fig. 94, and regardless of their neighbors arrange themselves
|
|||
|
|
into all conflicting attitudes or sometimes turn themselves into triangles, squares, etc., as in fig.
|
|||
|
|
95, and suppose that the parent stem itself, regardless of its foliage and ignoring all graceful progresssion of outline should stand forth in a rigid straight
|
|||
|
|
line equal in size throughout, would it not be a distressing object to look upon? Truly "righteous-
|
|||
|
|
ness exalteth" a twig as well as a nation. Let us take a leaf, fig. 96, and see what a little bible of divine instruction is written thereon.
|
|||
|
|
Its fibres working harmoniously side by side for the beauty of the whole and never
|
|||
|
|
violating their neighbor's rights, teach fraternal love and justice, both in the family and in society.
|
|||
|
|
Working in individual freedom, they teach self-reliance and manhood.
|
|||
|
|
Working in orderly arrangement they advocate law and organization.
|
|||
|
|
Increasing in size and power as they move toward the cen-
|
|||
|
|
tral fibre, they preach progression. Spreading out gracefully on both sides, one side a little bolder
|
|||
|
|
than the other, they advocate conjugal love. Uniting their life and harmony with the parent stem, they
|
|||
|
|
teach us to turn affectionately to our parentage both earthly and
|
|||
|
|
heavenly, thus proclaiming filial love. The parent stem sending its life forces to the dependent
|
|||
|
|
fibres symbolizes parental love, both human and divine. While it draws its life from the earth, it also opens its tissues
|
|||
|
|
and drinks in the sunlight from above, thus teaching us to draw wisdom and power from both the earthly and the heavenly.
|
|||
|
|
Developing in all directions in symmetrical harmony, they
|
|||
|
|
teach us to grow broad in our culture and avoid one-sidedness of development.
|
|||
|
|
These are some of the leading instructions and moral bear-
|
|||
|
|
|
|||
|
|
40
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
ings of the leaf, including the four great departments of love, which if carried out would convert the terrestrial into the celes-
|
|||
|
|
tial harmony. 3. Again we may take the Sun as the parental center of the
|
|||
|
|
solar system, around which all its planets, moons, and comets revolve with ceaseless harmony, ever receiving from and giving to
|
|||
|
|
each other, and we find the same divine lessons taught. 4. Thus does every sun, and planet, and star, and leaf, and
|
|||
|
|
flower, and tree, and rainbow, and crystal, and all other unim-
|
|||
|
|
peded formations and growths of the whole universe, everlastingly proclaim these divine harmonies. Shall man ever remain
|
|||
|
|
blind and deaf and dumb with reference to them? 5. The same beautiful harmonic relations should be exempli-
|
|||
|
|
fied in every family, every society, every community and every
|
|||
|
|
nation, with a balance of organization and individuality, and with every part working lovingly with every other part and yet main-
|
|||
|
|
taining individual freedom. 6. The foregoing principle constitutes another proof of the
|
|||
|
|
absolute unity of all things, the spiritual and the material being
|
|||
|
|
irrevocably blended.
|
|||
|
|
|
|||
|
|
XII. THE LAW OF PERFECTION.
|
|||
|
|
|
|||
|
|
Those objects present the highest perfection, other things being
|
|||
|
|
equal, which embody the greatest number of Harmonic Prin-
|
|||
|
|
ciples.
|
|||
|
|
1. Niagara Falls. This cataract is the admiration of the world. Why? It presents beautiful gradations of direction in the parabolic curves of water as it sweeps over the rocks; gradation of velocity from top to bottom, and gradation in the curves and hues of the rainbow which gilds the clouds of spray. It presents Contrasts of direction in the mad dash and whirl of waters, contrasts of rocks and water, contrasts of water in the sunlight and water in shadow, contrasts of white foam with the dark blue sheet before it becomes foam, contrasts of size in the great cliffs and water above with the depths below. The whole presents the analogical principle of continuous sublimity—sublimity in the great rocks, the mighty currents, and a power
|
|||
|
|
|
|||
|
|
THE LAW OF PERFECTION
|
|||
|
|
|
|||
|
|
41
|
|||
|
|
|
|||
|
|
which utters itself in thunder and shakes the earth. We see,
|
|||
|
|
then, every style of external harmony combined. 2. The Human Head, being the culmination of the highest
|
|||
|
|
features of man, who is himself the culmination of nature, presents the most wonderful combination of harmonic features. It
|
|||
|
|
has contrasts of size and direction in the upper and lower head, in the front and back head, in the hair and face, in the nose and cheeks, or forehead and cheeks, or chin and checks: it presents
|
|||
|
|
contrasts of color in the hair and face, or beard and face, in the pupil and white of the eye, etc.: it presents gradations of direc-
|
|||
|
|
tion in the exquisite curves everywhere present, as in the chin, lips, cheeks, eyes, eyebrows, nose, forehead, hair and whole head; and gradations of color in the cheeks progressing from
|
|||
|
|
the lily of the side cheeks to the rose in the center; and more or less of the same in the lips, eyes and hair: it presents ana-
|
|||
|
|
logical harmony of color in the face, eyes and hair, as when the hair is dark, the eyes and skin are apt to be dark also; and analogical harmony of form, as when one feature is bold and con-
|
|||
|
|
trasting, others are apt to be the same. More than this, the head is the center of the most marvelous possibilities of thought
|
|||
|
|
and deed, the brain being the head-quarters of those mental, passional and intuitional energies which change the face of the world and develop all harmonies; the vision being the mirror on
|
|||
|
|
which all harmonies of the outward world are painted, the vocal apparatus being the instrument for producing all harmonies of
|
|||
|
|
tone and sound, and the ear the instrument for taking cognizance of these harmonies. More than all this, there is a fine spiritual something that emanates from a peculiarly fine and ani-
|
|||
|
|
mated face which causes us to speak of it almost unconsciously as sparkling or radiant. The human head is the greatest center
|
|||
|
|
of perfections, then, because it embraces the greatest variety of harmonies.
|
|||
|
|
3. A Beautiful Human Form starts with the smallest number of harmonies in infancy, and increases in its variety of perfections until fully matured. The young babe (fig. 59) presents
|
|||
|
|
but little excepting gradation, and this in the form of rather stiff curves. Emma (fig. 57), who is a little older, shows a greater
|
|||
|
|
distinctness of chin and diversity of curves, Katie (fig. 58) shows still greater diversity of curves, and shows not only
|
|||
|
|
|
|||
|
|
42
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
freer gradations than the others, but a fair amount of contrast, as the hair contrasts in form and color with the face, and the
|
|||
|
|
features are more prominent. In figures 60, 62, and 71, we have the mature form, and find not only more distinct contrasts, but
|
|||
|
|
more exquisite gradations of both form and color, and these harmonies extend to the bust and other parts of the system as well
|
|||
|
|
as to the head. Let the reader notice that there is a great contrast in the size of the gradations in mature forms, but very little in quite young children, especially the curve of the cheek as
|
|||
|
|
compared with that of the chin, or the convex curve of the cheek as compared with the concave curve uniting the cheek and chin.
|
|||
|
|
In figures 57, 59, 89, and the small forms on the outer portions of fig. 61, this concave curve will be seen to be nearly as large as the convex curve forming the cheek itself, but notice the
|
|||
|
|
great change as the forms become more mature. 4. Forms, Motions, etc. We see, then, that however beauty-
|
|||
|
|
ful or effective an object may become through gradation or contrast alone, it attains to a still higher perfection when it combines both without violating analogical harmony, and a still
|
|||
|
|
higher perfection when it combines the harmonies of form, color, motion, etc., than when it combines only one department of har-
|
|||
|
|
mony. A rocket shot upward in the daytime is an uninteresting object compared with what it is at night, for in the daytime it makes a feeble gradation of form, of velocity, and of sound,
|
|||
|
|
while in a silent dark night these gradations are far more distinct, and the contrast of brilliant lights and colors with the
|
|||
|
|
surrounding shadows, as well as of motions and sounds when the explosion takes place, gives it a tenfold charm.
|
|||
|
|
5. Landscape. The finest contrasts and gradations can be
|
|||
|
|
included in a single landscape, but analogical harmony requires that the two styles be not too much combined in the same place,
|
|||
|
|
as the graceful style in which curved walks and sweep of surface and round-topped trees abound, should not pass too abruptly
|
|||
|
|
into the picturesque style, in which cliffs, cascades, spiry-topped and jagged trees and similar contrasting features abound. A view, however, combining both styles of landscape is peculiarly
|
|||
|
|
charming. This may be illustrated by a sail down the Hudson, on the right side of which are mountains and Palisades, illustra-
|
|||
|
|
ting the picturesque and sublime, while on the left side are more
|
|||
|
|
|
|||
|
|
THE LAW OF PERFECTION.
|
|||
|
|
|
|||
|
|
43
|
|||
|
|
|
|||
|
|
sloping banks, with mansions, lawns and parks, in harmony with the beautiful.
|
|||
|
|
6. Light, Shade, and Color. We have already seen how poor the effect in a cut like fig. 40, where contrast exists with-
|
|||
|
|
out gradation as compared with figures 38, 41, 70, etc., in which contrast and gradation are both combined. In a sunset sky we
|
|||
|
|
may see gorgeous contrasts of light and shade and color on the clouds, also exquisite gradations of the same progressing toward shadow from west to east, and analogical harmony ruling
|
|||
|
|
throughout. Is it not far superior to the shadowy sky of a thunder-storm, in which contrast alone rules?
|
|||
|
|
7. The Aurora Borealis, or Northern Lights, combine a great
|
|||
|
|
|
|||
|
|
variety of harmonic principles (fig. 96), such as a general archway, or gradation of direction, gradation of light and shade, gradation of velocities in the shooting lights, contrasts of light and
|
|||
|
|
shade, contrasts of direction, of color and of size, while a general law of analogy blends the whole in one. We may see just
|
|||
|
|
the reasons, then, for its being considered one of the most beautiful sights in nature.
|
|||
|
|
8. Architecture. It may rivet these great principles upon the
|
|||
|
|
reader's mind by showing how they may be applied to regulate architecture, an art of which even architects too often fail to un-
|
|||
|
|
derstand the spirit. Figures 97, 98, 99, 100, present the leading
|
|||
|
|
|
|||
|
|
44
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
roofs of the world. The Oriental is the simplest and will answer for rainless climates; the Grecian, being an obtuse angle,
|
|||
|
|
has a little more decision and strength, and will shed rain, but is not so adapted to snow; the Gothic, being an acute angle, is
|
|||
|
|
the strongest and most spirited of all, and is adapted to snowy
|
|||
|
|
|
|||
|
|
regions, while the Chinese is the most graceful, but is weak. The dotted lines on the outside of fig. 98 show the modification
|
|||
|
|
of the Gothic, called the French or Mansard roof, and is especially well adapted to residences. The dotted lines in fig. 99 show a more graceful modification of the same, having both gra-
|
|||
|
|
dation and contrast, while the other has contrast mainly. Fig. 101, shows a cottage in this style,
|
|||
|
|
which I have copied from Godey's Lady's Book. It is graceful and
|
|||
|
|
spirited. The dotted lines in the center of fig. 98 show how a spire is only a steeper Gothic roof. In
|
|||
|
|
the mere outlines of roofs, the Grecian has but a feeble contrast
|
|||
|
|
of direction and no gradation, the Gothic a spirited contrast, the Chinese both contrast and grada-
|
|||
|
|
tion, while the Oriental has a death-like unity, wholly lacking in diversity. The simplest form of a Greek building with its low
|
|||
|
|
roof and rectangular windows (fig. 82), has contrasts but no gradation. This, of course, was too unbeautiful for the finer buildings, and so pillars, with their flutings and volutes and leaf-work
|
|||
|
|
added gradation, as did also the statuary and other sculptured forms which were placed under the roof. In the common Greek
|
|||
|
|
edifice contrast rules, and that of rather feeble character, although when modified, as in fig. 102, gradation and contrast are combined, with gradation and grace as the analogical feature.
|
|||
|
|
|
|||
|
|
THE LAW OF PERFECTION.
|
|||
|
|
|
|||
|
|
45
|
|||
|
|
|
|||
|
|
But the Greek style, although capable of much elegance in its simplicity by means of pillars and sculpture, is on the whole a
|
|||
|
|
feeble style, with its main lines horizontal and earthly, and poorly suited for religious or state
|
|||
|
|
edifices where majesty of spirit is required. The Gothic, on the con-
|
|||
|
|
trary, with its magnificent contrasts of spires, turrets, pinnacles, buttresses, pointed arches and mas-
|
|||
|
|
sive towers, all heaven-pointing, softened down and refined by the
|
|||
|
|
most exquisite gradations of every kind, is the sublimest, strongest, most spirited and most expressive
|
|||
|
|
style of architecture that has thus far been devised by man. Its pin-
|
|||
|
|
nacles, with their bud-like finials, denote upward growth; its windows have leaf-like arches, unequaled for strength; its vaulted ceilings,
|
|||
|
|
sustained by pillars which branch off like trees, are built seemingly for eternity, while in every di-
|
|||
|
|
rection the curved flower and leafwork proclaim nature as the divine model which it aims to copy. Fig.
|
|||
|
|
103 gives a portion of a fine Gothic edifice which is a celebrated seat of
|
|||
|
|
learning. It shows a variety of contrasts of height, of direction, of size, of light and shadow, as well as various
|
|||
|
|
gradations of size and direction, and an admirable analogical harmony in
|
|||
|
|
the midst of its great diversity. The spirit of the Gothic style is to "beau-
|
|||
|
|
tify utility," as Pugin expresses it; for when it ornaments such features as pointed arches, buttresses, and even
|
|||
|
|
towers and pinnacles, it deals with that which is eminently strength-giv-
|
|||
|
|
ing, whereas when the Grecian style
|
|||
|
|
|
|||
|
|
46
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
rears its immense columns and lofty porticos, it works for mere
|
|||
|
|
display, for these columns are useless in protecting either from the storm or from too great heat of the sun. The Gothic Archi-
|
|||
|
|
tecture is sometimes called Christian, from its heaven-pointing style, but as other religions also aspire after divinity and heaven,
|
|||
|
|
they have an equal right to it, especially as the Mohammedans are known to have used the pointed arch and upward aspiring minarets in A.D. 780, or something like four centuries before
|
|||
|
|
the Gothic was adopted by Christians. Figures 104 and 105
|
|||
|
|
|
|||
|
|
represent old Mohammedan ruins in Asia, in which the pointed and upright features appear in many of the windows as well as
|
|||
|
|
minarets, domes, etc. This style is sometimes called Arabic, Moorish, or Oriental, and finds its analogical feature in curva-
|
|||
|
|
ure and grace rather than in the contrasts and power characterstic of the Gothic. The most gorgeous specimen of architecture in the world is to be seen in the wonderful palace of the old
|
|||
|
|
Moorish Monarchs in Spain, called the Alhambra. Although both the Moorish and Gothic architecture combine all principles
|
|||
|
|
of harmony, yet the greater strength and spiritedness of the Gothic must give it the verdict of superiority.
|
|||
|
|
In figures 106-110, I have given a glimpse of some notable
|
|||
|
|
domes and towers. Domes, towers, spires, turrets, pinnacles, and minarets are among the leading methods of producing the
|
|||
|
|
effect of loftiness, grandeur and spiritedness in a building, and sometimes, as when there are Gothic or Roman arches with keystones, their weight gives stability to the walls and firmness
|
|||
|
|
to the arches. The United States Capitol, at Washington, has
|
|||
|
|
|
|||
|
|
THE LAW OF PERFECTION.
|
|||
|
|
|
|||
|
|
47
|
|||
|
|
|
|||
|
|
a dome which ranks among the great ones of the world, but depends upon gradation almost wholly for its effect. The Hotel
|
|||
|
|
des Invalides, Paris (fig. 107), adds to its gradations those angular and projecting forms which give contrast, while the new Con-
|
|||
|
|
necticut State House dome, at Hartford (Fig. 108), becomes still more spirited in its fine contrasts and still more elegant in
|
|||
|
|
in its gradations of size and direction than either of the others. It has a form which is a transition from the dome to the tower. Fig. 109, is the central tower of the magnificent New York State
|
|||
|
|
capitol at Albany, and although an elaborate piece of architectture, it is built in the renaissance style and hardly knows whether
|
|||
|
|
to assume the spirited combinations of the Gothic or the tamer grace of the Roman arch system, or the pediments and horizon-
|
|||
|
|
|
|||
|
|
tal lines of the Greek architecture, and thus must be pronounced
|
|||
|
|
deficient in individuality and analogical harmony. Not so with the Gothic tower of the Memorial Hall of Harvard University (Fig. 110), which is one of the finest styles of architecture in the
|
|||
|
|
country, spirited in its angles, colors and forms and yet refined in its gradations. It borrows some of its refinement from the
|
|||
|
|
Mansard Gothic. Fig. 111, from the same building, has much of the effectiveness of a spire and yet simplicity of style and a certain analogical harmony with the roof, of which it seems to be an
|
|||
|
|
outgrowth. Fig. 112 is one of the spirited and elegant side towers of the Connecticut State House. Figures 113, 114, are
|
|||
|
|
graceful and effective portions of the gateway of Greenwood Cemetery, Brooklyn, the latter of which shows how a gable can grow into a spire-like form and how the rudeness of a sharp
|
|||
|
|
|
|||
|
|
48
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
angle can be softened by curvature. Fig. 115 is a ventilator,
|
|||
|
|
and gives more variety of effect to the top of a building. Fig. 116 is the top of Bunker Hill Monument, a great rude, meaning-
|
|||
|
|
less heap of stones, devoid of beauty, or soul, or harmonic principles—simply one of the "bignesses," as Isaac Newton would
|
|||
|
|
say, quite unworthy of the cultured taste of Boston. "But this elaborate work, this beauty, costs money which should be taken to feed and clothe the poor," is the common remark. To these
|
|||
|
|
superficial utilitarians to whom the bread-and-butter side of life is the chief object of existence, I would like to make a remark as
|
|||
|
|
we pass. Suppose that in the place of this rude mass, an object of beauty and inspiration had been reared, that scenes expressing high aspiration and self-sacrifice and grand achievement had
|
|||
|
|
been sculptured on its sides in a way to last a thousand years, so that millions of people should cast their admiring gaze upon it
|
|||
|
|
|
|||
|
|
and drink in its lessons, would it not tend to lift multitudes above
|
|||
|
|
the gross appetites and sensualities of life to such an extent that it would save them from a large amount of poverty and degradation? Fig. 117, the Washington Monument, is better, but is far
|
|||
|
|
from what it should be. Fig. 118 is the tower of the University of Toronto, and although the body of the tower is not very spirited,
|
|||
|
|
the round pointed turret at the corner adds greatly to its effect and forms a contrast with it. Fig. 119 is the picturesque tower of
|
|||
|
|
the Masonic Temple in Philadelphia, which, though possessing some very pretty lines of gradation, has contrast and power as its leading spirit. Fig. 120 is a castellated tower, and stands rather
|
|||
|
|
low on the harmonic scale, as it is totally lacking in gradation and is consequently rude. Fig. 121 is a portion of the cottage
|
|||
|
|
residence of Thomas W. Ludlow, Esq., near Yonkers, and will show how chimneys and bay-windows, and roofs and verge-boards, and wings may serve to destroy the box-like character of a
|
|||
|
|
|
|||
|
|
ADAPTATION OR FITNESS.
|
|||
|
|
|
|||
|
|
49
|
|||
|
|
|
|||
|
|
house and give pleasing contrasts of light, shade, size and direction. Fig. 122 shows the form of buttresses which give so
|
|||
|
|
much strength and picturesqueness to the walls of a Gothic building. Fig. 123 is the Oriental or Moorish horse-shoe arch,
|
|||
|
|
which although having a variety of contrasts in the way of straight lines and angles, has gradation as its leading spirit. Fig. 124
|
|||
|
|
has also gradation as its predominating influence, although the acute angle at the top gives a spirited contrast. These ogee curves are simply lines of beauty, and although they form a most
|
|||
|
|
elegant arch, still they are less strong than that of the ordinary Gothic window. It is much used also in Oriental architec-
|
|||
|
|
ture. Figures 125 and 126 have both styles of harmony, but contrast and power seem to be their leading analogical spirit instead of gradation, as in the other two. Fig. 127, which I have
|
|||
|
|
|
|||
|
|
taken from Harper's Monthly, is entitled a "Newport Cottage." It is full of the spirited lines of contrast and yet has some very graceful gradations, especially in the little spire at the left, and the curved line under the roof. The little spires give a brisk and aspiring effect to the building without resembling a church spire, and the many angles cause a diversity of light and shade which form a general unity of spirit in contrast.
|
|||
|
|
XIII. ADAPTATION OR FITNESS.
|
|||
|
|
I. Adaptation of means to ends is a law of universal nature. We have seen that the unimpeded growth of nature is always according to harmonic principles, but there are times when great utilities demand the temporary suspension of these and the use for the time being of seeming or even real discords. The earthquake is very terrific and temporarily disastrous, but it brings
|
|||
|
|
|
|||
|
|
50
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
about the equilibrium of the earth's internal forces, brings the
|
|||
|
|
interior riches of the mineral kingdom to the surface, and gives to man the charms of mountain and valley where otherwise would
|
|||
|
|
be a dead level. 2. In the process of Human Development also nature has
|
|||
|
|
rendered labor, effort and conflict an absolute necessity by leaving more or less of swamps and forests to be reclaimed, homes to be built, fields to be tilled and boundless realms of knowledge to be
|
|||
|
|
sought out, without which man would become utterly weak and worthless from inaction, and really be far more miserable.
|
|||
|
|
3. Suffering has also its divine mission, 1st, as a result of violated law and a warning against such violation; 2dly, it gives dis-
|
|||
|
|
|
|||
|
|
cipline, heroism and self-command when rightly improved; 3dly, it is nature's process of purification as in the case of disease;
|
|||
|
|
4thly, it calls out human love for the unfortunate, the divinest of qualities, and 5thly, it answers as a shadow to reveal by con-
|
|||
|
|
trast the real sunshine of life; in other words, when perchancethrough severe experiences, blunders and struggles we have attained to the knowledge and wisdom which will do away with the
|
|||
|
|
necessity of so much suffering, our real joy and power will be greater than it otherwise would have been. It is the duty of the
|
|||
|
|
community, however, to elevate society by correct knowledge
|
|||
|
|
|
|||
|
|
ADAPTATION OR FITNESS.
|
|||
|
|
|
|||
|
|
51
|
|||
|
|
|
|||
|
|
and equitable laws into so true and wise a life that they shall not need so much severe suffering to make them live rightly, while
|
|||
|
|
they will find their happiness in performing voluntary labor, instead of their misery in doing that which is forced upon them.
|
|||
|
|
4. Thus we see that Absolute Evil does not exist, the universe being under the reign of divine law, while all seeming evils are
|
|||
|
|
but adaptations to some high end. Are fire and water innately bad because they sometimes destroy life? Is society fundamentally bad because much selfishness and crime occur in its midst?
|
|||
|
|
Is man necessarily evil because like an unripe apple he may as yet be in his crude, sour state? Have we not seen that all na-
|
|||
|
|
tural growth is on the law of perfection, all things bearing the stamp of divinity? Let us not indulge in the superficiality of pessimism then, but remember that harmony itself sometimes be-
|
|||
|
|
comes more effective by the temporary suspension of harmony, especially when some good end is sought. The great masters in
|
|||
|
|
music sometimes introduce discord to heighten some after effect, and at times discordant or rude combination of colors are allowed by the greatest artists for the purpose of expression. "Great
|
|||
|
|
art," says Ruskin, "dwells on all that is beautiful; but false art omits or changes all that is ugly. Great art accepts nature as
|
|||
|
|
she is; but directs the eyes and thoughts to what is most perfect in her; false art saves itself the trouble of direction by removing or altering whatever it thinks objectionable. Beauty deprived of
|
|||
|
|
its proper foils and adjuncts, ceases to be enjoyed as beauty, just as light deprived of all shadow ceases to be enjoyed as light. A
|
|||
|
|
white canvass cannot produce an effect of sunshine; the painter must darken it in some places before he can make it look luminous in others; nor can an uninterrupted succession of beauty
|
|||
|
|
produce the true effect of beauty; it must be foiled by inferiority before its own power can be developed. Nature has for the most
|
|||
|
|
part mingled her inferior and nobler elements as she mingles sunshine with shade, giving due use and influence to both, and
|
|||
|
|
the painter who chooses to remove the shadow, perishes in the burning desert he has created."*.
|
|||
|
|
5. Nature does not employ beauty so incessantly as to destroy
|
|||
|
|
adaptation and utility. A clear sun is beautiful, and yet if we had not the soft shadows of night and occasional clouds and storms,
|
|||
|
|
|
|||
|
|
*Modern Painters, by John Ruskin, M.A., Vol. III. p. 34.
|
|||
|
|
|
|||
|
|
52
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
the earth would soon become parched and destroyed. But even
|
|||
|
|
in the storm, spirited elements of harmony and sublimity are brought into action.
|
|||
|
|
6. In the Human Form, curvature is especially harmonious and consistent with its yielding nature. A circular building,
|
|||
|
|
however, is not pleasing for a residence, first, because it lacks in fitness for the utilites of home life; and secondly, straight lines and angles, softened down perhaps with ornamental lines of cur-
|
|||
|
|
vature, harmonize well with the natural decision of the building materials themselves. Some have been so foolish as to suggest
|
|||
|
|
that buildings should resemble the human form. 7. The ouside of a building should be more sober in its tints
|
|||
|
|
than the inside; first, because a white or nearly white building
|
|||
|
|
dazzles and burns the person approaching; 2dly, the subdued light of the interior can better tolerate light-colored walls; and
|
|||
|
|
3dly, artificial light becomes more brilliant when the walls are not sombre.
|
|||
|
|
8. Brilliant Colors are more admissible in theatres than in
|
|||
|
|
churches, and yet the cultivated human mind requires that gaudiness shall not rule in the former nor gloom in the latter. To
|
|||
|
|
those who look upon the severe side of God's character and consider that a majority of the human race are in danger of everlasting destruction, life and death become awfully solemn, and
|
|||
|
|
only dimly lighted cathedrals, with silent tread of worshipers and the predominance of dark grays and browns would be con-
|
|||
|
|
sidered in correct taste. 9. In Dress, health requires that one's clothing should not be
|
|||
|
|
uniformly black, and analogical harmony requires that an elderly
|
|||
|
|
lady should dress in more subdued colors than a young girl. As to the sexes, woman, belonging to the graceful side of nature, in
|
|||
|
|
which gradation rules, sees intuitively that delicately tinted and yielding skirts, hanging in curves around her, are far more appro-
|
|||
|
|
priate than the stiff bifurcated garments of men; while men, decided and strong in their style, dress more on the plan of contrast, parting their hair on one side, training their beards, which
|
|||
|
|
contrast with the color of the face, and having mainly the simple contrast of black and white around the neck and bosom. Woman
|
|||
|
|
loves to wear and man loves to see her wear, more ringlets, curls or flowing forms of the hair, and more ornamental forms and
|
|||
|
|
|
|||
|
|
TRUTH.
|
|||
|
|
|
|||
|
|
53
|
|||
|
|
|
|||
|
|
colors than is generally, becoming to the other sex. But taste and utility demand that her skirts shall be long enough to be
|
|||
|
|
flowing and protective to her limbs, and yet not long enough to become darkened with dust or interfere with a graceful gait,
|
|||
|
|
while health imperatively demands that all compression of the waist or feet, all large foreign masses of hair to heat the brain,
|
|||
|
|
and all abdominal pressure of skirts should be forever banished. Does not beauty of form and grace of motion demand the same things?
|
|||
|
|
|
|||
|
|
XIV. TRUTH.
|
|||
|
|
|
|||
|
|
Truth and conformity to law are universal in nature.
|
|||
|
|
1. Nature is ever true to herself and all her great principles of harmony and adaptation. Were her laws of repulsion and attraction to be changed for one moment, the whole universe would become a mass of ruins. Nature does not pretend to be what she is not, and holds up her swamps and deserts as freely to the sunlight as she does her sublimest landscapes. The lightning does not pretend to have the gracefulness of the rainbow, nor the rainbow the power of the lightning, nor the little stream the majesty of the great river, and yet all perform their especial work with unchanging faithfulness.
|
|||
|
|
2. Light is the greatest truth-teller in the outward universe, flashing forth by means of its reflections the forms and colors of all nature, and by aid of the spectroscope giving a minute analysis of all elements. "God is truth and light is his shadow," was the well-known expression of Plato. Even in the case of a mirage, where distant objects are seen double, there is nothing but the strictest truth to nature's forces, the wonderful diversity of which simply causes a reflection in unexpected places.
|
|||
|
|
3. "There is never vulgarity in a whole truth," says Ruskin. The whole atmosphere and sky and ocean are transparent media for conveying truth. Human eyes are mirrors to receive all truths of form and color, human ears sounding-boards for receiving the truths of tone, and the organs of smell, taste and sensation are constituted to perceive other styles of truth. It is of supreme importance that we should perceive and proclaim
|
|||
|
|
|
|||
|
|
54
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
exact truth. "One of the sublimest things in the whole world,"
|
|||
|
|
says Bulwer, "is plain truth." Every author's pen, every artist's pencil, every orator's tongue, every power of genius and states-
|
|||
|
|
manship should work in harmony with all truth, which is the only pathway of safety, while error is not only the pathway of danger
|
|||
|
|
but of deformity. 4. Human Nature naturally scorns falsehood in principle, and
|
|||
|
|
yet prejudice, early training, psychological bias received from sur-
|
|||
|
|
rounding influences, theological ruts, medical ruts, political ruts, social ruts, all worn so deep by long use that small men getting into
|
|||
|
|
them cannot see out, or get out, have tended to lead into darkness and mar the heavenly image of truth. Why is man thus behind external nature in his development? Because he is the
|
|||
|
|
last and highest phase of nature and has not yet reached his true moral and spiritual era of unfoldment. It may require a century
|
|||
|
|
to build a great cathedral, while a cottage could be finished in a month; in the same way it may require a thousand centuries to perfect the mental and moral structure of man, which is so vast
|
|||
|
|
in its possibilities as to take hold almost upon infinity, while the processes of evolution could develop the simpler external phases
|
|||
|
|
of nature in a vastly shorter time, just as it took millions of years to develop a mammal after a mollusk had been perfected.
|
|||
|
|
|
|||
|
|
XV. REFINEMENT OF MATERIAL.
|
|||
|
|
|
|||
|
|
Other things being equal, substances are exquisite, penetrating,
|
|||
|
|
powerful, and enduring in their effect in proportion as they are
|
|||
|
|
refined and subtile.
|
|||
|
|
I. Nature is full of proofs of this law; but I must treat it only briefly here. The grossest form of water is Ice. A more refined form is ordinary Water, and this, when put in motion, can sweep away houses, forests and rocks. A still more refined form is steam, which is about 1700 times as light as water, and its tremendous power in driving the most ponderous machinery is well known. A grade of power vastly finer than steam is Electricity, and this, uniting with steam far down in the bowels of the earth, will at times blow the mountains asunder and cause half a continent to tremble. Having reached electricity, we have found a
|
|||
|
|
|
|||
|
|
REFINEMENT OF MATERIAL.
|
|||
|
|
|
|||
|
|
55
|
|||
|
|
|
|||
|
|
principle so fine that it can penetrate more or less well all tangible substances.
|
|||
|
|
2. Of the exquisiteness and amazing power of Light, demonstrations will be given hereafter.
|
|||
|
|
3. Finer than any of these is the Attraction of Gravitation, which, according to the demonstration of La Place, moves mil-
|
|||
|
|
lions of times as swiftly as light, and yet is so mighty as to float all worlds on its breath and so exquisitely gentle as to yield to a mote in the sunbeam.
|
|||
|
|
4. The explanation of those wonderful Soul-emanations which are the quickening power of mentality and by means of which
|
|||
|
|
man is enabled to move outward and measure and weigh suns and systems and to look inward upon a still mightier psychic world, I must reserve for the tenth chapter of this work and for
|
|||
|
|
a future work. A single example may be given here to illustrate this law.
|
|||
|
|
5. The coarsest grade of heat is the form of Ordinary Fire, or heated metals. A person may warm himself by this, and he will often feel weak and tender afterward by the means. If
|
|||
|
|
he warm himself by heat from the sun, which is a grade finer, he finds it less weakening and more enduring. If he warm himself
|
|||
|
|
by exercise or by manipulation from some warm magnetic hand, not only are the lower animal but the higher psychic forces put more or less into action, and he may become permanently warmer
|
|||
|
|
and stronger. Thus are the fine forces more safe, powerful, exquisite and enduring than the coarser forces of the outward
|
|||
|
|
world, such as ordinary heat, mineral drugs, etc. Their effect on mental action is also much more direct and potent. The great healing power of colors will be treated of in the chapter on
|
|||
|
|
Chromo-Therapeutics. This principle is modified somewhat by the next.
|
|||
|
|
|
|||
|
|
56
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
XVI. GRADATION OF INSTRUMENTALITIES.
|
|||
|
|
|
|||
|
|
Force is exerted through a gradation of instrumentalities, the gen-
|
|||
|
|
eral law of positive power being that a coarse element is acted
|
|||
|
|
on or quickened by one which is finer, this again by one which
|
|||
|
|
is still finer, and so on.
|
|||
|
|
1. Thus in the human system the bones are wielded by the muscles, which are a grade more subtile; the muscles by the nerves and blood, which are still finer; the nerves and blood are vitalized and controlled by still finer animal and psychic forces, and these again by spirit, which is inconceivably fine.
|
|||
|
|
2. The fine forces constitute positive principles of power, while the coarser forces are the negative and reactive principles. It is impossible for one grade of force to control directly another which is too much below it in fineness or in turn be controlled by it, any more than meal could be retained by a coal-sieve. Grosser elements may have a reflex influence upon the finer, somewhat as the body may re-act upon the mind by having its cruder elements influence those less crude, and these again, those which are still less crude until the mind itself is affected. This is a great negative law of power, and we must not fall into a very common error that all power lies with spirit, regardless of coarser re-active elements.
|
|||
|
|
3. Some of the Leading Gradations in Nature are given in Fig. 128, commencing at the outside and progressing in fineness inward until we reach Spirit, which is the positive principle of all power. The finer forces radiate their power through the whole circle of elements and forces, each force passing more or less through those which are coarser than itself, but more immediately as a general thing, through the next grade of coarseness, while this again permeates that which is still coarser and so on. Thus Spirit gives life to the very finest ethers or Spiritual Forces; these vitalize still coarser ethers, such perhaps as Electricity, Light, etc.; these latter kindle up the gases and the liquids, while they again permeate and perhaps dissolve the Solids. Thus nature ever works on the law of Gradation, even sometimes when it does not seem to do so. I
|
|||
|
|
4. The Foregoing Principles include the outlines of the science
|
|||
|
|
|
|||
|
|
GRADATION OF INSTRUMENTALITIES.
|
|||
|
|
|
|||
|
|
57
|
|||
|
|
|
|||
|
|
of harmony and power in nature; also the central law, which shows that unity and diversity must be combined, and that on
|
|||
|
|
the law of progression, or contrast, or both. I have given them so that if possible we may at last get down to the basic prin-
|
|||
|
|
ciples of things in connection with light and color. Nature is a divine guide if we apprehend its teachings rightly, but it is sad to
|
|||
|
|
see how it is misunderstood. Prof. Taylor Lewis* says that
|
|||
|
|
|
|||
|
|
"if we obey nature it follows that an act of self-sacrifice would be as foolish as it is sinful and unnatural. It would be a violation of nature's grand law." Is not this a slander upon nature? My readers have seen how all natural growth over the whole world exemplifies paternal love, filial love and fraternal love. More than that, the course of nature is an endless series of sacrifices of lower conditions for the sake of introducing higher ones, of lower animal and vegetable life that a higher grade of existence might
|
|||
|
|
*Since writing the above, this able writer has deceased.
|
|||
|
|
|
|||
|
|
58
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
take place, and sometimes of cities, islands and seas by an earth-
|
|||
|
|
quake in order that terrestial harmony may be established. The
|
|||
|
|
greatest universal sacrifice is that of human life for the higher
|
|||
|
|
life to come. Having established the general principles of harmony, I will
|
|||
|
|
now notice their more direct application to colors.
|
|||
|
|
|
|||
|
|
XVII. DIVISION OF COLORS.
|
|||
|
|
|
|||
|
|
1. Historical Note. In 1672, Isaac Newton published his theory that the ordinary white light of the sun consists of differ-
|
|||
|
|
ent colors possessing different degrees of refrangibility. Still earlier, however, in 1611, Antonio De Dominis had used the following words:—"Colors arise out of light: of this I have no
|
|||
|
|
doubt; nay, they are only light itself."* Isaac Newton adopted the seven-fold division of colors as seen in the rainbow and still
|
|||
|
|
more distinctly in the solar spectrum, namely the red, orange, yellow, green, blue, indigo and violet. Sir David Brewster considered the red, yellow and blue as the three fundamental colors
|
|||
|
|
out of which all other colors are made; but Helmholz has shown that each color of the spectrum is formed by its own independent
|
|||
|
|
law of vibrations, which is incapable of subdivision, and that there is no overlapping of certain colors to make an intermediate color, as red and yellow to produce orange, yellow and blue to produce
|
|||
|
|
green, etc. 2. When the reader comes to see how colors are produced,
|
|||
|
|
he will understand that there are not only seven colors in the sunlight which are uncombined with others, but many times seven. Fig. 129 will show how light is brought into a dark room
|
|||
|
|
by a very narrow opening and by means of a prism scattered into its separate parts, or colors which fall upon a screen in an oblong
|
|||
|
|
rainbow-colored form called the solar spectrum, the red being refracted least and the violet most from a straight line. Suppose
|
|||
|
|
we make an opening in the screen at the point where the orange strikes it and then pass this orange ray through another prism behind the screen, will it be decomposed into the two colors yel-
|
|||
|
|
low and red? No; it will remain exactly as it was before, thus showing that it is a primitive and indivisible ray. This is not
|
|||
|
|
|
|||
|
|
*De Radüs Visus et Lucis, 1611.
|
|||
|
|
|
|||
|
|
DIVISION OF COLORS.
|
|||
|
|
|
|||
|
|
59
|
|||
|
|
|
|||
|
|
saying that orange cannot be made by means of red and yellow pigments, but that it is not so constituted in the sunlight.
|
|||
|
|
3. Sound and Color compared: There is no harm in dividing the colors into seven divisions on the Newtonian plan. In fact
|
|||
|
|
it is rather a good division and harmonizes with the seven notes of the musical scale, C, D, E, F, G, A, B; C answering to red, D to
|
|||
|
|
orange, etc. As C is at the bottom of the musical scale and made with the coarsest waves of air, so is red at the bottom of the Chromatic scale and made with the coarsest waves of luminous ether.
|
|||
|
|
As the musical note B requires 45 vibrations of air every time the note C at the lower end of the scale requires 24, or but little
|
|||
|
|
|
|||
|
|
over half as many, so does extreme violet require about 800 trillions * of vibrations of ether in a second, while extreme red requires only about 450 trillions, which also are but little more than half as many. When one musical octave is finished an-
|
|||
|
|
*In speaking of numbers I adopt the French method of enumeration of three figures to a period, usually adopted in America, instead of the more cumbrous English method of six figures to a period, so that when I say 800 trillions I mean 800,000,000,000,000. What we would call one billion the English would designate by the more complicated expression one thousand millions, etc.
|
|||
|
|
|
|||
|
|
60
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
other one commences and progresses with just twice as many vibrations as were used in the first octave, and so the same notes
|
|||
|
|
are repeated on a finer scale. In the same way when the scale of colors visible to the ordinary eye is completed in the violet, an-
|
|||
|
|
other octave of finer invisible colors, with just twice as many vibrations, will commence and progress on precisely the same law,
|
|||
|
|
as will be demonstrated in the chapter on Chromo-Chemistry. The shortest atmospheric waves that ordinary ears can take cognizance of before the tones become too shrill to be perceived, are
|
|||
|
|
about three and a third inches in length, while the shortest violet waves, the effect of which can be perceived by ordinary external
|
|||
|
|
vision, are 100,000 times as short, as it requires 60,000 vibrations, or in other words, 30,000 complete waves of such color to make one inch in length. The longest waves of air which
|
|||
|
|
can be perceived as sound by human ears are about 70 feet in length, which constitues the lowest bass notes, while the longest
|
|||
|
|
complete waves of ether which can be received into human eyes as color, would require some 17,000 to 18,000 to an inch, or not far from fifteen million times as many as the largest waves of
|
|||
|
|
sound require. Does this prove that the eye is capable of receiving impulses of force millions of times as exquisite as those
|
|||
|
|
received by the ear? By no means, as a far more refined force than mere waves of air must necessarily work in connection with them. (See Chap. Eighth, VII., 4). Will it be answered that light
|
|||
|
|
moves 186,000 miles a second while sound moves through the air at the rate of only 1,100 feet a second? But the fine principle of
|
|||
|
|
sound can be made to move as swiftly as light by aid of a proper conductor, as shown by the telephone, which has lately been made to carry the human voice on wings of electricity entirely un-
|
|||
|
|
aided by any magnet or electrical machine. A seeming advantage in favor of sound is that ordinary human ears can distin-
|
|||
|
|
guish from nine to eleven octaves of musical tones while ordinary vision cannot perceive quite one octave of colors, in fact can
|
|||
|
|
take in only the seven Newtonian notes, or a septave. This would seem to show that human evolution has not yet reached so far into the refined elements of vision as it has into the coarser
|
|||
|
|
ones of sound, all development reaching coarser elements before they attain to the finer. While the seven color arrangement is
|
|||
|
|
convenient for some purposes, we may also have a still more funda-
|
|||
|
|
|
|||
|
|
A TRIAD OF SECONDARY COLORS.
|
|||
|
|
|
|||
|
|
61
|
|||
|
|
|
|||
|
|
mental classification of only three colors to match the three fundamental notes in the musical scale, the first, third and fifth.
|
|||
|
|
Some trinal divisions of colors will simplify matters to the reader's mind and will now be given, although as will be seen
|
|||
|
|
hereafter a division of fourteen primary color rays would seem to conform to the law of chemical and molecular forces.
|
|||
|
|
|
|||
|
|
XVIII.—TRIAD OF PRIMARY COLORS.
|
|||
|
|
|
|||
|
|
A few words may be appropriate as to the threefold division of representative Colors. We have.
|
|||
|
|
RED, an exciting color at nearly the centre of heat. YELLOW, the medium color and centre of luminosity. BLUE, a fine color which is cold, soothing, electrical.
|
|||
|
|
Practically all colors can be made out of these or could be if we could get a supply of the invisible red to assist in forming
|
|||
|
|
violet and indigo and could find pigments of absolutely pure red, yellow and blue. We have also
|
|||
|
|
|
|||
|
|
XIX.—A TRIAD OF SECONDARY COLORS.
|
|||
|
|
|
|||
|
|
ORANGE composed of equal parts of red and yellow.
|
|||
|
|
|
|||
|
|
GREEN "
|
|||
|
|
|
|||
|
|
" blue and yellow.
|
|||
|
|
|
|||
|
|
PURPLE
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
" blue and red.
|
|||
|
|
|
|||
|
|
XX.—A TRIAD OF ACHROMATIC OR NEUTRAL COLORS. PL. II, 4.
|
|||
|
|
|
|||
|
|
BLACK composed of equal parts of red, yellow and blue. WHITE composed of five parts of red, three parts of yellow,
|
|||
|
|
and eight parts of blue. GRAY (normal gray), composed of black and white
|
|||
|
|
This is given from the formula of eminent artists and would seem to prove that after all "black is white, and white is black,"
|
|||
|
|
but not quite. It cannot be verified entirely in practice from the impurity of pigments. When we call them neutral we mean neutral, chromatically speaking, as they have no especial hues,
|
|||
|
|
but white is the most positive of all colors as to luminosity. The folly of calling black the absence of colors is now done away
|
|||
|
|
with among the intelligent, although it is really caused by the absorption of all colors. Normal gray is the most neutral of all colors and does not make discord with any.
|
|||
|
|
|
|||
|
|
62
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
XXI.—A TRIAD OF PRIMARY GRAYS.
|
|||
|
|
|
|||
|
|
RED GRAY, or RUSSET, composed of normal gray and red.
|
|||
|
|
YELLOW GRAY, or CITRINE, of normal gray and yellow. BLUE GRAY, or OLIVE, of normal gray and blue.
|
|||
|
|
|
|||
|
|
XXII.—A TRIAD OF SECONDARY GRAYS.
|
|||
|
|
|
|||
|
|
ORANGE GRAY, composed of normal gray and orange.
|
|||
|
|
|
|||
|
|
GREEN GRAY, "
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
green.
|
|||
|
|
|
|||
|
|
PURPLE GRAY,
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
purple.
|
|||
|
|
|
|||
|
|
Orange Gray and Red Gray are sometimes called BROWN.
|
|||
|
|
|
|||
|
|
XXIII.—TRINAL DIVISION OF TINTS AND SHADES.
|
|||
|
|
|
|||
|
|
1st. Light tints of a color in which some white is introduced, as light yellow, light, blue, light green, light gray, light greengray, light blue-gray, etc.
|
|||
|
|
2d. Medium grades of color; such as ordinary yellow, purple, red-gray, green-gray, etc.
|
|||
|
|
3d. Dark Shades of Color, in which some black is introduced, as dark yellow, dark blue, dark green, dark red, dark gray, dark red-gray, etc. These are said to have a lower tone.
|
|||
|
|
|
|||
|
|
XXIV.—TRINAL DIVISION OF HUES.
|
|||
|
|
|
|||
|
|
The three basic colors, red, yellow and blue, should have a definite meaning and for this reason it is not so correct to say
|
|||
|
|
green-blue, orange-red or green-yellow, as it is to say blue-green, red-orange, yellow-green, for the great central colors are not to
|
|||
|
|
bend to the secondaries but the secondaries to them. From the imperfection of language, however, we sometimes are forced
|
|||
|
|
to say reddish-blue, yellowish-blue, bluish-red, etc., and by these terms we mean blue with a very slight tint of red, blue with a slight tint of yellow, red with a slight tint of blue, etc. A
|
|||
|
|
general threefold division of the secondaries may be made as follows:
|
|||
|
|
ORANGE, combination of red and yellow. RED-ORANGE, red and yellow combined, with red in excess. YELLOW-ORANGE, red and yellow combined, with yellow in
|
|||
|
|
excess.
|
|||
|
|
|
|||
|
|
NOMENCLATURE OF COLORS.
|
|||
|
|
|
|||
|
|
63
|
|||
|
|
|
|||
|
|
GREEN, combination of yellow and blue. YELLOW-GREEN, yellow and blue, with yellow in excess.
|
|||
|
|
BLUE-GREEN, yellow and blue, with blue in excess. PURPLE, combination of red and blue.
|
|||
|
|
BLUE-PURPLE, red and blue, with blue in excess. RED-PURPLE, red and blue, with red in excess.
|
|||
|
|
For further study of the colors see plate II., I, in which the part of purple nearest the blue is blue-purple, that nearest the red is red-purple, that between these points near the periphery is
|
|||
|
|
deep medium purple, that near the centre, light purple, and so with the other hues, which may also be represented in fig. 3
|
|||
|
|
of same plate. As I have said violet cannot be exactly represented by any two pigments combined, but I have had a bluepurple placed on the plate as the nearest representation of the
|
|||
|
|
violet.
|
|||
|
|
|
|||
|
|
XXV.—NOMENCLATURE OF COLORS.
|
|||
|
|
|
|||
|
|
1. We have thus a very simple and yet comprehensive nomen-
|
|||
|
|
clature of colors by means of which we may use precision of expression on this subject, a thing in which scientists them-
|
|||
|
|
selves are somewhat deficient. For instance if we take different color combinations in which red is used, we have such terms as reddish black, dark red-gray, red-gray (russet), light
|
|||
|
|
red-gray, red, light red, very light red or pink, reddish white, red-orange, red-purple, reddish-blue, reddish-yellow, red with a
|
|||
|
|
very slight tint of blue, as in carmine or crimson, light red-orange, dark red orange, orange, yellow-orange, light orange, dark orange, orange gray, light orange-gray, dark orange-gray, pur-
|
|||
|
|
ple, light purple, dark purple, purple-gray, light purple-gray, dark purple-gray, etc. These are some of the terms which in-
|
|||
|
|
clude more or less of red, and the other colors can be varied on the same principle.
|
|||
|
|
2. The chromatic hues consist of the primary and secondary colors, and also appear more dimly in the primary and seconddary grays, etc. The achromatic or neutral colors include the
|
|||
|
|
black, gray and white. Some choose to give the combination of two secondaries the name of tertiaries; thus, for instance, green
|
|||
|
|
and purple are said to form the tertiary olive or blue gray. But
|
|||
|
|
|
|||
|
|
64
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
other method which I have adopted is much simpler, and amounts to the same thing, thus:—
|
|||
|
|
|
|||
|
|
In other words, purple and green include the three primaries and blue besides, and as the three primaries when combined in a certain way make gray, it would have been much simpler to have said in the first place that blue-gray is formed by combining blue and gray, as signified by the name itself. In the same way green and orange form yellow-gray; orange and purple, red-gray.
|
|||
|
|
XXVI.—TRIAD OF COLORS, TONES AND FORMS.
|
|||
|
|
Before proceeding to illustrate harmony of colors, let us pause a moment to notice a threefold arrangement also in sounds and forms. The delightful tri-chord in music, called the triad, consists really of the leading fundamental sounds, by modifying which all music is formed. This, however, is well understood and I will dwell briefly on the triad of leading forms, the traingle, the hexagon, and the circle. The triangle, like the red color to which it answers, is bold and stimulating and the coarsest of forms, as that is the coarsest of colors. The circle, answering to the blue color, and the type of all curvature, is soothing and fine in its degrees, while the hexagon, like the yellow color, is the medium between extremes. The triangle abounds in spirited, hard, crystallic substance, such as the diamond, zinc-blende, magnetic iron ore, fluor-spar, topaz, arragonite, and various octohedrons and rhomboidal forms. The hexagon is doubtless the most admirable of all angular forms, combining spiritedness of angles with regularity of contour, a character which is lacking in triangles and octagons. Hence it is a favorite form in nature, being found in honeycombs, crystal of quartz, ice, calcareous spar, beryl, apatite, snow-crystals, which are either hexagonal or at least arranged in six divisions, cellular tissues in many vegetable and some animal growths, etc. The circle and the blue color, which it matches, are found beautifully combined in the sky
|
|||
|
|
|
|||
|
|
HARMONY OF GRADATION IN COLORS.
|
|||
|
|
|
|||
|
|
65
|
|||
|
|
|
|||
|
|
which is nature's representative dome, and the infinitude of starry worlds, including our sun, which beautify its expanse, are
|
|||
|
|
also mainly on the plan of the sphere which includes an infinity of circles. As the triangles and other angular forms of which
|
|||
|
|
it is the type belong more to hardness, spiritedness and power, so does the circle and other curved forms of which it is the type
|
|||
|
|
deal with softness, gentleness and grace, as with the sky, the human form and all worlds, which last were soft when they assumed their spherical shape. In this it is matched by the blue
|
|||
|
|
color again, which stands at the refined end of the scale, and prevails in the soft depths of the sky, the ocean and the whole
|
|||
|
|
world of foliage, although the foliage combines yellow with the blue, and presents an infinitude of curvature. The violet would naturally be represented by the oval, which is more exquisite than
|
|||
|
|
the circle, and this oval must approach more and more nearly to points, one at the small end and two at the large end, in pro-
|
|||
|
|
portion, as it becomes extreme and draws near to the red of a higher scale of colors.
|
|||
|
|
|
|||
|
|
XXVII.—HARMONY OF GRADATION IN COLORS.
|
|||
|
|
|
|||
|
|
1. Having now seen the parallelism and the unity which exist through the great departments of nature, and some of the beautiful progressions and contrasts by means of which this unity
|
|||
|
|
is enriched by diversity, let us now apply these principles more directly to light and color. First, then, we will look at gradation,
|
|||
|
|
or the law of gentle progression. 2. The achromatic gradation between black and white con-
|
|||
|
|
stitutes different degrees of normal gray as in fig. 130.
|
|||
|
|
|
|||
|
|
3. A Gradation of Chromatic Grays may be seen beautifully developed in plate I. Fig. I in the centre is white; 2 is a light
|
|||
|
|
normal gray; 3 is the circle of light chromatic grays, such as
|
|||
|
|
|
|||
|
|
66
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
light yellow-gray, light yellow-green-gray, light green-gray, light blue-green gray, light blue-gray, light blue-purple or violet-gray, light purple-gray, light red-purple gray, light red-gray, light red, orange gray, light orange-gray, and light yellow-orange gray, which completes the circle; 4 is the circle of medium grays, as yellow-gray, yellow-green gray, green gray, etc., around the circle as before; 5 is the circle of dark grays, such as dark yellow-gray, dark yellow green gray, dark green gray, etc. The dark orange and red gray are often called browns. These grays form exquisite colors for buildings, for ladies dresses, etc.
|
|||
|
|
4. By looking at the inner circular portion of Plate II., gradation of form in the shape of the circle will be seen, within which gradation of hues extending around the circle is given, as also gradation of tints in which the colors fade away into the light as they move inward towards the star. Let us notice these gradations more minutely.
|
|||
|
|
1st, we have Gradation of DIRECTION in the circle. 2d, Gradation of HUES in the following order: red, red-
|
|||
|
|
orange, orange, yellow-orange, yellow, yellow-green, green, blue-
|
|||
|
|
green, blue, blue-purple, purple, red-purple. 3d, Gradation of TINTS and SHADES as deep red, medium
|
|||
|
|
red, light red or pink, deep orange, orange, light orange, deep yellow, yellow, light yellow, etc.
|
|||
|
|
|
|||
|
|
XXVIII.—GRADATION OF COLOR IN THE SPECTRUM.
|
|||
|
|
|
|||
|
|
1. When the sunlight passes through a slit leading into a darkened room, and then through a triangular piece of glass
|
|||
|
|
called a prism, as in fig. 129, the rays of light are separated by refraction into their constituent colors on the same plan as in
|
|||
|
|
the rainbow, and fall in an oblong figure upon the opposite wall. This oblong combination of colors is called the Solar Spectrum
|
|||
|
|
(see Plate I.), and being nature's direct arrangement should be well studied in this and suceeding chapters, as laws of vast importance will be found in connection therewith. Both the red
|
|||
|
|
end and the violet end of the spectrum fade off into black, at which point the chromatic hues cease, although the real sun
|
|||
|
|
power extends far beyond the visible portion at each end, as will be seen hereafter. The following diagram will give a rude idea
|
|||
|
|
|
|||
|
|
GRADATION OF COLORS IN THE SPECTRUM.
|
|||
|
|
|
|||
|
|
67
|
|||
|
|
|
|||
|
|
of the colors of the spectrum, the classification to the left of which will be thoroughly demonstrated in the chapter on Chromo
|
|||
|
|
Chemistry, and that at the right, in the chapter on Chromo Therapeutics.
|
|||
|
|
|
|||
|
|
2. Where I have it Culmination of Electricity, the old method
|
|||
|
|
was to denominate it Actinism or chemical force, but Prof. Draper and other scientists have shown that this is a misnomer, as
|
|||
|
|
chemical power, only of another kind, dwells as much at the red end of the spectrum as at the violet end. In the chapter on Chromo Chemistry this matter will become doubly clear. An
|
|||
|
|
array of facts in chapter third will be adduced to show that the colors of the finer end of the spectrum are electrical and mag-
|
|||
|
|
netic in their nature, while those of the coarser end, reaching to
|
|||
|
|
|
|||
|
|
68
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
yellow-green inclusive, arc thermal, or heating in their nature. The rays just below the red in the invisible portion, which are
|
|||
|
|
the hottest of all, I have termed thermel from the Greek (θέρµη) therme, heat. For full descriptions of it, see Chapter Fifth,
|
|||
|
|
XXIII., 5, 6, 9. etc. 3. From the lower to the upper black the progression is
|
|||
|
|
toward superior coolness and fineness of vibratory action, and power to soothe the nerves.
|
|||
|
|
4. From the upper to the lower black, the progression is
|
|||
|
|
towards superior warmth, coarseness and animation. 5. From both ends to the yellow, the progression is towards
|
|||
|
|
luminosity; from the yellow downward it is toward the coarse grade of shadow; from the yellow upward, toward the fine grade of shadow.
|
|||
|
|
6. There is a trinal series of gradations in the peculiar potencies of colors, the centre and climax of electrical action which
|
|||
|
|
cools and soothes the nerves being in the violet, the climax of electrical action which is soothing to the vascular system being in the blue, the climax of luminosity being in the yellow, and the
|
|||
|
|
climax of thermism or heat in the red, and especially in the thermel just below the red. This is not an imaginary division
|
|||
|
|
of qualities, but a real one, the flame-like red color having a principle of warmth in itself, the blue and violet, a principle of cold and electricity. Thus we have many styles of chromatic grada-
|
|||
|
|
tion including progression of hues, of lights and shades, of fineness and coarseness, of electrical power, luminous power, thermal
|
|||
|
|
power, etc. In Plate II., 3, the colors are ranged in a circle opposite those with which they form a chemical affinity, as the blue opposite the red, etc.
|
|||
|
|
7. The following gives some leading Gradations of two colors from light to shadow.
|
|||
|
|
|
|||
|
|
Bluish White, (as in zinc).
|
|||
|
|
|
|||
|
|
Yellowish White (magnesia).
|
|||
|
|
|
|||
|
|
Very light blue.
|
|||
|
|
|
|||
|
|
Very light yellow.
|
|||
|
|
|
|||
|
|
Very light blue-gray.
|
|||
|
|
|
|||
|
|
Very light yellow-gray.
|
|||
|
|
|
|||
|
|
Light blue.
|
|||
|
|
|
|||
|
|
Light yellow.
|
|||
|
|
|
|||
|
|
Light blue-gray.
|
|||
|
|
|
|||
|
|
Light yellow-gray.
|
|||
|
|
|
|||
|
|
Blue.
|
|||
|
|
|
|||
|
|
Yellow.
|
|||
|
|
|
|||
|
|
Dark blue.
|
|||
|
|
|
|||
|
|
Dark yellow.
|
|||
|
|
|
|||
|
|
Dark blue-gray.
|
|||
|
|
|
|||
|
|
Dark yellow-gray.
|
|||
|
|
|
|||
|
|
Bluish-black, or blue-black. Yellowish black.
|
|||
|
|
|
|||
|
|
HARMONY OF CONTRAST IN COLORS.
|
|||
|
|
|
|||
|
|
69
|
|||
|
|
|
|||
|
|
8. These, of course, may be varied in different ways. The other colors may be carried through the same gradations. In
|
|||
|
|
fact, nature's gradations are infinitely diversified. There are gradations of contrasts, and contrasts of gradations, and grada-
|
|||
|
|
tions of gradations without end in colors, forms, motions and sounds. The gradation of colors in the solar spectrum and the
|
|||
|
|
foregoing names are a somewhat more direct following out of nature than those of the colored circular plate.
|
|||
|
|
|
|||
|
|
XXIX. HARMONY OF CONTRAST IN COLORS.
|
|||
|
|
|
|||
|
|
See Plate II., Fig I.
|
|||
|
|
|
|||
|
|
1. Chevreul of France first discovered and developed as a
|
|||
|
|
|
|||
|
|
science the harmony of contrast in colors, and his theory so im-
|
|||
|
|
|
|||
|
|
proved the effectiveness of the fabrics of France as to make
|
|||
|
|
|
|||
|
|
their superiority over those of other nations quite apparent,
|
|||
|
|
|
|||
|
|
especially at the World's Fair held in London in 1851, and set
|
|||
|
|
|
|||
|
|
the people to studying his works which simply exhibited what
|
|||
|
|
|
|||
|
|
nature had been exemplifying and trying to teach through all
|
|||
|
|
|
|||
|
|
the ages. In fact it will be shown in another part of this work,
|
|||
|
|
|
|||
|
|
just how, by means of chemical affinity, all contrasting sub-
|
|||
|
|
|
|||
|
|
stances and forces naturally tend toward each other and develop
|
|||
|
|
|
|||
|
|
each other.
|
|||
|
|
|
|||
|
|
2. But how shall we ascertain the real harmonic contrasts of
|
|||
|
|
|
|||
|
|
any color? By simply getting its complement. Thus if we take
|
|||
|
|
|
|||
|
|
the triad of colors as our scale, we have red, for instance, forming
|
|||
|
|
|
|||
|
|
a contrast with the combined result of the other two colors,
|
|||
|
|
|
|||
|
|
yellow and blue, which is green, yellow forming a contrast with
|
|||
|
|
|
|||
|
|
red + blue = purple, and blue with yellow + red = orange. We
|
|||
|
|
|
|||
|
|
may on this principle then construct
|
|||
|
|
|
|||
|
|
3. A TABLE OF HARMONIC CONTRASTS.
|
|||
|
|
|
|||
|
|
RED and GREEN
|
|||
|
|
|
|||
|
|
contrast harmoniously.
|
|||
|
|
|
|||
|
|
YELLOW and PURPLE
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
BLUE and ORANGE
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
RED-GRAY and GREEN-GRAY
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
YELLOW-GRAY and PURPLE-GRAY
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
BLUE-GRAY and ORANGE-GRAY
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
RED-PURPLE and YELLOW-GREEN
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
RED-ORANGE and BLUE-GREEN
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
YELLOW-ORANGE and BLUE-PURPLE
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
70
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
LIGHT RED-GRAY and LIGHT GREEN-GRAY contrast harmoni-
|
|||
|
|
|
|||
|
|
ously.
|
|||
|
|
|
|||
|
|
DARK RED-GRAY and DARK GREEN-GRAY
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
DEEP-BLUE and DEEP-ORANGE
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
4. The leading contrasts of color are presented on the title
|
|||
|
|
|
|||
|
|
page in connection with the contrast of form in the hexagon.
|
|||
|
|
|
|||
|
|
The tendency of a color to intensify its contrasting hue near it,
|
|||
|
|
|
|||
|
|
may be seen by looking at the six small circles within the hexa-
|
|||
|
|
|
|||
|
|
gon. The gray on the inside of all of these is precisely the same,
|
|||
|
|
|
|||
|
|
and yet the red ring gives its interior a greenish cast, the green
|
|||
|
|
|
|||
|
|
ring brings out the red slightly, the purple a yellowish tint, the
|
|||
|
|
|
|||
|
|
yellow a purple tint, etc.
|
|||
|
|
|
|||
|
|
5. A little more exact arrangement of contrasting hues is
|
|||
|
|
|
|||
|
|
arrived at in connection with the seven colors of the spectrum,
|
|||
|
|
|
|||
|
|
which is nearly as follows:
|
|||
|
|
|
|||
|
|
RED contrasts with green with a slight violet cast.
|
|||
|
|
|
|||
|
|
ORANGE contrasts with indigo or indigo-blue.
|
|||
|
|
|
|||
|
|
YELLOW contrasts with violet or bluish purple.
|
|||
|
|
|
|||
|
|
GREEN contrasts with red with slight violet.
|
|||
|
|
|
|||
|
|
BLUE contrasts with red-orange.
|
|||
|
|
|
|||
|
|
INDIGO contrasts with orange.
|
|||
|
|
|
|||
|
|
VIOLET contrasts with yellow.
|
|||
|
|
|
|||
|
|
6. It is not to be considered that the colors will be absolutely
|
|||
|
|
|
|||
|
|
discordant if many variations from the above plan are adopted,
|
|||
|
|
|
|||
|
|
as blue contrasts very well with light red or yellow, etc. Any
|
|||
|
|
|
|||
|
|
two contiguous colors of the chromatic scale are always discord-
|
|||
|
|
|
|||
|
|
ant, just as are any two consecutive notes of the musical scale.
|
|||
|
|
|
|||
|
|
Thus red makes discord with orange, orange with yellow, green
|
|||
|
|
|
|||
|
|
with blue, etc., except when they blend by a gradation.
|
|||
|
|
|
|||
|
|
7. The neutral colors, black, gray, white, are not positively
|
|||
|
|
|
|||
|
|
discordant with any, and yet they have their effect. Chevreul
|
|||
|
|
|
|||
|
|
admits that black lowers the tone of all colors, white hightens
|
|||
|
|
|
|||
|
|
the tone or depth of all, and gray makes them seem more brilliant
|
|||
|
|
|
|||
|
|
by contrast. He considers that white combines best with light
|
|||
|
|
|
|||
|
|
blue, then with light red, and badly with orange; while black
|
|||
|
|
|
|||
|
|
combines best with red or rose, then with orange, then with
|
|||
|
|
|
|||
|
|
yellow, and poorly with light green.
|
|||
|
|
|
|||
|
|
HARMONIC COLORS IN ARCHITECTURE.
|
|||
|
|
|
|||
|
|
71
|
|||
|
|
|
|||
|
|
XXX. HARMONIC COLORS IN ARCHITECTURE.
|
|||
|
|
|
|||
|
|
1. There is such a great pressure of important matter that should be set forth with reference to the harmony and philosophy
|
|||
|
|
of colors that my applications of the subject to human art must necessarily be brief.
|
|||
|
|
2. Nature's contrasts do not consist of antagonism or contrariness, on the contraria contraribus law, but of spirited diversity on the law of unity. How would a white house look with
|
|||
|
|
the cornices and trimmings painted jet black? I speak of this work of man because, in nature, I can find no such abominations
|
|||
|
|
to quote from, or at least none excepting in cases of ruin or convulsion which temporarily suspends regular processes. Although we may rarely ever see a person so rude in harmonic perception
|
|||
|
|
as to have his residence thus bordered with black, like a blot on the fair face of things, yet many there are who will have the
|
|||
|
|
body of their houses almost white and the trimmings so dark that they seem to be dressed in mourning.
|
|||
|
|
3 But suppose we have a house painted in its main body
|
|||
|
|
with a light yellow-gray, which is nearly cream-colored, and trimmed around the windows, piazzas and cornices with a dark-
|
|||
|
|
er yellow-gray, sufficiently contrasted to be very distinct without violence, we have then a harmonic contrast, the principle of unity being the yellow-gray which binds both colors in a brother-
|
|||
|
|
hood while the principle of diversity is the difference of light and shade between the two.
|
|||
|
|
4. Another style of harmonic contrast would be to trim the same yellow-gray house with a purple-gray of equal depth of shade, as in Plate II., 5. In this case the principle of unity con-
|
|||
|
|
sists in their both being of the same tone of gray, and the same depth of hue, while the diversity consists in difference of effect
|
|||
|
|
between the yellow and purple, each of which brings out the purity of the other by contrast.
|
|||
|
|
5. Again we may have a graceful Progression of Contrasts by having light yellow-gray for the body, medium yellow-gray for the inner lines of the cornices and dark yellow-gray for the outer
|
|||
|
|
lines. 6. Soft hues of red gray for a house are exceedingly tasty,
|
|||
|
|
as they constitute a pleasing contrast with the green of the foli-
|
|||
|
|
|
|||
|
|
72
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
age, and so are the different tints of the green-gray, if the green is not made too prominent, from its analogical harmony with the
|
|||
|
|
foliage. 7. One great charm of a country home is to have soft but ef-
|
|||
|
|
fective contrasts of color as well as those contrasts of light, shade, and forms exhibited in verandahs, bay-windows, towers, project-
|
|||
|
|
ing roofs, angles, etc. In architecture a contrast of contrasts and gradations is often very effectively exhibited in the bold angles, and straight lines, softened down by curved ornaments, espe-
|
|||
|
|
cially in the Gothic style, and also in the Norman arch whose curves are rendered spirited by introducing straight lines and
|
|||
|
|
angles within the arch itself. To render the effect complete there should be a contrast of colors also.
|
|||
|
|
8. Tasty Residences are painted with the trimmings and bolder
|
|||
|
|
lines darker than the body of the house. This gives a look of strength, and seems to be most in harmony with nature's great
|
|||
|
|
dome-work of the sky in which the sun fills the middle portion with light, and shades it off at the horizon with more sober hues. Of course we cannot paint a hundredth part as beautifully as na-
|
|||
|
|
ture does, but we can follow her general principles afar off. The contrasts of different colors of stone to form the arches of win-
|
|||
|
|
dows and doors are very pleasing, if not made too distinct and if in harmony with the rest of the building.
|
|||
|
|
9. Within the House the hues can be made more of delicate
|
|||
|
|
contrasts, and more or less of gradation of shading and tinting can be used. What the wealthy should aim at in their resi-
|
|||
|
|
dences, is to have the walls shaded off and varied with a soft and cheerful ground work of color, in the midst of which skilled artists should paint their scenes, not of bloodshed and horror as on
|
|||
|
|
the walls of the Palace of Versailles, but of landscape, of important historical events and of that which appeals to the true and
|
|||
|
|
the beautiful. Thus the storm may rage without, and the great bustling world may have its corrupting influences, but within
|
|||
|
|
the sacred precincts of home, forever photographing their spirit upon the souls of the family and visiting friends, are the bloom and verdure of nature, or some scene of grace and merriment, or
|
|||
|
|
a radiant and pleasing group of human forms engaged in some high purpose. These, of course, should not be brought out with
|
|||
|
|
glaring colors, but modestly and yet richly, so that more and more
|
|||
|
|
|
|||
|
|
COLORS IN DRESS.
|
|||
|
|
|
|||
|
|
73
|
|||
|
|
|
|||
|
|
they will grow upon the preception as they are viewed from time to time.
|
|||
|
|
|
|||
|
|
XXXI. COLORS IN DRESS.
|
|||
|
|
|
|||
|
|
1. I have already mentioned some of the adaptations of color
|
|||
|
|
in male and female dress. The kind of adaptation which constitutes analogical harmony in the dress of a lady of blue eyes, fair complexion and auburn hair, would be well carried out by a light
|
|||
|
|
blue dress trimmed with a deeper or darker blue, and combined with white collars, etc., or the whole dress may be trimmed with
|
|||
|
|
white. Or if such person is not too aged, a white dress for warm weather would be in good taste. The blue forms a harmonic contrast to the auburn hair. But where the red is too prominent,
|
|||
|
|
blue should not be used. Some carry the analogical unity so far as to have jewels, gloves, and shoes of the same general color as
|
|||
|
|
the dress. The blue dress presents a contrasting harmony with auburn or light colored hair.
|
|||
|
|
2. Blondes look well in light-colored dresses, brunettes in
|
|||
|
|
darker ones, while rubicund countenances can wear to advantage subdued tints of red, as in red-gray etc.
|
|||
|
|
3. If a countenance is too pale, a greenish element will enhance the rosy color by contrast, while a purple tint near the face will bring out the yellow and give a bilious, sickly appear-
|
|||
|
|
ance, which no one can well afford. 4. If a person's countenance is overflushed and rosy, a condi-
|
|||
|
|
tion which is rarely seen among our American ladies, a red ribbon worn near the face will give a paler cast.
|
|||
|
|
5. Contrasts of the positive colors, such as red and green,
|
|||
|
|
blue and orange, yellow and purple, are too glaring to be in good taste except for military or theatrical costumes, and for the
|
|||
|
|
young. The grays of these same colors are much more tasty and modest.
|
|||
|
|
6. Too much of the dark elements in the colors of clothing degrades the light into heat, and prevents its finest chemical action on the human system. The relation of color to health, how-
|
|||
|
|
ever, will be explained in the chapter on Chromo Therapeutics, XXX.
|
|||
|
|
7. Some people, including half-civilized nations and children, are charmed with flashing colors, and dazzling contrasts in their
|
|||
|
|
|
|||
|
|
74
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
clothing, just as others must have violent contrasts of voice and
|
|||
|
|
gesture in oratory before they will admit there is any eloquence. This comes from an undeveloped and stupid condition of the fin-
|
|||
|
|
er perception, so stupid in fact that they must have blows that will almost overwhelm a sensitive person, before they can feel
|
|||
|
|
them. It is in harmony with a brilliant climate like that of America, however, that the people should adopt somewhat gayer colors than would be most suitable in England. While our ladies as a
|
|||
|
|
whole possess exquisite taste in dress scarcely equaled in Paris, some of them have still certain faults, such as being a little too
|
|||
|
|
gaudy and going to the extreme of fashion, although these extremes may at times be devoid of taste, common sense, healthfulness or adaptation to their form or complexion. While our men
|
|||
|
|
can bow to fashion so much as to wear overcoats which dangle around their heels, making them resemble somewhat a rudely
|
|||
|
|
dressed woman, or a little boy in his father's coat, our ladies wear skirts that drag in the mud, so that walking becomes a constant burden from the weight of drapery that they must ever be
|
|||
|
|
lugging around in their hands. 8. The Straining after Effect, and violation of truth by the
|
|||
|
|
use of paints, enamels, bleaching and dyeing processes, are resented by nature, for just as soon as the pores of the skin become habitually clogged with these paints and enamels, and poisonous
|
|||
|
|
dyeing materials are resorted to, real dying begins to take place, the blood moves less briskly, the skin grows more lifeless, the
|
|||
|
|
eyes grow less sparkling, and the movements less elastic. Walking and exercising in the open air, sunlight, bathing, manipulation of the whole body, and simple nourishing food, will gradually
|
|||
|
|
and surely bring nature's imperial stamp of beauty and power, and prevent all need of these falsehoods and deceptions in the
|
|||
|
|
way of ornamentation.
|
|||
|
|
|
|||
|
|
XXXII. COLORS IN FLORICULTURE.
|
|||
|
|
|
|||
|
|
1. While at the Gardens of Versailles near Paris in 1868, I
|
|||
|
|
was struck with the beautiful effect of contrasting lines of flowers, as well as the exquisite gradations and angles and curves in the
|
|||
|
|
flower beds themselves. Sometimes a bed would be bordered with long lines of purple or violet flowers running parallel to another line of yellow flowers of about the same size, sometimes
|
|||
|
|
|
|||
|
|
COLORS IN FLORICULTURE.
|
|||
|
|
|
|||
|
|
75
|
|||
|
|
|
|||
|
|
clusters of flowers of one color would contrast with clusters of another color, sometimes masses of red leaves and flowers will
|
|||
|
|
be encircled with contrasting masses of green foliage, etc. All tasty parks and landscape-gardens now in our country and
|
|||
|
|
Europe pay much attention to the harmonies of color. 2. For valuable hints with reference to the arrangement and
|
|||
|
|
grouping of flowers, the colors of drapery, etc., I would refer the reader to Chevreul's "Harmony and Contrasts of Colors." I will condense some of his ideas about the grouping of dahlias,
|
|||
|
|
etc. The three first groups below consist of five dahlias each and constitute quincunxes: the other groups have seven dahlias:—
|
|||
|
|
|
|||
|
|
1 o o
|
|||
|
|
o o o
|
|||
|
|
|
|||
|
|
2 o
|
|||
|
|
o o o o
|
|||
|
|
|
|||
|
|
3 o o
|
|||
|
|
o o o
|
|||
|
|
|
|||
|
|
4 o o
|
|||
|
|
o o o o o
|
|||
|
|
|
|||
|
|
5 o o
|
|||
|
|
o o o o o
|
|||
|
|
|
|||
|
|
6 o o
|
|||
|
|
o o o o o
|
|||
|
|
|
|||
|
|
These may be grouped as follows:— 1. Four Orange Dahlias with Purple Dahlia in centre.
|
|||
|
|
2. Four Purple Dahlias with Yellow Dahlia in centre. 3. Four Yellow Dahlias with Purple Dahlia in centre.
|
|||
|
|
4. Six Scarlet red Dahlias with White Dahlia in centre. 5. Six White Dahlias with Scarlet red Dahlia in centre, 6. Six Pink Dahlias with White Dahlia in centre.
|
|||
|
|
|
|||
|
|
3. The following is a linear arrange-
|
|||
|
|
ment, with blue as its centre of unity in
|
|||
|
|
the middle plant:— I. Red Chrysanthemum.
|
|||
|
|
2. Yellow Chrysanthemum.
|
|||
|
|
3. White Chrysanthemum. 4. Orange Chrysanthemum.
|
|||
|
|
5. Large Blue Aster.
|
|||
|
|
6. Orange Chrysanthemum. 7. White Chrysanthemum.
|
|||
|
|
8. Yellow Chrysanthemum.
|
|||
|
|
9. Red Chrysanthemum.
|
|||
|
|
|
|||
|
|
4. The following is another linear ar-
|
|||
|
|
rangement of Primroses,
|
|||
|
|
I. Red Primrose. 2. White Primrose.
|
|||
|
|
3. Orange Primrose.
|
|||
|
|
4. Lilac Primrose. 5. Yellow Primrose.
|
|||
|
|
6. Violet Brown Primrose.
|
|||
|
|
7. White Primrose. I. Red Primrose, and so on, repeating
|
|||
|
|
as above.
|
|||
|
|
|
|||
|
|
One leading law of unity in the above groups consists in having the same style of plant, while the diversity consists in the contrasts of colors. Gradations of color, as well as in the forms of
|
|||
|
|
grouping might be suggested, but space is lacking.
|
|||
|
|
|
|||
|
|
76
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
XXXIII. SYNOPSES OF HARMONIC LAWS.
|
|||
|
|
|
|||
|
|
In reviewing our ground we find the following great laws drawn from the divine teachings of nature, and constituting a basis upon which all edifices of science and philosophy must be built if they are to assume eternal foundations:
|
|||
|
|
1. The principle of Unity universal in nature, exemplifies the divine Oneness and Attraction as well as the divine Fatherhood,
|
|||
|
|
also human Fatherhood and the law of Organization which is the
|
|||
|
|
unifying principle of all families, societies and nations. 2. This Unity is projected into boundless DIVERSITY, thus ex-
|
|||
|
|
emplifying the divine Repulsion and Infinity of Resources and pro-
|
|||
|
|
claiming the law of Individual Life and Freedom. 3. Natures great LAW OF HARMONY is the equilibrium of the
|
|||
|
|
principles of Unity and Diversity, exemplifying the universal rule
|
|||
|
|
of Liberty combined with Law, of Centrifugal balanced by Cen-
|
|||
|
|
tripetal Force, of Individual Effort working with Fraternal Or-
|
|||
|
|
ganization, of Repulsion and Attraction vitalizing and perfecting
|
|||
|
|
each other, of Impulse and passional Propulsion harmonized by
|
|||
|
|
the divine law of Right and self-control. 4. GRADATION or regulated PROGRESSION is one of the great
|
|||
|
|
leading methods in which nature manifests this Unity and Diver-
|
|||
|
|
sity. Its course is ever toward some principle of excellence, being
|
|||
|
|
manifested through all the details of the universe and carrying the
|
|||
|
|
whole upward toward superior conditions, and never downward
|
|||
|
|
toward inferiority, ruin or death excepting temporarily and for
|
|||
|
|
the sake of a higher perfection to come. It is a prominent law of
|
|||
|
|
beauty by means of which lights, shades and hues progress into
|
|||
|
|
each other and blend; forms move by infinite steps in curvature,
|
|||
|
|
musical tones and oratory pass into graceful sweeps and climaxes,
|
|||
|
|
while in society, this same principle softens down the angles and
|
|||
|
|
blunt points of life. 5. CONTRAST is the bold and spirited method by which nature
|
|||
|
|
manifests her Unity and Diversity, combining tints, shades and
|
|||
|
|
colors in masses, forms in angular projections, and all things in
|
|||
|
|
decided transitions. It is the masculine side of nature, and presents
|
|||
|
|
that display of power which we term Sublime, just as Gradation
|
|||
|
|
is the Feminine or graceful side, belonging to the beautiful. 6. ANALOGICAL HARMONY is seen in nature in the form of some
|
|||
|
|
|
|||
|
|
SYNOPSIS OF HARMONIC LAWS.
|
|||
|
|
|
|||
|
|
77
|
|||
|
|
|
|||
|
|
ruling characteristic throughout her leading departments, as, for
|
|||
|
|
instance, the blue color which predominates in the sky. In art on
|
|||
|
|
the same plan a leading tone of color is adopted throughout a paint-
|
|||
|
|
ing, a certain Key-note for a musical composition, etc. 7. VIOLENCE and FLAMING CONTRAST are exceptional mani-
|
|||
|
|
festations of nature, allowed only rarely and briefly for some
|
|||
|
|
important end. 8. Nature s unrestricted growth is never discordant. 9. All Beauty and all Natural Growth exemplify Moral and
|
|||
|
|
Spiritual Perfection. All objects which do not do so are deformed. The person who takes cognizance of suns, stars, leaves, flowers, trees, landscapes and sounds as merely an assemblage of forms, colors, and tones devoid of this diviner expression, is blind and deaf to the principal meaning of the universe, and can never attain to the conception of High Art. Let those who de-
|
|||
|
|
cry real Beauty then remember that they are condemning the ex-
|
|||
|
|
pression of the Infinite Goodness. 10. Adaptation, which rules throughout nature, suspends tem-
|
|||
|
|
porarily at times the direct expression of Beauty and goodness for
|
|||
|
|
the purpose of introducing some higher Good. 11. Truth is the voice of all nature, and so-called works of art
|
|||
|
|
which pervert it must prove failures. 12. Elements are generally penetrating, exquisite, safe and pow-
|
|||
|
|
erful in their effect on man in proportion as they are refined and
|
|||
|
|
subtile. 13. Force is exerted through a gradation of Instrumentalities. 14. Colors, like Musical Tones, are divided into seven distinct
|
|||
|
|
notes, and still more fundamentally into three, constituting the
|
|||
|
|
Triad of the first, third and fifth. Forms also present their par-
|
|||
|
|
allelism. 15. In order the better to understand the great laws of things,
|
|||
|
|
I will here present more fully than in the preceding pages some of the leading twofold and threefold divisions of mind and matter.
|
|||
|
|
|
|||
|
|
DUAL DIVISIONS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
Diversity . . . . . . .
|
|||
|
|
Contrast . . . . . . . Spirit . . . . . . . .
|
|||
|
|
|
|||
|
|
Unity.
|
|||
|
|
Gradation. Matter.
|
|||
|
|
|
|||
|
|
78
|
|||
|
|
|
|||
|
|
HARMONIC LAWS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
Light, . . . . . .
|
|||
|
|
Repulsion, . . . . . Positive Forces, . . . .
|
|||
|
|
Centrifugal Force, . . . Tints of Color, . . . .
|
|||
|
|
Chromatic Colors, . . . Masculinity, . . . . Straight Lines, . . . .
|
|||
|
|
Magnetism, . . . . . Heat, . . . . . .
|
|||
|
|
Alkalies, . . . . . Electro-Positives, . . . Organs of the Right side, .
|
|||
|
|
Warm or Thermal Colors, . Luminous Orbs or Suns, .
|
|||
|
|
|
|||
|
|
. Shadow.
|
|||
|
|
. Attraction. . Negative Forces.
|
|||
|
|
. Centripetal Force. . Shades of Color.
|
|||
|
|
. Achromatic Colors. . Femininity. . Curves.
|
|||
|
|
. Diamagnetism. . Cold.
|
|||
|
|
. Acids. . Electro-Negatives. . Organs of the Left side.
|
|||
|
|
. Cold, Electrical Colors. . Non-luminous Orbs or Planets.
|
|||
|
|
|
|||
|
|
TRINAL DIVISIONS OF THE UNIVERSE.
|
|||
|
|
|
|||
|
|
Triad of Primary Colors: Triad of Secondary Colors: Triad of Achromatic Colors: Triad of Primary Grays: Triad of Secondary Grays:
|
|||
|
|
Triad of Chromatic Forces: Triad of Achromatic Qualities: Triad of Outlines: Triad of Forms: Triad of Musical Notes: General Divisions of the vis-
|
|||
|
|
ible World:
|
|||
|
|
|
|||
|
|
Red, yellow, blue. Orange, green, purple.
|
|||
|
|
Black, gray, white. [gray. Red-gray, yellow-gray, blueOrange-gray, purple-gray,
|
|||
|
|
green-gray. Heat, light, electricity.
|
|||
|
|
Tints, hues, shades. Straight lines, angles, curves. Triangle, hexagon, circle.
|
|||
|
|
First, third, fifth. Solids, liquids, gases; also
|
|||
|
|
Land, water, sky.
|
|||
|
|
|
|||
|
|
16. In the foregoing the Dual divisions are contrasts and the Trinal divisions, gradations. Thus we see that nature, though at first thought it seems to be lawless in its wonderful
|
|||
|
|
freedom, is after all governed by the most absolute law, all her great machinery working with mathematical precision, her foun-
|
|||
|
|
tains, cataracts, etc., describing parabolic curves, her worlds moving in elliptical spirals through the heavens and around some centre of unity, while the force of Gravitation, Light, etc., is
|
|||
|
|
|
|||
|
|
SYNOPSIS OF HARMONIC LAWS.
|
|||
|
|
|
|||
|
|
79
|
|||
|
|
|
|||
|
|
inversely as the square of the distance from the influencing orb. We may fire a cannon ball into the air in any possible direction,
|
|||
|
|
or at any rate of speed, and not for a moment can we make it vary from the most absolute gradation of motion, while if sent
|
|||
|
|
in any but a vertical pathway, it will describe also a perfect gradation of Direction, following nature's favorite and beautiful curve
|
|||
|
|
of the parabola. The rainbow rears its semi-circle and assigns just such a relative width to each color throughout, each tree approximates the form of an ellipse, or oval, or spire, or many
|
|||
|
|
sections of an oval, while every leaf and blade of grass and flower is carved out and posed on the most exquisite principles, in gen-
|
|||
|
|
eral after some one or more sections of a cone. 17. Harmony of colors is now a science. It should no longer
|
|||
|
|
be said that this and that combination of colors is a mere matter
|
|||
|
|
of taste. Of course taste must have something to do with it, as the principles of harmony may not always be correctly applied
|
|||
|
|
without it, but certain rules can be laid down which place many points beyond guess work or caprice of taste. Ladies of refined taste have in general a perception of colors and their harmoni-
|
|||
|
|
ous relations quite superior to that possessed by gentlemen, partly from having more practice with colors, and partly from
|
|||
|
|
possessing a finer intuitional nature. In fact some of our sex will need all the rules and all the science they can command on the subject, to enable them to equal in chromatic taste many ladies
|
|||
|
|
who have had no rules excepting what their finer perceptions have given them.
|
|||
|
|
|
|||
|
|
80
|
|||
|
|
|
|||
|
|
THEORIES OF LIGHT AND FORCE.
|
|||
|
|
|
|||
|
|
CHAPTER SECOND.
|
|||
|
|
|
|||
|
|
INSUFFICIENCY OF THE PRESENT THEORIES OF LIGHT AND FORCE.
|
|||
|
|
|
|||
|
|
1.—SCIENCE AND PHILOSOPHY SHOULD BE COMBINED.
|
|||
|
|
|
|||
|
|
1. Scientists are spanning more and more of the universe and weighing and measuring all things in their scales. Their acu-
|
|||
|
|
men in many fields of investigation has been so marvelous that all men have had to bow to their authority. From their labori-
|
|||
|
|
ous researches in many directions I have received great instructtion and shall ever be grateful for the immense assistance which
|
|||
|
|
I have derived from them in the various fields of human thought. 2. While I would look with this admiration upon their efforts
|
|||
|
|
and with all humility upon my own powers as being quite in-
|
|||
|
|
competent to tread in many fields which they have graced, still it seems to me that they have failed to reach fundamental
|
|||
|
|
principles. Not for a moment would I do so base a thing as to disparage others in order to establish any theory of my own, for Truth, supreme Truth is the great central light, and let no man
|
|||
|
|
dare to hide or falsely color a single one of its radiant lines. It seems to me that they have not sufficiently combined philosophy
|
|||
|
|
with their science, so that their facts might be crystallized into great truths by comprehensive generalizations, but have dwelt too much upon external specialties, as Agassiz himself once
|
|||
|
|
admitted. 3. Ancient sages scorned as vulgar the Inductive Process of
|
|||
|
|
Reasoning which brought them down to every day facts and generally adopted the Deductive Method. Since Lord Bacon's teachings have been given to the world men have swung to the other ex-
|
|||
|
|
treme of induction. It seems not to have occurred to many people that induction and deduction should never be divorced—
|
|||
|
|
that we should look upward to causes and downward to effects with the same glance as far as possible using the intuitional and
|
|||
|
|
|
|||
|
|
CHEMICAL AFFINITY
|
|||
|
|
|
|||
|
|
81
|
|||
|
|
|
|||
|
|
reasoning nature to grasp the invisible "soul of things," which constitutes the positive principle of power, and the perceptives to
|
|||
|
|
grasp the outward body of things which constitutes the negative principle.
|
|||
|
|
4. While delving so much in the cruder elements of matter, the interior lightning which gives it potentiality eludes the grasp
|
|||
|
|
of many of our scientific men. Although all force in its primary principle thus lies with the fine invisible elements, they too often flee from these with seeming alarm, and cling to the mere skele-
|
|||
|
|
ton of power which dwells with the gross and the tangible.
|
|||
|
|
|
|||
|
|
II.—BASIC PRINCIPLES NOT YET REACHED, COHESION.
|
|||
|
|
|
|||
|
|
Is my judgment harsh? Have they arrived at the funda-
|
|||
|
|
mental laws of any style of power whatever? Take a silver dollar, for instance, and ask them what makes its atoms cling to-
|
|||
|
|
gether with such tremendous tenacity. A weight of ten thousand pounds would not press or pull them apart. Do they say cohesion? But that is only a word. What causes the cohe-
|
|||
|
|
sion? We are as badly off as ever. If we understood the nature of cohesion, we should begin to understand something of chemis-
|
|||
|
|
try. If a substance decays it falls to pieces. Where is cohesion now?
|
|||
|
|
|
|||
|
|
III.—CHEMICAL AFFINITY.
|
|||
|
|
|
|||
|
|
If a piece of zinc is put into sulphuric acid the water is set to boiling, countless bubbles rise, and the metal is soon torn to pieces. How is this done? CHEMICAL AFFINITY is the answer.
|
|||
|
|
But what is the law of chemical power by which such things are done? Here again the scientific world comes to a dead halt.
|
|||
|
|
"Chemical force, like other force cannot be described," says Dr. Attfield, "for like them it is known only by its effects."
|
|||
|
|
"Chemical affinity, like all great forces in nature," says T. P. Barkas F. G. S., "is perfectly incomprehensible." "Notwithstanding our boasted advances in science," says Prof. Robert
|
|||
|
|
Hunt, "we have scarcely arrived at any satisfactory knowledge of the powers which regulate the internal conditions of matter.
|
|||
|
|
The molecular forces are almost entirely beyond our concepttions."
|
|||
|
|
|
|||
|
|
82
|
|||
|
|
|
|||
|
|
THEORIES OF LIGHT AND FORCE.
|
|||
|
|
|
|||
|
|
IV.—ELECTRICITY.
|
|||
|
|
|
|||
|
|
1. Being badly at sea then with reference to chemical forces, how is science with reference to the great power of ELECTRICITY? Scientists are still quite undecided as to whether electricity is a single fluid on the theory of Franklin, or two fluids on the theory of Dufay, or no fluid at all but simply a vibration of polarized atoms. If the atoms are polarized, what polarized them?
|
|||
|
|
2. How are the vibrations started and continued? Just how does friction excite electricity? Does the instrument that frictionizes take hold of the fluid and move it along?
|
|||
|
|
3. What is the law of movement with electricity, over the surface of atoms, through their axial portion or how?
|
|||
|
|
4. How is Induction produced, and how Conduction, and Attraction, and Repulsion, and Magnetism and Diamagnetism?
|
|||
|
|
5. Ampere admits that Magnetism is one form of Electricity. Certainly, but what form is it, how are are its curves produced and how can steel hold its magnetism permanently while iron cannot?
|
|||
|
|
6. Has any one ever yet received an exact idea of what is meant by positive and negative Electricity?
|
|||
|
|
7. Is Electricity a cold or warm principle? If cold, why does
|
|||
|
|
it sometimes produce the greatest heat known to man? If warm,
|
|||
|
|
whence its contractive power? 8. Electrical science, then, is still in a vague condition and
|
|||
|
|
the unfortunate thing about it is that many writers on the subject are quite unaware of its imperfections and affirm that "all the facts of Electricity can be explained by either Franklin's or Dufay's theory." We have seen that none of the leading facts can be exactly explained by them.
|
|||
|
|
|
|||
|
|
V. GRAVITATION.
|
|||
|
|
|
|||
|
|
1. But how about Gravitation? Cannot scientists explain this ubiquitous principle? Are all possible objects saturated
|
|||
|
|
with it, and yet nothing known of how its potencies are exerted? 2. Some say that magnetism is the secret, each sun and planet
|
|||
|
|
being an immense magnet. But magnetism and gravitation must be vastly different things, 1st, because magnetism reaches only
|
|||
|
|
|
|||
|
|
LIGHT AND COLOR.
|
|||
|
|
|
|||
|
|
83
|
|||
|
|
|
|||
|
|
a limited number of substances, while gravitation affects all matter; 2ndly, gravitation is incomparably swifter than magnetism;
|
|||
|
|
3dly, gravitation, so far as we know, reaches out over infinite space, while magnetism is very limited in its range; 4thly, a
|
|||
|
|
magnet is powerful in certain parts, and powerless in others, while, in the case of gravitation, all objects of equal density at-
|
|||
|
|
tract in every direction and from every part.
|
|||
|
|
|
|||
|
|
VI. PHYSIOLOGY AND PSYCHOLOGY.
|
|||
|
|
|
|||
|
|
1. But there is a vast Physiological and Psychological world which still lies buried in mystery. What is the exact process of
|
|||
|
|
nervous action, muscular action, vascular action, phrenal action? 2. What is the exact office of the right brain, the left brain, the
|
|||
|
|
inner white brain, the outer gray brain, the different parts of the cerebrum, of the cerebellum, spleen, ganglia, white and red corpuscles of the blood and many other parts?
|
|||
|
|
3. Through what medium does mind or volition control matter,
|
|||
|
|
and what is the philosophy of unconscious sleep, of conscious or somnambulic sleep, of interior, cataleptic and trance conditions, of statuvolism, which enables one to suspend sensation at pleasure, of Intuition, that inner reason which works so much more rapidly than the ordinary faculties, of intensified sensations, of convulsions and many other mental and physical conditions? Massive volumes and extensive works have been produced abundantly with reference to these subjects, but who has penetrated to their inner soul of power?
|
|||
|
|
|
|||
|
|
VII. LIGHT AND COLOR.
|
|||
|
|
|
|||
|
|
1. We come at last to Light and Color. Great and beautiful
|
|||
|
|
discoveries have been made with reference to this subject, and yet is any thoughtful mind satisfied that the basic principles of
|
|||
|
|
color potencies, or of the action of light, have been reached? 2. "The mathematical investigations of the phenomena of
|
|||
|
|
light," says Prof. Hunt, "certainly go to support the views enter-
|
|||
|
|
tained by Huyghens and Young. The researches of Fresnel, Fraunhofer, Herschel and others show that a large number of
|
|||
|
|
facts can be explained upon the undulatory hypothesis; at the same time a great many remarkable phenomena are by no means
|
|||
|
|
|
|||
|
|
84
|
|||
|
|
|
|||
|
|
THEORIES OF LIGHT AND FORCE.
|
|||
|
|
|
|||
|
|
elucidated: and the corpuscular theory of Isaac Newton, developed by La Place and Biot, and supported by Brewster and
|
|||
|
|
Brougham, is capable of affording an explanation of some luminous effects which do not appear to be the result of undulations."
|
|||
|
|
(Elementary Physics, p 380.) And yet it does not seem to have occurred to this clear-headed reasoner that both of these prince-
|
|||
|
|
ples could be combined. 3. In another place Prof. Hunt uses the following language:
|
|||
|
|
"The undulatory theory explains the radiant visible property of
|
|||
|
|
light, but it does not explain the chemical effects, the optical polarity of a crystal and its connection with the polaric conditions
|
|||
|
|
of its constituents—the diffraction, inflection, interferences, the oxydation of surfaces as the cause of natural colors, the presence of the chemical action of light, the presence of heat, electricity,
|
|||
|
|
magnetism; yet light produces all of these phenomena; it vitalizes and the organic action of light is witnessed in the fauna and
|
|||
|
|
flora around." 4. Grove ascribes light to a "vibration or motion of the
|
|||
|
|
molecules of matter themselves, rather than to a specific ether
|
|||
|
|
pervading it, just as sound is propagated by the vibrations of wood, or as waves are by water."
|
|||
|
|
5. Jencken, speaking of the undulatory theory says: "The correlates of light, as Grove designates heat, electricity, magnetism and the gravitation of cosmic bodies, the motion in space
|
|||
|
|
stand begging at the door of this theory, wholly unexplained save by long and short waves, or waves vibrating at angles dif-
|
|||
|
|
ferent from the axial plane of direction. Molecular action, what becomes of it? Or are there many ethers, (asks Grove,) which co-exist and pervade space? If not, we are driven back to allow
|
|||
|
|
to one group of dynamical forces, molecular action—to others, wave undulations, a perplexity it is hard to get rid of, a difficulty
|
|||
|
|
it is impossible to clear away." (Light, Color, Electricity and Magnetism, p. 50.).
|
|||
|
|
|
|||
|
|
VIII. COLORS MUST BE FORMULATED BY LAW.
|
|||
|
|
|
|||
|
|
That is, we have seven leading colors in sunlight, each of which is made by a special style and number of vibrations, and
|
|||
|
|
when separated by the spectrum occupying exact mathematical
|
|||
|
|
|
|||
|
|
HOW EXPLAIN CHROMATIC PHENOMENA.
|
|||
|
|
|
|||
|
|
85
|
|||
|
|
|
|||
|
|
laws. How is this done? Have we small atoms and fine vibrations for the violet and coarser ones for the red? Is there a sin-
|
|||
|
|
gle ether which the sun divides off into seven different but exactly proportioned waves? How could the sun accomplish such
|
|||
|
|
a thing! As well fire off a cannon, and expect to have its roar divided into the seven musical tones of the octave. When we
|
|||
|
|
make a musical tone, it must be done by means of some exact length and number of waves in a given time, all of which must be generated through different sized tubes, or on different sized
|
|||
|
|
vibratory cords, etc. Should not writers on optics begin to inquire what kind of tubes or cords nature uses in so beautifully
|
|||
|
|
systematizing the color-waves of light? For development of this point see Chapter Eighth, VII.
|
|||
|
|
|
|||
|
|
IX. HOW IS LIGHT PROJECTED SO FAR?
|
|||
|
|
|
|||
|
|
1. If light is composed of luminiferous ether waves, why do they spread laterally like the hands of a clock, instead of moving forward like waves of water, or waves of air, in producing sound?
|
|||
|
|
Besides if there is no power to draw these solar ethers onward and assist them to continue their movements, how can they be
|
|||
|
|
kept moving through all the 95,000,000 miles from the sun to the earth; yes, and through the quintillions of miles beyond the earth, through which the telescope can penetrate? Sir John
|
|||
|
|
Herschel says there are stars so distant that their light must have been moving two million years to reach us. Now by what
|
|||
|
|
process is a wave to be kept rolling for such a length of time? Is there anything in waves of water to suggest a duration of millions of years or even of millions of seconds?
|
|||
|
|
|
|||
|
|
X. HOW EXPLAIN CHROMATIC PHENOMENA?
|
|||
|
|
|
|||
|
|
But these luminiferous waves must differ from the atmosphere-
|
|||
|
|
ic waves which produce sounds in other respects, especially as the effect of the seven degrees of the chromatic scale is quite different from that of the seven degrees in the musical scale. The
|
|||
|
|
waves of sound produce a more and more cheerful and exciting effect as they proceed through the scale from the grave bass to
|
|||
|
|
the enlivening tenor of the upper notes, while the color-notes grow more cheerful until they reach the yellow, after which the pro-
|
|||
|
|
|
|||
|
|
86
|
|||
|
|
|
|||
|
|
THEORIES OF LIGHT AND FORCE.
|
|||
|
|
|
|||
|
|
gression changes, each color becoming more and more grave until it reaches the dark violet. Nature's unity is so absolute
|
|||
|
|
throughout all her departments, that the same general law produces the same general effects everywhere, the difference being
|
|||
|
|
only in degree. A true theory of colors will entirely explain this discrepancy.
|
|||
|
|
|
|||
|
|
XI. CHEMICAL AND THERAPEUTICAL PROPERTIES OF COLOR.
|
|||
|
|
|
|||
|
|
1. Great vagueness still exists as to the properties of the different colors as well as their material and law of production.
|
|||
|
|
The violet end of the spectrum, including the black for a distance above, was noticed to have peculiar powers to blacken nitrate of silver, and was often called actinic or chemical, but Prof. Draper,
|
|||
|
|
Vogel and others showed the great chemical power of the yellow color in bringing about the decomposition of carbonic acid in the
|
|||
|
|
leaves of plants, and it will be abundantly shown hereafter that one end of the spectrum is chemically as powerful as the other. Scientists are approximating gradually a more correct knowledge
|
|||
|
|
of the colors, but do not seem to know why the blue and violet rays have such powers to germinate seeds and cause such im-
|
|||
|
|
mense activity in vegetable growth, and do not explain why these same cold colors can, with certain other colors, cause far greater heat than those of the warm red end of the spectrum itself when
|
|||
|
|
taken alone. In fact, they seem to deny, as did the great Newton, that the different colors have any special well-defined po-
|
|||
|
|
tencies. In his day, such a mistake was much more excusable than at present, when we have the wonderful revelations of the spectroscope to assist us.
|
|||
|
|
2. As to the marvelous therapeutic character of colors, most of our works on the subject are silent, and our physicians them-
|
|||
|
|
selves are generally but little acquainted with it. In fact General Pleasanton of Philadelphia, though not pretending to give
|
|||
|
|
any science of colors, has given a better summary of facts concerning the healing power of one portion of them, namely "Blue and Sun-lights," than any medical or other work with which I
|
|||
|
|
am acquainted. Since writing the foregoing sentence, Dr. Pancoast's "Blue and Red Light," has appeared, which is somewhat
|
|||
|
|
more accurate than Pleasanton's, in a medical sense.
|
|||
|
|
|
|||
|
|
THE MATERIAL OR FLUIDIC THEORY.
|
|||
|
|
|
|||
|
|
87
|
|||
|
|
|
|||
|
|
XII. SHADOW IS AN ENTITY.
|
|||
|
|
|
|||
|
|
So far as I know, it is the universal opinion of the scientific world that shadow or darkness is a nonentity, being the absence of
|
|||
|
|
light, and that cold is also a nonentity, being the absence of heat.
|
|||
|
|
The utter falsity of these positions can be demonstrated.
|
|||
|
|
|
|||
|
|
XIII. CORRECT SCIENCE REQUIRES A KNOWLEDGE OF ATOMS.
|
|||
|
|
|
|||
|
|
One of the most unfortunate things for the scientific world is that the law of atomic action has never been ascertained. All
|
|||
|
|
science both of the visible and invisible must be deficient in its fundamental principles until it is known how atoms combine and work. Atoms have amazing activities and chemical potencies,
|
|||
|
|
but how can we get into the real knowledge of light, color, electricity, magnetism and force of every kind as connected with
|
|||
|
|
matter, unless we know how matter itself is constituted? When we know more of matter we shall know more of force, and vice versa. Faraday says that "we know nothing of atoms;" Att-
|
|||
|
|
field's chemistry says that they are centres of "a force of enormous power," while Tyndall and many other eminent scientists
|
|||
|
|
have given extensive study to them. Until we understand these atoms in at least their basic principles, all theories of science must have more or less guess work.
|
|||
|
|
|
|||
|
|
XIV. THE DYNAMIC AND THE MATERIAL OR FLUIDIC THEORY.
|
|||
|
|
|
|||
|
|
1. But that which seems to me as one of the greatest of all errors and which has kept the true knowledge of atoms and all
|
|||
|
|
other departments of nature in the back ground, is the one sidedness of the prevailing theories of force. If scientists would re-
|
|||
|
|
member that all things have dual relations, a soul and body principle, as it were, it would save a vast number of errors.
|
|||
|
|
2. There are two great theories afloat called the DYNAMIC, on the one hand, and the MATERIAL or FLUIDIC theory on the other. Dynamic means spirit-like, and is supposed to be a power inher-
|
|||
|
|
ent in atoms themselves, causing them to vibrate aside from all fluidic or etherial elements as vitalizing forces, or as Tyndall
|
|||
|
|
defines it, "An accident or condition of matter; namely a motion of its ultimate particles." (Heat as a mode of motion, p. 39.") while the believers in the fluidic theory advocate the flow of fine
|
|||
|
|
|
|||
|
|
88
|
|||
|
|
|
|||
|
|
THEORIES OF LIGHT AND FORCE.
|
|||
|
|
|
|||
|
|
ethers as the sole power, seemingly forgetful of the atomic vibrations which must result from this flow and also of the atmos-
|
|||
|
|
pheric undulations which must modify the light and other forces, and including Newton's emission theory of light, the caloric theory
|
|||
|
|
of heat, the flow of real fluids in electricity, etc. Scientists have swung sometimes to one extreme and sometimes to the other,
|
|||
|
|
but it does not seem to have occurred to them that both theories must be combined if nature's ordinary principles of force are to be obeyed. At present, the dynamic theory is most generally
|
|||
|
|
received, and this seems to imply the exertion and continuation of a force without any special instrumentality as a motive power.
|
|||
|
|
3. I believe I am safe in affirming that there is no such thing in the known universe as the exertion of power without fluidic action. A windmill is run by the fluid called air; a water wheel is
|
|||
|
|
driven by the fluid called water; a steam engine is driven by its gaseous fluids; in all animal and vegetable life such fluids as
|
|||
|
|
blood, sap, gases and judging by all analogies, the finer life fluids prevail; flood-wood is carried along a stream and water is the fluid; a whirl-wind carries dust into the sky and air is the
|
|||
|
|
fluid; chemical solutions of every kind take place but water or some other fluid must be the instrument; vortexes swallow up
|
|||
|
|
vessels and countless other objects by means of a fluid; the clouds are wafted by the aerial fluid; a stream may sweep a mass of debris against a dam and hold it fast, but the element of power
|
|||
|
|
is ever a fluid; some wonderful power seems to drive and hold the atoms together in the tremendous cohesions and chemical
|
|||
|
|
affinities that rule in solids; is it supposable that this is done without a fluid? Shall we fight against all analogies in the mechanics of nature and man, to carry out a theory? Shall we
|
|||
|
|
not reason from the known to the unknown in harmony with nature's infinite unity? Shall we trample upon this great law of
|
|||
|
|
things by means of which a thousand mysteries may be cleared away and a host of new truths discovered?
|
|||
|
|
|
|||
|
|
XV. FARADAY.
|
|||
|
|
|
|||
|
|
1. This prince of electricians and a grand investigator in the field of truth, furnishes an example of the difficulties which must
|
|||
|
|
ever occur when we look at things one sidedly or in other words when we try to consider the soul of force apart from its body, or
|
|||
|
|
|
|||
|
|
FARADAY.
|
|||
|
|
|
|||
|
|
89
|
|||
|
|
|
|||
|
|
the body apart from its soul, and because he could not detach the soul of electricity from its body he concluded it had no soul, as
|
|||
|
|
the following words will signify: "Another ever present question in my mind has been whether
|
|||
|
|
electricity has any actual and independent existence as a fluid or fluids or was a mere power of matter like what we conceive of
|
|||
|
|
the attraction of gravitation. It was in attempts to prove the existence of electricity separate from matter, by giving an independent charge of either positive or negative power only, to
|
|||
|
|
some one substance, and the utter failure of all such attempts, whatever substance was used, or whatever means of exciting or
|
|||
|
|
evolving electricity were employed, that first drove me to look upon induction as an action of the particles of matter, each having both forces developed in it in exactly equal amount."
|
|||
|
|
(Experimental Researches in Electricity, p. 363.) 2. I will simply remark with reference to the above, that hav-
|
|||
|
|
ing ascertained the law of atomic action in connection with ethereal forces, I have found it a simple matter to account for the different phases of electricity and magnetism. By multitudinous
|
|||
|
|
facts and deductions which seem entirely irresistible, I find that positive and negative electricity, frictional electricity, galvanic
|
|||
|
|
electricity, thermo electricity, magnetism, and diamagnetism consist of various grades of electricity which move through atoms in the same general manner, while the variations of phe-
|
|||
|
|
nomena proceed from the different manner in which the atoms are polarized and combined.
|
|||
|
|
3. The fluids alone which may be called electro-ethers are not electricity. This special kind of atomic vibration, which will be explained in the next chapter, constitutes the principle of elec-
|
|||
|
|
tricity, or the dynamic side of the question, the fluid itself constitutes the element of electricity or the material side of the ques-
|
|||
|
|
tion, while both together constitute electricity. Thus does Nature's plan ever take the golden medium between extremes, or
|
|||
|
|
rather it includes the extremes. 4. The term Material Theory is hardly proper as contradistin-
|
|||
|
|
guished from the term Dynamic Theory, as the latter deals with
|
|||
|
|
matter just as truly as the former, and having less to do with the spirit-like ethers that penetrate and vitalize the coarser elements, is
|
|||
|
|
really a grosser conception.
|
|||
|
|
|
|||
|
|
90
|
|||
|
|
|
|||
|
|
THEORIES OF LIGHT AND FORCE.
|
|||
|
|
|
|||
|
|
XVI. LORD BACON.
|
|||
|
|
|
|||
|
|
In the second book of his "Novum Organum" says that "heat itself, its essence and quiddity, is motion and nothing else."
|
|||
|
|
Motion of what? Can there be motion without something to be moved, or without some instrument through which this motion
|
|||
|
|
must come? (See Chapter First, XVI). This point however, will stand out more clearly in the next chapter.
|
|||
|
|
|
|||
|
|
XVII. LOCKE AND TYNDALL.
|
|||
|
|
|
|||
|
|
The following passage from Locke is said by Prof. Tyndall to be stated with "singular felicity:"—"Heat is a very brisk agitation of the insensible parts of the object, which produce in us
|
|||
|
|
that sensation from whence we denominate the object hot; so what in our sensation is heat, in the object is nothing but mo-
|
|||
|
|
tion." The error in this consists in confounding the sensation or perception of heat with heat itself, or an effect with a cause. Real heat is in the object itself rather than in the mind which
|
|||
|
|
perceives it, and produces all the effects of heat, such as melting, scorching, expanding, disintegrating, etc., without reference to the
|
|||
|
|
sensations which any animal or human being may receive therefrom. We might as well say, what in our sensation is color, in the sunlight is nothing but motion, consequently there would be
|
|||
|
|
no such thing as color if people should happen to be born blind, although the sky might glisten with rainbows.
|
|||
|
|
|
|||
|
|
XVIII.—KANT, FICHTE, SCHELLING, HEGEL, etc.
|
|||
|
|
|
|||
|
|
1. This one-sidedness of conception is carried still farther by the German idealists. KANT considers that space and time are
|
|||
|
|
mere conditions of our own perceptive faculties and that we cannot
|
|||
|
|
know anything of the external world truly, but must simply recognize certain delusive appearances, while FICHTE denies the existence of anything excepting man and his own consciousness. Dr. Buchanan calls their doctrines the climax of pure absurdity, and yet Schelling and Hegel go still further into this intellectual chaos.
|
|||
|
|
2. Now I would ask if this dynamic theory is not leading the brilliant scientists whom I have quoted, and many others, toward
|
|||
|
|
|
|||
|
|
THE LAWS OF OPTICS.
|
|||
|
|
|
|||
|
|
91
|
|||
|
|
|
|||
|
|
the same absurd extreme? The most plausible argument in favor of the dynamic theory of heat has been presented perhaps
|
|||
|
|
by Count Rumford, but his points can be answered more easily in the next chapter, after we have considered ethereal and atomic
|
|||
|
|
forces. After all I cannot blame these eminent men for having unsatisfactory theories of force so long as no distinct conception
|
|||
|
|
of atomic action has been presented to the world, for it is hard to conceive how ethereal forces can sweep through atoms, unless it can be shown that there are powerful elements of suction in the
|
|||
|
|
atoms themselves, which draw these forces onward at the same time that they are being vitalized by these forces.
|
|||
|
|
3. If the reader shall find my etherio-atomic law in harmony with established scientific facts, and a key to unlock many of the mysteries of force, thus leading us some steps higher up the
|
|||
|
|
infinite ladder of causation, I here confess that I could never have made this discovery by my own unaided power. The
|
|||
|
|
achievements of scientists, considering the incorrect system which they have followed, have been truly amazing, and I should by no means dare to present a theory to the world which would
|
|||
|
|
not harmonize with their leading discoveries. I have had to sit at the feet of Newton, the Herschels, Faraday, Kirchhoff, Bun-
|
|||
|
|
sen, Ångström, Tyndall, Darwin, Lommel, Huxley, Schellen, Huggins, Brewster, Lyell, Reichenbach, Helmholtz, Elliotson, Crookes, LaPlace, Davy, Austin Flint, Jr., Draper, Ampère, J.
|
|||
|
|
R. Buchanan, and many others. I had to test my atomic Key by their light and my own experiments, and having become sat-
|
|||
|
|
isfied that it is correct, find it will often unlock doors into which my masters themselves have not penetrated.
|
|||
|
|
|
|||
|
|
XIX.—THE LAWS OF OPTICS, REFRACTION, REFLECTION, ABSORPTION, ETC.
|
|||
|
|
|
|||
|
|
TRANSPARENCY, and POLARIZATION OF LIGHT seem to be but
|
|||
|
|
dimly apprehended. Gold is said to be yellow because it reflects the yellow and absorbs the other colors. What property is it in gold which accomplishes such a result? What principle in
|
|||
|
|
sodium makes it give out a yellow flame? What are the general properties, both chemical and therapeutical, of blue flowers or
|
|||
|
|
fruit, of yellow, purple, red or other colored substances? A true knowledge of this subject should enable a person to pass through
|
|||
|
|
|
|||
|
|
92
|
|||
|
|
|
|||
|
|
THEORIES OF LIGHT AND FORCE.
|
|||
|
|
|
|||
|
|
forest and field and tell the leading properties of plants and flowers and mineral substances, by their colors and often by their
|
|||
|
|
forms, without having to kill or injure so many persons by experiments upon them. By this I do not mean to say that experi-
|
|||
|
|
ments are unnecessary; for theories should be tested by experiments and experiments by theories if we are to make swift and
|
|||
|
|
correct progress in Knowledge, but I do say that by the aid of a true philosophy of force the experiments could hit the mark with far less blundering.
|
|||
|
|
|
|||
|
|
XX.—NEW WORLDS OF LIGHT AND COLOR.
|
|||
|
|
|
|||
|
|
Finally there are new and surpassingly beautiful worlds of color which seem to be almost entirely unknown to our writers on
|
|||
|
|
Optics, but which can be demonstrated on scientific principles and by abundant facts and observations. These colors reveal
|
|||
|
|
the very dynamics of nature and man, and the most exquisite and interior principles of force which reach far into the mysteries of mind and matter. They help to make a science out of what
|
|||
|
|
would otherwise be guess work, broader than mere physics, broader than mere metaphysics, and combining both on nature's
|
|||
|
|
great law of duality to form the grander science of PSYCHOPHYSICS.
|
|||
|
|
|
|||
|
|
XXI.—SUMMATION OF POINTS.
|
|||
|
|
|
|||
|
|
To review our ground, then, we see, that notwithstanding all the brilliant achievements of science, the fundamental principles of Cohesion, Chemical Affinity, Electricity, Magnetism, Diamagnetism, Gravitation, Physiology, Psychology, Light, Color and other departments of knowledge are unknown—that the cause of this deficiency is the failure of scientists to ascertain the atomic constitution of things and their ignoring of the dual nature of the universe in their efforts to divorce matter from force, or force from matter, or at least in their swinging to the extremes of the dynamic theory on the one hand, or the material theory on the other, while the whole known mechanics of nature teach this great lesson, that all force must act through relatively static and fluidic conditions of matter, the finer fluidic conditions vitalizing the more stationary conditions, and the more stationary conditions reacting upon and answering as a base
|
|||
|
|
|
|||
|
|
SUMMATION OF POINTS.
|
|||
|
|
|
|||
|
|
93
|
|||
|
|
|
|||
|
|
work for the fluidic conditions. In closing I will simply add that there are many grades of fluidic and also of relatively static conditions, the coarser grade of the static being acted on by the coarser grade of the fluidic, a still finer grade of the static by a finer grade of the fluidic, and so on upward toward the infinitely fine. A slower fluidic force may also be vitalized by finer and swifter fluidic forces. See Chapter First, XVI.
|
|||
|
|
|
|||
|
|
94
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
CHAPTER THIRD.
|
|||
|
|
|
|||
|
|
THE ETHERIO-ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
I.—ATOMS.
|
|||
|
|
|
|||
|
|
Atoms are the primary and indivisible particles of things. To understand them fully would be almost to understand infinity. In fact we cannot understand the exact nature of the simplest ob-
|
|||
|
|
ject without apprehending its atomic constitution. We shall not be real philosophers until we can reach far back toward primates
|
|||
|
|
and thence onward toward ultimates. We shall be but poor chemists so long as we cannot tell the law of atomic action in any substance whatever, or the basic principles of chemical af-
|
|||
|
|
finity.
|
|||
|
|
|
|||
|
|
II.—FORCE.
|
|||
|
|
|
|||
|
|
FORCE is a leading phenomenon of the universe. Without
|
|||
|
|
it, all movements of worlds, all chemical affinities, all wonders of light, color, sound and motion, all attractions and repulsions, all
|
|||
|
|
life, human, animal and vegetable, in fact every impulse of thought or affection itself must forever cease. Happy shall we be if we can get even a glimpse of its basic principles, for force
|
|||
|
|
and matter include the sum of all things.
|
|||
|
|
|
|||
|
|
III.—THE SIZE OF ATOMS.
|
|||
|
|
|
|||
|
|
The infinity of smallness in nature is quite as wonderful as
|
|||
|
|
the infinity of vastness, and equally beyond all human comprehension or flight of imagination. Persons of large conceptions
|
|||
|
|
which lead them far into the grasp of things as they are, are often called visionary by those of smaller conceptions, but the
|
|||
|
|
grandest visions and stretches of thought are tame and small
|
|||
|
|
|
|||
|
|
THE FORM OF ATOMS.
|
|||
|
|
|
|||
|
|
95
|
|||
|
|
|
|||
|
|
compared with the realities of things. Ehrenberg, who investigated the subject of infusoria very extensively by means of the
|
|||
|
|
microscope, estimates that an ordinary drop of water, one-twelfth of an inch in diameter, may contain 500 millions of these animal-
|
|||
|
|
cules, and remarks that "all infusoria, even the smallest monads are organized animal bodies and distinctly provided with at least
|
|||
|
|
a mouth and internal nutritive apparatus." As each of these must have some tubing and fluidic circulation it would doubtless be safe to estimate its number of atoms as high as 1000. This
|
|||
|
|
would make the number of atoms in the animalcules of a drop 500,000,000,000, besides the countless atoms which compose the
|
|||
|
|
water itself. The atmospheric bacteria are still smaller, as other scientists have shown. Thompson, by means of numerous experiments, has established the fact that in transparent bodies the
|
|||
|
|
atoms are so small as to require 250,000,000 to 5,000,000,000 to extend one inch, and Gaudin calculates for the smallest particles
|
|||
|
|
of matter figures much the same as those of Thompson, making the number of atoms for a large pin's head about 8,000,000,000,000,000,000,000 (8 sextillions) which, if measured off at the rate
|
|||
|
|
of a million a second, would take over 250 million years to complete! This taken in connection with the wonderful and beau-
|
|||
|
|
tiful character of each atom becomes one of the most amazing facts in the universe. But even this is doubtless far below the infinitude of nature's smallness, as the finest ethers must have
|
|||
|
|
atoms quite transcending in minuteness all measurements, or comprehension of the human mind.
|
|||
|
|
|
|||
|
|
IV. THE FORM OF ATOMS.
|
|||
|
|
|
|||
|
|
1. In the first place atoms are evidently not spherical, as some have supposed, as they would not combine thus properly,
|
|||
|
|
and would not so well carry out the law of positive and negative conditions without which all life and action must cease. This
|
|||
|
|
will be shown hereafter. 2. The lines of atomic force, are doubtless not in circles, this
|
|||
|
|
being contrary to the general untrammeled movements of nature,
|
|||
|
|
as the pathway of missiles, cataracts and planets is in the sections of a cone.
|
|||
|
|
3. Some philosophers, believing with Bishop Berkeley that
|
|||
|
|
|
|||
|
|
96
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
the whole universe is spiritual in its nature, conclude that atoms must be spiritual, or mere circular forces which in some way
|
|||
|
|
overlap, combine and crystallize into the forms which we call matter. Others, believing with Hume and Büchner, that matter
|
|||
|
|
is the beginning and end of all things, of course consider the atoms merely material.
|
|||
|
|
4. We have seen the folly of these extreme positions in the last chapter, and having learned that everything possesses a finer positive principle, and a coarser negative principle, we may confi-
|
|||
|
|
dently presume that each atom has its imperishable framework, with the definiteness of position which is supposed to
|
|||
|
|
belong to materiality, and yet an inconceivable exquisiteness, elasticity and spirit-like freedom and flow of force.
|
|||
|
|
5. What, then, are the lines of atomic force? Let us see if we
|
|||
|
|
cannot find a suggestion by noticing what are nature's great lines of force. Our sun, as we have seen, is moving around some
|
|||
|
|
greater sun. This greater sun is also moving onward, probably around some still greater centre, and carrying our sun with it. Our sun, under this double motion, then, must describe a vast
|
|||
|
|
spiral through the heavens. Again, our earth moves around the sun, and at the same time is carried by the sun around its centre,
|
|||
|
|
making a smaller spiral somewhat less than 200,000,000 miles in diameter through the heavens. Then, finally, the moon makes its baby spiral of about half a million miles in diameter around our
|
|||
|
|
earth. Thus we have first the great solar spiral, then the telluric spiral around the solar, then the lunar spiral around the telluric,
|
|||
|
|
three distinct gradations on nature's favorite trinal plan. 6. Let us suppose now that atoms are in ellipsoids, or rather
|
|||
|
|
in the modifications of this form in the ovoid, which, as we
|
|||
|
|
have seen, in Chapter First, is the most easy and beautiful of simple enclosed forms. "What nature does generally is beautiful,"
|
|||
|
|
says Ruskin, and atoms being the most general of all things, we cannot suppose them for a moment to be anything but beautiful.
|
|||
|
|
So far, it may be said, we are building on mere supposition, but it will be shown more and more as we advance that there is a neessity for this form. One thing in proof of this is the fact that
|
|||
|
|
atoms will combine and polarize better by having a smaller end, while, as will be shown, the law of positive and negative action
|
|||
|
|
forces one end to be smaller than the other.
|
|||
|
|
|
|||
|
|
THE FORM OF ATOMS.
|
|||
|
|
|
|||
|
|
97
|
|||
|
|
|
|||
|
|
7. But where must the lines of force run, over or through this atom, or both? Let us see. We have ascertained in Chapter
|
|||
|
|
First that the spiral, itself the most beautiful of continuous forms, is the great leading law of motion in nature. Let us presume,
|
|||
|
|
then, that the spiral direction rules in atoms as well as in worlds, especially as, according to the great unity of law, we must judge
|
|||
|
|
the unknown by the known. In fact the spiral is a necessity if we are to get any continuous lines around the atom and have it progress regularly so as to cover its whole form and then convey
|
|||
|
|
its force over to the next atom. So far, then, we have the external atom clad with spiral lines of force, or rather, a spiral frame-
|
|||
|
|
work, and tube-work through which, and over which, this force must vibrate and flow.
|
|||
|
|
8. Fig 132 gives a simple representation of
|
|||
|
|
this atomic coil or helix, commencing below and moving round and round the atom from
|
|||
|
|
left to right, until the other end at 4 is reached. Let us first consider the effect of this external spiral movement which sweeps around with in-
|
|||
|
|
conceivable rapidity. It is a well known fact in electricity and magnetism that when the
|
|||
|
|
conducting wire is wound in a spiral coil, its heat producing power is greatly increased. Another fact which harmonizes with the same
|
|||
|
|
thing is that the greater the heat, the greater the expansion, other things being equal, and here we can see just how it is that
|
|||
|
|
heat produces expansion, for the more powerful the sweep of forces around the atom, the more it will increase the outward or centrifugal force. One leading principle for the development
|
|||
|
|
of heat is that there shall be obstacles to overcome, or a laboring style of movement, and this explains why this ever twisting
|
|||
|
|
movement of the spiral is the distinctive one for heat. 9. Let us see how the line of force would work as it vibrates
|
|||
|
|
this exquisite wire-work which is untold millions of times finer and more elastic than any wires of copper or steel. Commencing at 1 it gets under greater and greater momentum until
|
|||
|
|
it swells the atom out to its greatest size at the middle or a little beyond, and then becoming gradually spent, the coil grows
|
|||
|
|
smaller at 3, and reaching the larger negative end at 4, the 7
|
|||
|
|
|
|||
|
|
98
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
heat-force of the other end is felt through the axial portion and draws it in through the middle of the atom to the smaller end,
|
|||
|
|
where the circuit is recommenced. 10. This current of force through the centre of the atom, act-
|
|||
|
|
ing like any fluid under the same circumstances, becomes a vortex and tends to draw the other portions inward by its suction.
|
|||
|
|
This, without doubt, is the principle of cold as is proved by the following facts:—1st, it is contracting in its nature, and cold is contracting; 2dly, it moves in the opposite direction from heat
|
|||
|
|
which shows why the needle of the galvanometer, connected with the thermo-electric pile, moves in one direction for cold and
|
|||
|
|
another for heat, as Tyndall and others have often noticed; 3dly, the swifter the movement of the forces, the more narrow, piercing and contracting is the stream, and this harmonizes with the
|
|||
|
|
known effects of cold, which is piercing and contracting in proportion as it becomes intense; 4thly, as a great principle of
|
|||
|
|
equilibrium in nature, it is necessary that one part of atomic force should develop cold in a way to balance the heat action, and 5thly, the flow of forces could not be kept up at all were it
|
|||
|
|
not for the law of cold, to intensify the law of heat, just as the heat intensifies the law of cold, as will be seen more clearly here-
|
|||
|
|
after. 11. But in order to work properly, there must be a more intense
|
|||
|
|
heat-action at the smaller end in order to draw in the forces that
|
|||
|
|
reach the negative larger end from the outside. How can this be effected? Is not the heat the greatest at the larger part of
|
|||
|
|
the atom where the spiral is most expansive and intense in its action? Yes, so far as this spiral is concerned, but there are other processes by which this may be caused. As nature ever
|
|||
|
|
deals with gradations of refinement, and as in the solar system we see three grades of spirals with the smallest encircling the next
|
|||
|
|
larger, and this larger encircling one still larger, so we may presume that the atomic system continues the analogy and has dif-
|
|||
|
|
ferent grades of spirals also. The fact also that there are known to be so many grades of force, would argue in favor of different grades of fineness in the atomic coils.
|
|||
|
|
12. Fig 133, presents the main spiral which passes around the atom, then a sub-spiral which encircles the main spiral.
|
|||
|
|
This may be called the first spirilla or little spiral. Judging by
|
|||
|
|
|
|||
|
|
THE HEAT END OF ATOMS.
|
|||
|
|
|
|||
|
|
99
|
|||
|
|
|
|||
|
|
nature's usual law of trinal gradations there is probably a still finer
|
|||
|
|
spirilla that encircles this first one which may be called the second
|
|||
|
|
spirilla, and another which encircles the second one, more
|
|||
|
|
minute still, and properly constituting the third spirilla. The different grades of forces that flow along this spiral and these
|
|||
|
|
spirillæ must pass around the atom in the same direction, just as the sun, planets and moon all move along through space in the
|
|||
|
|
same direction, namely from west to east.
|
|||
|
|
|
|||
|
|
V. THE HEAT END OF ATOMS.
|
|||
|
|
|
|||
|
|
1. From the foregoing, then, we may now begin to see how
|
|||
|
|
one end of the atom will naturally become warmer than the other end, although the spiral itself may be less expanded with heat action. The first spirilla, being much more elastic than the
|
|||
|
|
spiral, must spring into its full heat action and power near the positive end, say at 1, and the 2d and 3d spirillæ still sooner.
|
|||
|
|
These become more exhausted and feeble at 2, near the negative end, after having imparted their force to the spiral. That is, the 3d spirilla, being most active, quickens the 2d, the 2d quickens
|
|||
|
|
the 1st, and the 1st quickens the spiral itself. 2. Another method of intensifying the heat of the positive
|
|||
|
|
end is to have the spiral lines nearer together there than at the negative end, as in fig 132, a method which nature probably adopts, as it is absolutely necessary to have the positive and
|
|||
|
|
negative distinctions well emphasized to attain the highest power. Does the reader see this important point? By having the external
|
|||
|
|
positive end hot it draws all the more powerfully upon the axial current within and thus intensifies the cold, and then again the
|
|||
|
|
swifter the cold-producing currents the more will they react and draw upon the heat-currents on the external atom, other things being equal. Thus beautifully does nature develop her inten-
|
|||
|
|
sity of life and action, by causing one extreme to vitalize and balance the other. Action on any other plan would be ruin, or
|
|||
|
|
rather action without positive and negative forces would be impossible, and so universal death would ensue.
|
|||
|
|
|
|||
|
|
100
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
VI. NATURE OF ATOMIC SPIRALS.
|
|||
|
|
|
|||
|
|
1. As in animal life there are millions of tubes, such as lymphatics, lacteals, capillaries, veins, arteries, nerves, etc., and as in all vegetable growth there are countless tubular ducts to convey the life fluids, so we may conclude that an atom with its inten-
|
|||
|
|
sity of life-like action has its spirals and spirillæ in the form of tubes, within which are still finer ethereal juices which constitute its most interior life-force. That these spirals are amazingly elastic is shown by the fact that they expand to a size 2000 times greater in ordinary atmosphere than in water, while in the upper atmosphere, and especially in the ether beyond, they must be far more expanded still.
|
|||
|
|
2. The most common arrangement of atomic spirals is doubtless two-fold, as will be shown hereafter, consisting, 1st, of
|
|||
|
|
coarser and more external groups of spirals such as 2 and 4 in fig. 134, which may be termed extra spirals, and 2dly, finer spirals set farther in, such as 1 and 3, which may be called intra spirals.
|
|||
|
|
The need and existence of these will become more and more apparent as we advance, besides fulfilling nature's analogies. Instead of there being but one intra-spiral at 1 and 3, or but one extra-spiral as at 2 and 4, there is probably a gradation of several of them placed side by side in all the more complex grades of atoms, say from 3 to 7 in each place. The need of seven spirals in all transparent atoms, in other words in atoms of substances which transmit all the colors as in transparent bodies, will be evident. The positive intra-spirals are grouped at 1, the positive extra-spirals at 2, the negative intra-spirals at 3, the negative-extra spirals at 4, the atomic vortex into which the spirals all sweep with vortical whirl is at 5, the torrent at which the forces become most pointed and swift is at 6, and the axis or axial current from 5 to 6. The curves caused by the vibration of spirals are not shown in the cut, nor are any but the first of the spirillæ given and shown as they must be in nature, and there are doubtless points of connection between spirals, spirillæ and all other parts of the atom which make it a complete unity.
|
|||
|
|
|
|||
|
|
GENERAL FEATURES OF ATOMS.
|
|||
|
|
|
|||
|
|
101
|
|||
|
|
|
|||
|
|
VII. GENERAL FEATURES OF ATOMS.
|
|||
|
|
|
|||
|
|
1. Years of investigation of what the general form and constitution of atoms must be to harmonize with and furnish a key
|
|||
|
|
to the facts discovered by the scientific world, aided by many more years of inquiry into the fundamental principles of nature,
|
|||
|
|
have led me to a very positive conclusion that fig. 135 is the general outline of an ordinary atom, especially of one by means of which all the colors can be made manifest. The hundreds of
|
|||
|
|
points to prove it correct cannot be given here, but they will appear more and more all through this work in the mysteries
|
|||
|
|
which are cleared up thereby, especially in Chapter V. as well as in this chapter. Although the modification of tints, hues and other forces which are manifested through atoms is almost infinite
|
|||
|
|
from the fact that atoms of the same substance must vary within certain limits in the size of their spirillæ of the same kind, yet facts
|
|||
|
|
seem to indicate seven intra-spirals (4) on the outside of atoms for the warm or thermal colors, and which are properly the thermolumino group, whereas the same spirals form the principle of the
|
|||
|
|
electrical colors while passing through the axis of atoms. These are all named and located in fig. 135, commencing with the largest
|
|||
|
|
spirilla for the hot invisible solar rays called thermel, after which is the slightly smaller spirilla for red, another for red-orange, etc. Passing around the atom and becoming smaller and finer,
|
|||
|
|
the same spirillæ form the channels for the electrical colors by passing into the vortex and through the axis, thermel being con-
|
|||
|
|
verted into blue-green, red into blue, red-orange into indigo-blue, orange into indigo, yellow-orange into violet-indigo, yellow into violet, and yellow-green into dark violet. The group of thermo-
|
|||
|
|
spirals at 3, 3, are called positive, because the spirillæ that surround them are larger and the heat greater than the portion of
|
|||
|
|
the same group at 5, 5, which are therefore called negative thermospirals. The group 2, embraces the positive color-spirals,
|
|||
|
|
but as they are concealed by gliding into the contiguous atoms, it is only the same group at 4 that are visible as thermo-color spirals, or at the vortex above as electro-color spirals. 9 and 10
|
|||
|
|
represent minute streams of ether, which are simply combinations of much finer atoms, that flow from the thermo spirillæ and
|
|||
|
|
the thermo-lumino spirillæ into the same grades of spirillæ in the atom above; 7 and 9 are axial ethers which flow from the atom
|
|||
|
|
|
|||
|
|
GENERAL FEATURES OF ATOMS.
|
|||
|
|
|
|||
|
|
103
|
|||
|
|
|
|||
|
|
above into the axial spirillæ of this atom; 8 represents ethers which flow through the ligo tube,
|
|||
|
|
and these and other ethers are represented as passing on through their appropriate channels until they
|
|||
|
|
emerge at the torrent end. These ethers sweep through the atom and quicken its spiral wheel-work
|
|||
|
|
into new life, just as the winds move a wind-mill, or the waters a water-wheel, while the atom itself, armed as it is with its vortical spring-work, must have a
|
|||
|
|
great reactive suction which draws on these ethereal winds.* 2. Why are ethers drawn from spirillæ of one atom to the
|
|||
|
|
same kind of spirillæ in a contiguous atom, and why does a certain grade of ether exactly harmomize with, and seek out, a certain size of spirilla? For the same reason that a tuning fork or
|
|||
|
|
the cord of a piano will be set into vibration by a tone made in its own key. In the case of a piano, a cord vibrates to tones of its
|
|||
|
|
own pitch, or in other words, to tones whose waves synchronize with its own vibrations. Let us apply this principle to atoms. The vibratory action of the red spirilla throws the current of
|
|||
|
|
ether which passes through it into the eddy-like whirl which just harmonizes in size and form to the red spirilla of the next atom
|
|||
|
|
above it with which it comes in contact, and which must necessarily draw it on. This second atom passes it on to the red spirilla of the third, the third to that of the fourth, and so on
|
|||
|
|
through millions of miles, so long as there is a spirilla of the right grade to conduct it onward. The same process applies to the
|
|||
|
|
orange, or yellow, or any other spiral, and, constituting as it does a fundamental principle of chemical action, the reader should note this point well. The same principle applies to the axial
|
|||
|
|
spirals whose lines of force, reaching the positive end at 1, make a sudden dart to the outside and thus in part jolt their contents
|
|||
|
|
into the answering spirals of the next atom, the blue ethers of this plunging into the blue spirilla of the next, the violet ethers
|
|||
|
|
of this into the violet spirilla of the next, and so on. 3. The ethers are efflux as they flow out of one atom or
|
|||
|
|
series of atoms, and influx as they flow into an atom or series of
|
|||
|
|
|
|||
|
|
*As will be shown hereafter, there must be still finer atmospheres within the ordinary atmosphere, so fine doubtless that they permeate solids and fluids, and form a
|
|||
|
|
base-work for fluidic action which may assist the spiral eddies and vortical suctions of the larger atoms.
|
|||
|
|
|
|||
|
|
104
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
atoms. Thus 9 and 7 are influx, and 6 and 10 efflux ethers. The ethers at the torrent end are powerfully efflux, and have
|
|||
|
|
momentum not only from the projectile force of this atom, but from the suctional force of the next, into whose vortex this atom
|
|||
|
|
is inserted. 4. It should be noticed that the same spirillæ which wind
|
|||
|
|
around the outside of atoms on the expansive law of thermism, pass on through the axis on the contracting law of cold, and after becoming the most contracted and intense at the positive
|
|||
|
|
end of the atom, suddenly plunge to the outside and again become thermal. Thus the very intensity of the interior cold forces
|
|||
|
|
may develop intensity of heat, and we at once see why it is that an object which is so cold as to be 60° F. below zero is said to have an effect similar to that of red hot iron.
|
|||
|
|
5. The First Positive Thermo-Spiral at A projects beyond the intra-spirals below and forms a regulating barrier to deter-
|
|||
|
|
mine just how far this atom shall be inserted into the vortex of the next atom: in other words, this atom becomes sheathed in the next as far as A, while the atom above becomes encased in
|
|||
|
|
this precisely the same distance, and so on, which accounts for the great regularity of form in crystallizations, etc. In chemical
|
|||
|
|
affinity, as I shall show hereafter, the atom glides into a wide mouthed atom up to its shoulders at A' where the second circuit of these same thermo-spirals is seen. By this means the color-
|
|||
|
|
spirals are hidden in the encasing atom, and this explains some mysteries of color change which puzzle the chemist, and which
|
|||
|
|
will be explained in Chapter V. 6. The Ligo is supposed to exist only in solids, such as rocks,
|
|||
|
|
metals, fibrous substances, etc., in which it forms the leading
|
|||
|
|
element of cohesion and hardness, while in liquids, gases and ethers it is wanting, which accounts for their flowing qualities.
|
|||
|
|
This tube probably has spiral convolutions with openings in the sides something like those Chimney pieces, the object of which
|
|||
|
|
is to cause a draft. 7. The seven thermo-lumino spirals which become the elec-
|
|||
|
|
tro-lumino spirals on reaching the vortex and axial portion of the
|
|||
|
|
atom, naturally grow somewhat smaller, from the smaller space in which they move, and receive a finer grade of ethers from
|
|||
|
|
the axis of the atom above at 9 and 7 than those which course
|
|||
|
|
|
|||
|
|
THE THERMO SPIRALS.
|
|||
|
|
|
|||
|
|
105
|
|||
|
|
|
|||
|
|
through them in their thermal portions on the outside. As they progress through the axis they become narrower, more nearly straight and consequently more keenly electrical until they reach the torrent end. The reason the dark violet is the coldest of all the colors is, because from its position it must circulate with a more narrow and interior course through the axis, as being the highest (See fig. 135), it reaches the vortex and enters before the others, next to which comes the violet, then the violet-indigo, the indigo, the indigo-blue, the blue, and warmest and least electrical of all in the electrical group, the blue-green. My reasons for calling these the electrical group of colors will be fully shown in XXIX of this chapter. All axial forces move on the
|
|||
|
|
law of electricity of some kind, while the coarser grades of electri-
|
|||
|
|
ity impart the ruder sensations of cold, which are so distressing.
|
|||
|
|
The finest grades of electricity, while producing the phenomena of
|
|||
|
|
cold, such as contraction, do not impart the chilling sensations of cold at all, to most persons. To compose all the colors which constitute white light, both the electrical and thermal colors must be combined and carried along side by side through conversely polarized lines of atmosphere, or other media, through which they are conveyed.
|
|||
|
|
8. The axial spirillæ doubtless fill up the whole interior of their atoms from their elasticity, which fact the artist has not quite expressed.
|
|||
|
|
|
|||
|
|
VIII. THE THERMO SPIRALS.
|
|||
|
|
|
|||
|
|
So useful, as we have seen, in regulating the joining of atoms according to absolute system, have other important qualities.
|
|||
|
|
They are important factors of heat or thermism in its ordinary coarser grade, and when moving axially constitute the principle
|
|||
|
|
of frictional electricity (See XXV). These being extra-spirals, and consequently the most external of all, it is easy to see why
|
|||
|
|
friction or pressure begets heat as well as electricity. It is easy to see, too, why frictional electricity moves especially over the surface of bodies as these spirals are so projecting as to strike
|
|||
|
|
very freely against all surrounding atoms, consequently their movements are smothered before they reach any considerable
|
|||
|
|
depth below the surface. These extra spirals would naturally
|
|||
|
|
|
|||
|
|
106
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
emerge from the axis of atoms on a side opposite to that from which the intra-spirals emerge, to maintain an equilibrium of
|
|||
|
|
forces, and would also pass into the vortex on the opposite side.
|
|||
|
|
|
|||
|
|
IX.—ETHEREAL FORCES.
|
|||
|
|
|
|||
|
|
1. We have now seen that an atom is a wonderful little machine with wheels within wheels, a miniature world through which are manifested the principles of all power both on the
|
|||
|
|
earth beneath and in the heavens above. But how is this machine made to run? How do these atomic springs keep up
|
|||
|
|
their ceaseless motions, their amazing vibrations, millions of millions of which take place in a second of time, as for instance in light? Has such a thing ever been heard of as a spring that
|
|||
|
|
will vibrate forever of its own accord? Has not science determined that perpetual motion in mechanics is impossible? We
|
|||
|
|
have seen in the last chapter that in all the known mechanics of man or nature, force is never propagated excepting through fluidic action of some kind. As the wind-mill must have its
|
|||
|
|
wind to keep up motion, so must the atom have its flow of ethers to keep its wheels in operation, and form different sized eddies
|
|||
|
|
of force. Democritus speaks of "minute atoms in swift motion which by their smallness and rapidity were able to permeate the hardest bodies." In this idea he almost reached the very key
|
|||
|
|
of force, showing that he had an idea of ethereal fluids without which no correct conception of nature's dynamics can ever be
|
|||
|
|
acquired. 2. But here it may be asked, what keeps the ethers in per-
|
|||
|
|
petual motion, for, like the more static atoms through which they
|
|||
|
|
move, even they must be vitalized or they will cease. While the spiral forms of the atom, when once in motion, attract the
|
|||
|
|
ethers with a fine suction, and while the arrangement of positive and negative portions of the atoms gives still further vitality,
|
|||
|
|
making it almost self-acting, still there is the edict of mathematiccal science which says that perpetual motion in mechanics is impossible. And yet nature and life are in everlasting motion
|
|||
|
|
and not an atom of the universe is at rest. How shall we get out of this dilemma? Let us dwell a moment on this point.
|
|||
|
|
|
|||
|
|
DIFFERENT GRADE OF ETHER.
|
|||
|
|
|
|||
|
|
107
|
|||
|
|
|
|||
|
|
X. THE PRIMATE OF FORCE.
|
|||
|
|
|
|||
|
|
We have seen that the finer and more subtile a substance becomes, other things being equal, the more potent is its char-
|
|||
|
|
acter (Chap. First, XV.), and the more nearly does it seemingly approach self-action. We see also that the merely material uni-
|
|||
|
|
verse has no power in itself of perpetual movement—that protoplasm, for instance, which some physicists proclaim as the starting point of all life, must be entirely powerless without some
|
|||
|
|
higher and finer principle beyond it: whence, then, is the power that animates all being? If matter alone proves thus insufficient
|
|||
|
|
for this continuity of life, are we not driven irresistibly to the conclusion that what we call spirit, must be a necessary factor? In fact is there an example that can be produced in the whole
|
|||
|
|
realm of being, in which continuous and self action exists excepting when some principle of spiritual force is combined with
|
|||
|
|
material conditions? To reach the primate of power, then, we seem compelled to mount the ladder of fine forces to those which are still finer, until we arrive at conditions so exquisite as to be
|
|||
|
|
able to receive directly the impress of Infinite Spirit. But Spirit itself, if we are to judge by all analogies, must flow out and
|
|||
|
|
permeate all atoms and beings on a diviner plan, though in harmony with the fluidic process.
|
|||
|
|
|
|||
|
|
XI. DIFFERENT GRADES OF ETHER.
|
|||
|
|
|
|||
|
|
1. I have been convinced beyond all doubt by numerous facts, that there are many different grades and styles of ether, and that long before I saw the suggestion of Grove. I will simply notice
|
|||
|
|
two or three of these facts in proof here, as the reader will see the necessity of these grades more and more as we proceed.
|
|||
|
|
Scientific men generally admit that there is one ether as a medium for communicating waves of light, etc. This of course
|
|||
|
|
is immensely elastic and has sometimes been called the COSMIC ETHER which is a very proper name, as it constitutes an exquisite atomic bridge-work between the starry worlds over which pass
|
|||
|
|
and repass the fine solar and stellar forces of all kinds, such as the different grades of light, electricity, heat, gravitation, etc.
|
|||
|
|
The law of atomic arrangement in this cosmic ether will be shown hereafter. In speaking of these ethers and some other
|
|||
|
|
|
|||
|
|
108
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
subjects, I must in some cases give simply the results of my investigations, reserving the fuller proofs for another part of this
|
|||
|
|
work or for a future treatise. 2. The fact that scientific men in general have not ascer-
|
|||
|
|
tained that there is more than one ether just as there is more than one grade of gases or liquids, shows how completely they have
|
|||
|
|
ignored the finer and mightier forces, and confined their investigations to the cruder elements principally. In 1773, La Place demonstrated that gravitation acts at least fifty million times as
|
|||
|
|
swiftly as light. Can anybody suppose that such a movement of force comes from waves of the same ether, without some finer
|
|||
|
|
element being involved? What would be thought of a person who would assert that waves of air in some cases move 1100 feet in a second, as in the production of sound, and in other cases millions
|
|||
|
|
of times as rapidly? But nobody will be so absurd in reasoning about visible and tangible matters, and they should use equal
|
|||
|
|
judgment in reasoning about the invisible. The analogies of all nature and the necessity of different grades of fluidic elements to express the different grades of force, constitute abundant proof
|
|||
|
|
of the plurality of ethers, as will be seen hereafter. 3. In giving the different grades of ethers, those which are
|
|||
|
|
generally in motion gliding through larger atoms will be represented by terms ending in o, but those which are more commonly stationary, or nearly so, like the water of a lake, or a quiet
|
|||
|
|
atmosphere, will be signified by terms ending in ic. The former are more fluidic, the latter more nearly static. Static ethers are
|
|||
|
|
of course sometimes capable of becoming fluidic, just as water may at times flow in streams, or the air be swept into currents, but I speak of their general character, which is to form a bridge-
|
|||
|
|
work of channels through which the fluid ethers may pass, just as polarized lines of atmosphere form channels for the solar
|
|||
|
|
ethers in the processes of light. But these very solar ethers, even while in full flight through space, may form the bridge-work
|
|||
|
|
of incomparably swifter and more subtile ethers, such, for instance, as those which cause the attraction of gravitation, and thus, for the time being, become relatively static though not
|
|||
|
|
absolutely so. My investigations have led me to adopt the following as constituting the leading divisions of ethers, progress-
|
|||
|
|
ing, for the most part, towards superior fineness as we advance.
|
|||
|
|
|
|||
|
|
DIFFERENT GRADES OF ETHER.
|
|||
|
|
|
|||
|
|
109
|
|||
|
|
|
|||
|
|
I give them names mainly from the spirals in connection with which they move.
|
|||
|
|
4. The Thermo Ethers flow through the thermo spirillæ and in connection with these, which as we have seen are the most ex-
|
|||
|
|
ternal of all, constitute the ordinary coarser grades of heat. These ethers are too coarse to become visible in the way of colors, but
|
|||
|
|
when the heat action is very intense, as for instance in heated iron, the intra spirals become roused into action and manifest first the red light, then the orange and yellow light, then white
|
|||
|
|
light, when the iron is called white hot. 5. Electro Ether is the element of frictional electricity used
|
|||
|
|
in connection with these same thermo spirals, only on the axial portion. These spirals being the highest and most external while on the outside of atoms, must necessarily enter the vortex first
|
|||
|
|
and become the most interior and direct while in the axial portion, hence the swiftness and intensity of its ethers which are
|
|||
|
|
transmitted by the shortest pathway, and hence, also, the fact that they are more thoroughly electrical than the other elements of electricity (See XXV.). On the supposition that there are three
|
|||
|
|
grades of thermo and electro spirals, there must be three grades of thermo ether and three of electro ether.
|
|||
|
|
6. Thermo Lumino Ether is used in the intra spirillæ which form the thermal colors, or in other words with the thermo lumino spirillæ. The different grades may be designated the
|
|||
|
|
thermel ether, red ether, orange ether, etc. There seem to be two distinct grades of ether for each color, and a very important
|
|||
|
|
principle being involved here, a few words of explanation will be necessary. The reader should remember that the seven tubes which pass around the atom constitute the thermal color-spirals,
|
|||
|
|
while the still finer tubes that wind around these spirals themselves, are the first spirillæ which form channels for the color
|
|||
|
|
ethers. Now suppose a red color ether should be thrown upon a red spirilla from the outside, what would be the effect? The
|
|||
|
|
finer atoms of such ether would be small enough to penetrate between the tubes of the spirilla and become a part of the interior current, while the coarser atoms, being too large to pass
|
|||
|
|
inside, would strike the tubes and bound off. This would constitute a reflected red as in a red building, while the other would
|
|||
|
|
constitute a transmitted red as in red glass. If this is true the
|
|||
|
|
|
|||
|
|
110
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
interior transmitted color should be more exquisite than the ordinary reflected colors, which in fact is remarkably the case, as
|
|||
|
|
the colors of a prism or of colored glass are so much more beautiful than those of the ordinary reflected colors seen in
|
|||
|
|
paints or dyes, that a young person viewing them for the first time is apt to make an exclamation of delight. The diamond is
|
|||
|
|
a good illustration of exquisitely fine transmitted ethers which are shown by its refractive power. That all substances have different grades of fineness is shown in Chapter Fourth, VII.,
|
|||
|
|
1—5. These grades can be called transmitted red, reflected red, transmitted orange, reflected orange, etc.
|
|||
|
|
7. Electro Luinino Ether is of course that which is connected with the spirillæ of the electric colors, and may be called the blue-green ether, the blue ether, the indigo-blue ether, and so on
|
|||
|
|
with the other four colors. These, too, have the fine transmitted grade of ethers and the coarser reflected grade, the latter of
|
|||
|
|
which must bound back from the spirillæ just within the vortex. The color ethers (or in other words light), move 186,000 miles a second, or about two-thirds as rapidly as frictional electricity, as
|
|||
|
|
measured by Wheatstone. It should be remembered that the color-ethers grow finer as they progress through thermel, red,
|
|||
|
|
red-orange, orange, etc., up to dark violet and really far beyond that, although they become invisible to the ordinary eye.
|
|||
|
|
8. So far we have the principal ethers which flow through a
|
|||
|
|
transparent substance, like glass, including the thermo ethers which flow through the extra spirals, and the electro ethers which
|
|||
|
|
flow through the axial portion of the same; also the lumino ethers, both thermal and electric, which flow through the intra spirals and their axial portions. There must be still finer ethers
|
|||
|
|
in connection with the second and third spirillæ of these same substances, but these will be understood better hereafter. But
|
|||
|
|
are there no other forces in nature excepting those thus far named, including light, reflected and transmitted, ordinary heat as mani-
|
|||
|
|
fested by the thermo spirals and spirillæ, and ordinary cold and frictional electricity, as manifested by their axial spirals and spirillæ? Yes, for there are different grades of electricity, such
|
|||
|
|
as the galvanic and magnetic among the more positive styles, and weaker negative grades of electricity, and other still finer
|
|||
|
|
forces which will be explained hereafter.
|
|||
|
|
|
|||
|
|
DIFFERENT GRADES OF ETHER.
|
|||
|
|
|
|||
|
|
111
|
|||
|
|
|
|||
|
|
9. We may now descend to a somewhat coarser grade of ethers which sweep through atoms of somewhat coarser charac-
|
|||
|
|
ter than those that are used for the transmission of light. Iron, and perhaps a majority of opaque substances, belong more or
|
|||
|
|
less to this grade. Farther on in this chapter (XXXIII), facts will be adduced to show that the atoms of these substances
|
|||
|
|
also have their seven intra spirals in which the ethers are a little too coarse to appear as light, as well as the usual thermo spirals, through which the ethers flow as a somewhat
|
|||
|
|
coarser grade of caloric than that of the other atoms. The intra spirals, when they reach the axis of these atoms, have
|
|||
|
|
ethers which correspond to those for blue-green, blue, indigoblue, indigo, violet-indigo, violet and dark violet of the lumenous atoms, only, as I have said, somewhat too coarse to pro-
|
|||
|
|
duce the effect of color on the retina of the eye. What effect do they produce, then? That of electricity of course, as they
|
|||
|
|
flow axially. But what kinds of electricity? We may divide them into three grades, namely, Chemico electricity, Galvano electricity, and Magneto electricity, or the chemico, galvano
|
|||
|
|
and magneto ethers in connection with their axial princeples.
|
|||
|
|
10. Chemico Ether is a lower grade of chemical force, presumed to flow through the axial spirilla corresponding to the blue-green in the color atoms and perhaps the coarser grade of
|
|||
|
|
blue, and constituting the feeblest style of electricity as it is more external than the other axial spirillæ. It is doubtless an
|
|||
|
|
element of negative electricity, and is quickened into decided action by sulphuric acid coming into contact with zinc, etc. See XXVI.
|
|||
|
|
11. Galvano Ether, the element of galvanic electricity, seems to correspond with the ether for blue, indigo-blue, and probably
|
|||
|
|
indigo. It is finer and more powerful than the chemico grade. See XXVII and XXXIV.
|
|||
|
|
12. Magneto Ether, used in Magnetic electricity and Magnetism. Its spirillæ correspond to those for violet-indigo, violet and dark violet, as shown by spectrum analysis. This, in connec-
|
|||
|
|
tion with some galvano ether, constitutes the positive or northpole currents of the magnet, while chemico ether is used in the
|
|||
|
|
feebler currents of the south pole in connection with thermism.
|
|||
|
|
|
|||
|
|
112
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
See Chromo-dynamics; also Plate III., in which the odic colors are a fair test of the potencies of the magnet. Iron, the great
|
|||
|
|
leading metal of magnetism, when intensely heated for spectroscopic analysis, has the violet-indigo the strongest of its electri-
|
|||
|
|
cal colors, also the violet, indigo, blue, and blue-green large, which last is the element of Chemical electricity. (Chap. Fifth,
|
|||
|
|
XIII). 13. Odylo-Ether, the basic fluid of odic light and force as
|
|||
|
|
discovered by Baron Reichenbach, and a grade higher than the
|
|||
|
|
ethers of ordinary light. It flows through the 2d spirillæ of the intra spirals just as ordinary light does through the first spirillæ of
|
|||
|
|
the same: also through the first spirillæ of odic atmosphere just as light does through the same spirillæ of common atmosphere. (See Chap. Ninth.)
|
|||
|
|
14. Psycho Ether, used in connection with mental action (Chap. Tenth), twice as fine as Odylo ether, four times as fine as
|
|||
|
|
light, as will be shown. It can pass through the 3d spirillæ of intra spirals of ordinary atmosphere, also through the 1st spirillæ of the psychic atmosphere, which form all analogies we must
|
|||
|
|
suppose to exist. 15. Gravito Ether, the central element of gravitation, incon-
|
|||
|
|
ceivably fine and swift. The reader may already see from the foregoing description of atoms, something of how its attractive processes are carried on between all bodies, all atoms of which
|
|||
|
|
exert their suctional forces in all directions so far as this fine ether is concerned. At some future time I shall attempt to ex-
|
|||
|
|
plain the processes by which this is done, and by which some atoms become heavy and others light.
|
|||
|
|
16. Cosmic Ether. I will mention briefly some static ethers
|
|||
|
|
which are signified by names ending in ic, as I have before said. Cosmic ether, from Cosmos, the world, is the great world-connect-
|
|||
|
|
ing ether of space, whose atoms, polarized by the light of suns and stars, become crystal railways over which light and various
|
|||
|
|
other forces pass. In Chapter Fourth, VIII, I have given a number of facts in proof that this cosmic ether is simply a continuation of the finer elements of the atmosphere of the earth
|
|||
|
|
and other orbs in the shape of an exquisite grade of hydrogen as its leading element.
|
|||
|
|
17. Odylic Ether is the finer atmosphere within the coarser,
|
|||
|
|
|
|||
|
|
DIFFERENT GRADES OF ETHER.
|
|||
|
|
|
|||
|
|
113
|
|||
|
|
|
|||
|
|
through which the odylo ether or odic force finds its most natural pathway. For description see Chapter Ninth, III, 2.
|
|||
|
|
18. Psychic Ether, the atmosphere still finer than the foregoing, through which psycho ether with the psychic lights and
|
|||
|
|
colors makes its pathway. It is the same to psycho ether that the atmosphere is to light. (See Chap. Tenth).
|
|||
|
|
19. Miscellaneous Ethers. There are ethers probably still coarser, and of course still finer than any of the foregoing. There is probably a very slow Animo ether which constitutes a vitaliz-
|
|||
|
|
ing principle of animal life and the coarser grade of nerve-force. According to experiments made by Helmholtz and Baxt, the
|
|||
|
|
mean rapidity of the motor nerve force is 254 feet per second. As we have already seen, the lines of all spirals and spirillæ must be tubes if we are to judge by analogies. When I say the
|
|||
|
|
line of a spiral, I do not mean the line that passes around the spiral, for this would be the 1st spirilla, but the spiral itself.
|
|||
|
|
Within the spiral tube would naturally be polarized lines of minute atoms forming a static ether which may be called Spiric, while in the spirillæ tubes the same kind of still smaller atoms
|
|||
|
|
may be called Spirillic. These must serve a great purpose, for as they wind around in tortuous lines and are swept by the
|
|||
|
|
ethereal forces into countless vibrations, these internal ethers must be chafed with intense frictions which would immediately render the whole tubes alive with heat and quicken the action of
|
|||
|
|
the whole atom with all its grades of ether. These spiric and spirillic ethers would also be quickened and held together by ex-
|
|||
|
|
quisitely fine fluid ethers which move in endless circuits through them, and which should properly be called Spiro-Ether and Spirillo Ether. The Ligo Ether, which sweeps through the ligo
|
|||
|
|
and drives the atoms together into a close cohesion, must be a cold and swift current on the general plan of electricity. In
|
|||
|
|
order to the greatest harmony, the ethers that pass through the channel (not the tube), of the third spirillæ, must be twice as fine
|
|||
|
|
as those of a 2d spirilla, and those of a 2d, twice as fine as those of a 1st, and the size of these channels themselves, as well as the size of the tubes that form the channels, must vary accordingly.
|
|||
|
|
This makes every alternate wave of force harmonize, just as is done in tones which are an octave apart. This same kind of
|
|||
|
|
harmony is carried out in male and female voices which average 8
|
|||
|
|
|
|||
|
|
114
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
just an octave apart. The reader will understand this the better by studying the laws of undulatory harmony and discord, and by
|
|||
|
|
remembering that nature ever works according to the most perfect system. Let not the reader consider the foregoing nomen-
|
|||
|
|
clature and division of ethers quite imaginary, as he will be finding facts in corroboration all through this work, and still
|
|||
|
|
other facts in a future work of the author.
|
|||
|
|
|
|||
|
|
XII. ETHERS HAVE WEIGHT,
|
|||
|
|
|
|||
|
|
Otherwise they could not have momentum. It is common to
|
|||
|
|
call electricity, magnetism, light, heat, etc., imponderable, because human instruments are not delicate enough to weigh them. Prof. Crookes, however, has succeeded in measuring the momen-
|
|||
|
|
tum of light by means of his wonderful little instrument called the radiometer. By its means he has estimated the propulsive
|
|||
|
|
power of sunlight for the whole earth at 3000 millions of tons! His instrument has given the dynamic theorists much trouble. The light of a candle he has found to weigh .001728 or nearly a
|
|||
|
|
900th part of a grain. The amazing forces used in chemical affinity, such as chemico-ether, the luminous ethers, electro-ether,
|
|||
|
|
etc., as will be shown hereafter, sweep the atoms even of solids into every style of arrangement and polarization, and consequently must have a tremendous momentum. The etherio-atomic law
|
|||
|
|
demonstrates this point in a multitude of ways. Dr. William B. Carpenter, who seems to be but little acquainted with the
|
|||
|
|
fine forces, has written an article in the "Nineteenth Century," in which he takes the most difficult methods of explaining away the power of radiation to produce electricity and mechanical
|
|||
|
|
force as in the radiometer. "There is no reason whatever," he says, "for attributing to radiation any other power of exciting an
|
|||
|
|
electric current than that which it exerts mediately through its power of heating the thermopile." Even if this assertion should
|
|||
|
|
prove true, how can sunlight heat the thermopile, or anything else, except by the impact and momentum of its rays upon it, especially as it is admitted that radiating light has no per-
|
|||
|
|
ceptible heat of itself, excepting as it strikes something?
|
|||
|
|
|
|||
|
|
XIII.—POLAR COHESION OF ATOMS.
|
|||
|
|
|
|||
|
|
I think the ground is now sufficiently clear for an understand-
|
|||
|
|
|
|||
|
|
LATERAL COHESION OF ATOMS.
|
|||
|
|
|
|||
|
|
115
|
|||
|
|
|
|||
|
|
ing of the methods by which atoms become polarized and combine into solids and other substances.
|
|||
|
|
Fig. 137 represents two atoms polarized and joined at 1, the upper atom sinking into the lower as far as the
|
|||
|
|
positive thermo spirals, which thus regulate the distance. The dotted lines represent the ethers
|
|||
|
|
which flow axially from 3 to 5, and thermally around the atoms in the other direction; 4, 4 shows how the ethers are drawn on from one atom to another
|
|||
|
|
by the eddy-like forces of the spirals and spirillæ of the same grade with which they come in contact.
|
|||
|
|
The ligo of the upper atom glides into the ligo of the lower, and the two thus become riveted into one, and held doubly tight by the spiral sweep of
|
|||
|
|
the ligo-ether. The artist has doubtless represented the upper ligo as being inserted too far in the lower
|
|||
|
|
ligo, as the axial spirals which encircle the upper might interfere somewhat, unless they are exceedingly elastic. But how do the atoms thus arrange themselves in this orderly manner? Why
|
|||
|
|
do not the wrong ends come together? Not only does the vortical and ligo suction of the lower atom draw the second, but the
|
|||
|
|
torrent or axial current above drives the second against the lower atom and holds them together. They could not possibly be joined wrong end first, as the currents would then drive in opposite di-
|
|||
|
|
rections, and repulsion would occur. They can no more avoid this arrangement under the play of ethereal forces than a stick of
|
|||
|
|
wood on the brink of a maelstrom can avoid being swept in. The positive end of the line is at 5, the negative end at 3.
|
|||
|
|
|
|||
|
|
XIV. LATERAL COHESION.
|
|||
|
|
|
|||
|
|
1. Having explained the mystery of polar cohesion, let us see how atoms can cohere laterally. Fig. 138 presents two lines of
|
|||
|
|
polarized atoms drawn with a single thermo spiral and its first spirilla. The lines are placed conversely so
|
|||
|
|
that a positive spirilla of one atom occurs by the side of a negative
|
|||
|
|
spirilla of another. If they were placed so that the eddies of two
|
|||
|
|
|
|||
|
|
116
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
positive spirillæ should come together, they would repel each other; but a powerful eddy placed near a feeble one would over-
|
|||
|
|
come it and draw it toward itself. Thus the positive spirilla 1, outdraws the negative spirilla 3 at the point 2, and so links that
|
|||
|
|
portion of the upper atom to the lower, while the positive spirilla 5 outdraws the negative spirilla 4, and thus holds that portion of
|
|||
|
|
the lower atom as firmly as the lower atom held the upper in the other case. The other atoms work in the same way.
|
|||
|
|
2. Thus we see that heat action, which is generally so expan-
|
|||
|
|
sive and disintegrating, may become an element of cohesion, though a much feebler one than cold exerted through the ligo,
|
|||
|
|
and axes of atoms in polar cohesion. This will explain why wood, stratified rock, etc., will split more easily in one direction than another. The polar cohesion is in the direction of the
|
|||
|
|
fibres, grains of wood, etc., while the lateral cohesion is at right angles to this. The curved line, showing how ethers may pass
|
|||
|
|
out of the torrent end of one line of atoms and be drawn into the vortex end of another line, will give a hint of how magnetic curves are formed, although it is incorrect to represent it as passing out
|
|||
|
|
and into contiguous lines or out and into the same layer of atoms. 3. The cut will show how atoms can communicate their im-
|
|||
|
|
pulses laterally, as from 1 to 3, as well as longitudinally from 7 to 8. The lateral movement of light may be understood by studying it, as it can never be understood otherwise.
|
|||
|
|
|
|||
|
|
XV. THE UNITY OF ATOMS.
|
|||
|
|
|
|||
|
|
Judging by all other works of nature, atoms must be united by bonds of unity through all their parts, so that all spirals must
|
|||
|
|
be connected more or less with all other spirals by small pillars or tubes. These may be called atomic tendrils. The 3rd spirilla imparts action to the 2d, the 2d to the 1st, and the 1st to the parent spiral itself, while each spiral is so connected with
|
|||
|
|
its brother spirals as to act and react upon them. Even the thermo spirals are doubtless connected with the intra-spirals, as well as with each other, by delicate tubes which are so arranged
|
|||
|
|
as not to impede the passage of ethers. In this way atoms are doubly armed against stagnation and death, for if only a single
|
|||
|
|
ether should be moving through the minutest spirilla, it would impart more or less of its vitalizing power to the whole atom.
|
|||
|
|
|
|||
|
|
LAWS OF ATOMIC COMBINATION.
|
|||
|
|
|
|||
|
|
117
|
|||
|
|
|
|||
|
|
XVI.—CONVERSE LAYERS OF ATOMS
|
|||
|
|
|
|||
|
|
Are such as are represented in the cut, fig. 138, with the
|
|||
|
|
lines running in parallel but alternately in opposite directions. The next layer placed upon this would exactly reverse the order,
|
|||
|
|
and be the same as this turned over, so that the upper atoms would come on the lower and the lower on the upper. This must be the arrangement of the cosmic ether by means of which
|
|||
|
|
it is enabled to carry both cold and warm forces to and from the sun and other orbs. It is probably also the most common ar-
|
|||
|
|
rangement of ordinary matter.
|
|||
|
|
|
|||
|
|
XVII.—TRANSVERSE LAYERS OF ATOMS
|
|||
|
|
|
|||
|
|
Are those which cross each other at right angles, or nearly so, and must bind the particles into a greater hardness or toughness
|
|||
|
|
than they would otherwise have, as they are polarized longitudenally and laterally. Steel must be composed of transverse layers just as iron is doubtless composed of converse ones mainly. I
|
|||
|
|
will mention here simply two proofs of this, 1st, steel or carburetted iron is harder than ordinary iron; 2d, magnets must
|
|||
|
|
necessarily have transverse layers of atoms as can be demonstrated by this atomic law, as well as otherwise. Steel when once magnetized remains a permanent magnet because of its
|
|||
|
|
transverse polarizations, while the layers of iron arc held transversely only when under the electric or magnetic current, con-
|
|||
|
|
sequently its magnetism ceases when the current is withdrawn. See XXX of this chapter.
|
|||
|
|
|
|||
|
|
XVIII.—LAWS OF ATOMIC COMBINATION.
|
|||
|
|
|
|||
|
|
1. Atoms must combine to a considerable extent according
|
|||
|
|
to the general law of their spirals. Two distinctive styles of atoms seem to be clearly demonstrable in different substances, in one of which the spirals move around almost perpendicular to
|
|||
|
|
the direction of the atom, as in fig. 139, while in the other, their movement is
|
|||
|
|
more diagonal as in fig. 140. The former would tend to make the atoms broader and capable of more specific
|
|||
|
|
heat, while the latter would extend them into a longer and narrower form,
|
|||
|
|
with the external spirals more drawn
|
|||
|
|
|
|||
|
|
118
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
out, somewhat as they are in the axial or electrical portion of the atom. The one would doubtless find its type in steel, the other
|
|||
|
|
in bismuth or antimony, the specific heat of which is exceedingly small.
|
|||
|
|
2. Figures 139, and 140 will show just why certain substances will have tranverse polarizations, in which the layers of atoms
|
|||
|
|
cross each other very nearly at right angles, while others will have transverse diagonals, for the following reasons:—The spirals in 139 running in the direction of 1, 2, form little whirlwinds of
|
|||
|
|
force in that direction which, striking a contiguous line of atoms, must tend to wheel it around accordingly and hold it there, espe-
|
|||
|
|
cially under excitement, as in 5, 6, while in fig. 140, the lines of force being diagonal, must sweep the atoms around until they become diagonally transverse, as in 5, 6. In most cases, however, it
|
|||
|
|
is probable that the line 6, 5, should be reversed with the vortex end at 6 instead of 5, in which case we could easily see how such
|
|||
|
|
a phenomenon as double refraction might occur as in Iceland spar, a part of the light striking at 3 and moving on to 4, and another part striking at 6 and moving on to 5.
|
|||
|
|
3. It is evident that when any substance is aroused to extraaction by friction or by passing an electrical current through it,
|
|||
|
|
a part of the lines will be thrown into a transverse arrangement, or at least into transverse diagonals, according to whether the spirals pass around the atoms, as in fig. 139, or obliquely, as in
|
|||
|
|
fig. 140. What proof have we that this is so? We know that if we rub any object briskly, and hold it near a hair or some
|
|||
|
|
other light object, it will attract it. The fact of this attraction shows that there are eddies of etherial force which sweep around in and out of the object frictionized, and draw other objects to-
|
|||
|
|
wards itself. But what has this to do with showing that excited objects have their atomic lines arranged transversely? my reader
|
|||
|
|
may say. Just this; if the lines should all run in the same direction, there would be no counter-currents to deflect them so
|
|||
|
|
that the neighboring vortexes could draw them in and thus establish a circuit of forces which, like a miniature whirlwind, is attractive to everything around. Thus a piece of iron in its
|
|||
|
|
ordinary condition will attract nothing, but pass a current of electricity through it and it immediately becomes magnetic and
|
|||
|
|
highly attractive, and this attraction is caused by circuits of
|
|||
|
|
|
|||
|
|
PARAVERSE LAYERS OF ATOMS.
|
|||
|
|
|
|||
|
|
119
|
|||
|
|
|
|||
|
|
force as shown by iron filings which may be placed above it on a piece of paper. (See. fig. 23.) Glass must have its atomic lines
|
|||
|
|
polarized in various directions, or it would not be transparent in all these directions, for which reason it is highly attractive when
|
|||
|
|
excited, and for which reason, also, glass and other irregularly polarized objects are called non-conductors of electricity as the
|
|||
|
|
transverse lines obstruct the electrical ethers. Transverse diagonals, if not arranged somewhat amorphously, must be less obstructive and consequently better conductors of both heat and
|
|||
|
|
electricity than transverse lines in which the more perpendicular spirals rule, as in fig. 139. Silver, copper, etc., which are such
|
|||
|
|
fine conductors, may be presumed to be more diagonally arranged than steel, which is a poor conductor, comparatively. Good conduction also requires continuous lines of polarity, and all amor-
|
|||
|
|
phous bodies must necessarily be poor conductors, as well as all bodies which have polarizations in too many directions, like gutta
|
|||
|
|
percha, leather, etc. That these last bodies must be polarized in various directions is evident from their toughness in all directions, the greatest cohesion, as we have seen, being in the line of
|
|||
|
|
polarity.
|
|||
|
|
|
|||
|
|
XIX. PARAVERSE LAYERS OF ATOMS.
|
|||
|
|
|
|||
|
|
Are those in which the lines are all turned in the same direc-
|
|||
|
|
tion, (See fig. 141), the positive spirillæ of one line being arranged against the negative spiril-
|
|||
|
|
læ of the contiguous line. This should give seemingly a lateral cohesion about the
|
|||
|
|
same as that in converse lines, though somewhat less per-
|
|||
|
|
haps from the less perfect union of graded spirillæ. It
|
|||
|
|
throws the second range of atoms a little farther along than the first, the third one still farther on, etc., resulting in di-
|
|||
|
|
agonally formed and rhomboidal crystallizations, as in bismuth, antimony, quartz, ice, etc. It is probable that this paraverse ar-
|
|||
|
|
rangement of atoms comes from diagonal spirals. It will be seen in the cut how the large, active sub-coils of one atom come opposite to the feebler ones of another so as to promote attrac-
|
|||
|
|
|
|||
|
|
120
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
tion. Thus the positive spirilla 7 binds the negative spirilla 6 and 8 to it, 2 draws 1, 5 draws 4, etc.
|
|||
|
|
|
|||
|
|
XX. CRYSTALLOID AND AMORPHOUS BODIES.
|
|||
|
|
|
|||
|
|
Crystalloid and other regulary formed or morphous bodies are such as grow into some definite forms on account of a general and regular polarization of their atoms. They are capable of strong chemical effects, and examples of them may be seen in crystallizations, stratified rocks, grained woods, etc. Amorphous Bodies, or literally those without form, are deficient in continuous polarities and orderly arrangement of molecules. Clumps of earth, many ores in a crude state, pulverized substances, snow, etc., are amorphous. When the ores are worked up into bars of metal, they generally become more or less crystalloid. No forms whatever are entirely destitute of polar arrangement, but amorphous bodies
|
|||
|
|
have but short or irregular lines of force, and consequently are
|
|||
|
|
negative and lacking in chemical effect.
|
|||
|
|
|
|||
|
|
XXI. HEAT AND COLD.
|
|||
|
|
|
|||
|
|
1. Heat expands, individualizes, works on the centrifugal law, and in excess tends to disorganize and tear into pieces; Cold contracts, polarizes, organizes, crystallizes, works on the centripe-
|
|||
|
|
tal law, and in excess tends to lifelessness and congelation. 2. The Law of Motion for heat is the spiral with its eddies of
|
|||
|
|
force passing around the outside of atoms; that for cold is the same combination of eddies narrowed down to a vortex which passes in the opposite direction through the axes of atoms, and
|
|||
|
|
becomes swifter, narrower, and straighter as it proceeds. 3. The greatest Heat Lines are in the greatest curves—the
|
|||
|
|
greatest Cold Forces approximate more and more the straight line.
|
|||
|
|
4. Heat produces its sting by laying on countless millions of lashes every second, and cold, by piercing with countless gimlets on the boring process.
|
|||
|
|
5. There are various grades of heat and cold, the coarser grades consisting of the coarser ethers passing through the coarser spi-
|
|||
|
|
rillæ. These in excess are more painful and hurtful to the human system, while the finer grades, being connected with the finer spi-
|
|||
|
|
|
|||
|
|
ATOMIC DIVISIONS.
|
|||
|
|
|
|||
|
|
121
|
|||
|
|
|
|||
|
|
rals, are more penetrating and soft in their influence. (See Chap. First, XV.) We may be pierced by a razor, and it will hurt us far less than will so coarse an instrument as a hoe; a current of electricity may penetrate entirely through a portion of our bodies, and make but a gentle shock from its fineness, while currents of human magnetism, being still more exquisite, may at times permeate the whole system without our consciousness. This will explain the effect of different grades of fineness of heat and cold, and will also show why sun-light is less hurtful to the eyes than the coarser gas-light, which has more of the yellow and red principle, and why the color-electricities of blue and violet, for instance, are so much softer than the electricity of the battery.
|
|||
|
|
6. It may be well to remark that all the finer grades of cold are simply grades of electricity, as will be seen hereafter.
|
|||
|
|
7. I will merely hint here at the fact that the heat and cold prin-
|
|||
|
|
ciples in atoms form a chemical affinity for each other, which ex-
|
|||
|
|
plains why it is that the greatest heat is developed by combining
|
|||
|
|
cold and electrical elements with those which are warm, as the blue
|
|||
|
|
with red light, or the electrical principle of oxygen with the ther-
|
|||
|
|
mal principle of potassium, by the union of which a flame is kindled. (See Chromo Chemistry.)
|
|||
|
|
|
|||
|
|
XXII. ATOMIC DIVISIONS.
|
|||
|
|
|
|||
|
|
1. Before we can understand the philosophy of force we must thoroughly understand the construction of atoms. If any one
|
|||
|
|
should remark that no human eye has ever seen an atom, and consequently it cannot be described, I would remark, 1st, that human reason, aided by scientific discovery, can penetrate far be-
|
|||
|
|
yond telescopes and microscopes; 2dly, I conclude that this atomic theory is fundamentally correct, because it explains multi-
|
|||
|
|
tudes of mysteries not before understood, and harmonizes with or corrects all scientific facts or hypotheses to which I have applied
|
|||
|
|
it. If I should apply a key to a hundred doors in some temple, and it should unlock them all, I should say it was the correct key; 3dly, by understanding law we may at times discover a fact or
|
|||
|
|
truth by means of reason sooner than we would by outward perceptions without a knowledge of law, just as LeVerrier discov-
|
|||
|
|
ered where the planet Neptune must be from his knowledge of mathematics, before it was discovered by the telescope. I admit
|
|||
|
|
|
|||
|
|
122
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
that we must test theories by facts and facts by theories, a rule which may be observed with reference even to atoms, and which
|
|||
|
|
I have ever aimed to observe. 2. I must again ask the reader to take some of my statements
|
|||
|
|
at present on trust or from their apparent reasonableness, promising hereafter in this work, and still further, in a succeeding one,
|
|||
|
|
to give facts and reasons. If so much discussion of the subject of atoms is considered dry reading, it should be remembered that we shall be but charlatans in science until we can reach basic
|
|||
|
|
principles. 3. We have, then, the atom with its wonderful diversity of
|
|||
|
|
powers, including thermal spirals and spirillæ, axial spirals and spirillæ, and the ligo tube, with all the internal and external ethers. I have called the form of the atom an ovoid, but this
|
|||
|
|
ovoid is evidently more or less oblate or flattened, 1st, because it would combine more systematically to form layers of matter, and
|
|||
|
|
2dly, because it would readily assume such a form, as the axial spirals, emerging near the small positive end with great velocity of vibratory force, would naturally be swept too far one side to
|
|||
|
|
make a complete circular spiral, and so it would assume more of an oval spiral, exactly in harmony with the motion of planets
|
|||
|
|
around the sun. 4. As to the extra or thermo spirals, the following are among
|
|||
|
|
the arguments in proof that the foregoing conception is founded
|
|||
|
|
on nature; 1st, it is an important dual division of forces in harmony with analogies in general; 2dly, atoms can be inserted into
|
|||
|
|
each other by an exact system in the ordinary polar cohesion and by another exact system in chemical combinations in case certain thermo spirals project beyond the rest, and thus form regular
|
|||
|
|
barriers; 3dly, frictional electricity, especially, is confined to the surface of bodies, and is aroused by external friction or pressure
|
|||
|
|
which goes to show that some part of their spirals is external; 4thly,the fact that frictional electricity is swifter than other grades
|
|||
|
|
could be accounted for by supposing its spirals to be the most interior in the axis of atoms where the pathway is shortest and nearest straight. But if its axial spirals are most interior, their
|
|||
|
|
thermal portions would naturally be the most exterior; 5thly Magneto-electricity and magnetism can penetrate considerably
|
|||
|
|
below the surface of bodies, which could not be if any part of
|
|||
|
|
|
|||
|
|
COHESION.
|
|||
|
|
|
|||
|
|
123
|
|||
|
|
|
|||
|
|
the spirals concerned were external, as their action would then be smothered before they had penetrated far within. This shows the necessity of intra-spirals. 6thly, the fact that the electrical colors can penetrate deeply within substances, as in the case of seeds which are reached and germinated by them to a considerable depth below the surface of the soil, shows that no part of their spirals is external, consequently colors must require intra-
|
|||
|
|
spirals. 5. That there are seven intra spirals in ordinary transparent
|
|||
|
|
bodies, six of which constitute the principle of the thermal colors when moving thermally, and that all seven of the same spirals, when moving axially, constitute the principle of the electrical colors, will be more and more evident hereafter. That there are seven intra-spirals of somewhat coarser grade in iron, copper and other opaque bodies, devoted to the manifestation of different grades of heat and electricity, will be shown in this chapter, XXXIII., 2.
|
|||
|
|
|
|||
|
|
XXIII. COHESION.
|
|||
|
|
|
|||
|
|
1. We have already seen how the Ligo rivets the atoms together until they become masses of solid substance, such as metals, rocks, woods, bones, muscles, etc. The suction caused by the ligo ether, together with the firmness of its parts, must cause the principal cohesion, although the other ethers assist to some extent.
|
|||
|
|
2. In such a metal as mercury and in the liquids and gases, the ligo is probably wholly wanting, excepting as some foreign substance may exist in their midst.
|
|||
|
|
3. In case of intense cold the vortical and electrical forces become so swift as to sweep the atoms together into a congealed or solid mass without the aid of the ligo, except as foreign particles may intervene. It should be remembered that the tendency
|
|||
|
|
of cold is not only to diminish the size of all atoms, but to thicken or harden all masses of atoms. The fact that water, and melted iron, bismuth, zinc and antimony, become somewhat increased in bulk on becoming hardened by cold, does not invalidate the rule, but shows how the process of crystallization can pile some polarized lines upon others in a way to enlarge their size as a mass.
|
|||
|
|
4. When the heat becomes very great the spirals of atoms expand to such an extent and become so furious in their centri-
|
|||
|
|
|
|||
|
|
124
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
fugal action as to throw even the particles of iron and other metals asunder in a melted condition, in spite of the ligo, and
|
|||
|
|
when much greater still, the atoms become so detached as to be wafted off into the air on the swift currents of ether, in the form
|
|||
|
|
of vapor. The tendency of heat is to soften and disintegrate. If bodies like moist clay become hardened by heat, it is because it
|
|||
|
|
evaporates the water and leaves only the atoms which possess the ligo. The small amount of cohesion that exists between the atoms of liquids, gases, and ethers, comes doubtless from the flow
|
|||
|
|
of electrical forces through their axes.
|
|||
|
|
|
|||
|
|
XXIV. DIFFERENT KINDS OF ELECTRICITY.
|
|||
|
|
|
|||
|
|
My researches in connection with my studies of atomic law have convinced me of the existence of six or more distinct grades of electricity, besides some minor divisions, namely, Frictional
|
|||
|
|
Electricity, Chemico Electricity, Galvano Electricity, Magneto Electricity, Chroma Electricity, and Psycho Electricity. The swiftest of these, so far as known, is the Frictional, although Chromo-Electricity is much softer and more penetrating. A brief account of these will be in place here. Psycho-Electricity will be explained under the chapter on Chromo-Mentalism.
|
|||
|
|
|
|||
|
|
XXV. FRICTIONAL ELECTRICITY
|
|||
|
|
|
|||
|
|
Is sometimes improperly called Static (standing or stationary),
|
|||
|
|
as there is no such thing as any electricity which is not in rapid motion. According to Wheatstone this style of electricity moves at the rate of 288,000 miles a second. For the reason of its
|
|||
|
|
swiftness and intense action see XI. 5, of this chapter. Its element is electro-ether while its principle consists of the axial por-
|
|||
|
|
tion of the thermo-spirals, for the character of which see fig. 135. Being extra spirals in their thermal portion, it will readily be
|
|||
|
|
seen why all friction, rubbing, and pressure, will arouse them into action, produce heat as well as electricity. It may be asked why is not frictional electricity, as developed by the electric
|
|||
|
|
machine, used for healing purposes? Because it moves almost entirely on the surface of the skin where the nerves of sensation
|
|||
|
|
are most active, consequently its effect is exciting rather than soothing or healing. Frictional electricity, as aroused by the hand moving over the surface, is generally very vitalizing and
|
|||
|
|
|
|||
|
|
CHEMICO ELECTRICITY.
|
|||
|
|
|
|||
|
|
125
|
|||
|
|
|
|||
|
|
soothing as it is softened down by the finer vital electricities. Magneto and chromo electricity are finer than the frictional,
|
|||
|
|
penetrate more deeply from being connected with intra spirals, and are better for therapeutical purposes. What is called
|
|||
|
|
THERMO-ELECTRICITY is often mere frictional electricity, aroused by direct heat in connection with the thermo spirals.
|
|||
|
|
|
|||
|
|
XXVI. CHEMICO ELECTRICITY
|
|||
|
|
|
|||
|
|
Seems to be caused by a somewhat coarse ether moving in connection with the axial portion of the coarsest of the intra-
|
|||
|
|
spirals (see fig. 22), corresponding probably to the spiral for blue green only coarser. It is doubtless the electricity which is generally called negative in its nature, except in galvanism,
|
|||
|
|
although the substances which constitute its most natural abiding place from having the right sized spirals, are improperly called
|
|||
|
|
electro positive, such as potassium, sodium, the metals, etc., while other substances in which frictional, galvano and magneto electricity most naturally dwell are called electro-negatives, such as
|
|||
|
|
oxygen, sulphur, etc., although these kinds of electricity are strong positive grades as compared with chemico-electricity. To avoid
|
|||
|
|
confusion, however, I shall sometimes adopt the terms as scientists have generally established them, begging the reader to remember that what are called electro-positives are substances which are
|
|||
|
|
really the most feebly electrical, while those which are called electro-negatives are those which are really the most electro-
|
|||
|
|
positive, or, in other words, which are the most strongly electrical. The scientists have fallen into this error from supposing that electricity is a mere dynamical force dwelling entirely within
|
|||
|
|
the atoms of a substance, and as dissimilar electricities attract each other, a substance was supposed to be negative in case a
|
|||
|
|
positive electricity was evolved from it and vice versa. Under the caption of Galvanism it will be shown how chemico elec-
|
|||
|
|
tricity is evolved in connection with the zinc of the battery and moves through the sulphuric or nitric acid to the plate of copper or platinum, while a finer grade of electricity, the galvanic, passes
|
|||
|
|
from these latter metals to the zinc. Three things are especially evident with respect to chemico-electricity,—1st, its movement
|
|||
|
|
is always attended with more or less heat as well as cold; 2dly, other things being equal, it is the feeblest of all grades of elec-
|
|||
|
|
|
|||
|
|
126
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
tricity and the least electrical in its nature, for which reason it is sometimes called negative by electricians; 3dly, in galvanism
|
|||
|
|
it moves through alternate lines of converse atoms in exactly the opposite direction from galvanic and magnetic electricity. Its
|
|||
|
|
movement is attended with heat and a feeble grade of electricity, because, being the last spiral to enter the axis of the atom (see
|
|||
|
|
fig. 135), it must necessarily encircle all the rest and have less of that swift narrow and pointed style which constitutes cold and electricity. The causes of its moving in opposite directions will
|
|||
|
|
be given under the head of Galvanism, XXXIV.
|
|||
|
|
|
|||
|
|
XXVII.—GALVANO-ELECTRICITY
|
|||
|
|
|
|||
|
|
Is a grade finer than the chemico, and answers to the axial
|
|||
|
|
spirals which correspond to the electro-lumino spirals for the blue, including also indigo-blue and probably indigo, though
|
|||
|
|
coarser than these. It is the finer positive electricity which moves in the galvanic circuit from the copper to the zinc, etc., and doubtless exists in many so-called electro-negative substances.
|
|||
|
|
How do we know that galvano-electricity is not as fine a grade as that of the blue color? Because if it were it would give out
|
|||
|
|
a blue appearance, and moreover its effects are less soft and penetrating than those of blue sunlight. See Galvanism, XXXIV.
|
|||
|
|
|
|||
|
|
XXVIII.—MAGNETO-ELECTRICITY.
|
|||
|
|
|
|||
|
|
A Grade finer than the galvano, and made in connection with spirals that correspond with the electro-lumino-spirals for the violet, including violet-indigo, violet and dark violet. The finest
|
|||
|
|
induced currents of the battery, sometimes called Faradaic, from Faraday, consist of magneto electricity. The positive pole of
|
|||
|
|
the magnet gets its power from magneto electricity bent into curves, while the negative or south pole is presumably charged
|
|||
|
|
with the chemico-grade. See Magnetism (XXX.) Although the magneto grade is coarser than the color electricities, yet, under the force of the magnet, it is readily driven through glass
|
|||
|
|
whose spirals form a natural pathway of light and color. This may be proved by placing iron filings on a pane of glass and
|
|||
|
|
holding a magnet below it, in which case the filings will be thrown upward and also into a great number of lateral curves on both sides.
|
|||
|
|
|
|||
|
|
CHOROMO-ELECTRICITY.
|
|||
|
|
|
|||
|
|
127.
|
|||
|
|
|
|||
|
|
XXIX.—CHROMO-ELECTRICITY.
|
|||
|
|
|
|||
|
|
We come at last to a grade of electricity whose ethers and spirals are fine enough to appeal to the eye in the form of the
|
|||
|
|
electrical colors, such as blue, violet, etc., already mentioned. Although the scientific world has not yet learned that these
|
|||
|
|
colors constitute one grade of electricity, yet they have discovered many facts that bear in that direction. I will mention some points in proof:—
|
|||
|
|
1. Electricity, as I have already shown, consists of the cold contracting principle. The violet end of the color scale is known
|
|||
|
|
to consist of cold colors, just as the red end is warm, as shown by the thermometer and thermo pile.
|
|||
|
|
2. Morichini, Carpa, Ridolfi, and Mrs. Somerville state that,
|
|||
|
|
by exposing common steel needles to the violet rays of a spectrum, or by covering one-half of them with blue glass, they become
|
|||
|
|
magnetic. Ampère has shown that magnetism is identical with electricity, and it will be shown hereafter in this work that magnetism consists of electricity thrown into curves by passing in
|
|||
|
|
transverse lines. The persons who deny the electrical character of the violet and blue rays present insufficient facts, although
|
|||
|
|
the grade of electricity is finer than that which usually influences the galvanometer, or perhaps even the magnet.
|
|||
|
|
3. Zantedeschi exposed a magnet, which would carry 15
|
|||
|
|
ounces, to the sun 3 days, and increased its power two and a half times. Barlocci found that a magnet which would lift one pound,
|
|||
|
|
would lift nearly two pounds after exposing to strong sunlight 24 hours. No one will pretend that the red or other thermal colors could have done this, while the facts of the last paragraph
|
|||
|
|
show that the violet end of the scale is quite competent to it. The reader may wonder how sunlight can arouse magnetism if, as
|
|||
|
|
I have shown, the magnetic ethers are somewhat coarser than chromo-electricity. I shall show hereafter under the head of
|
|||
|
|
Fluorescence (XXXIII), and elsewhere, that under stimulus, coarse ethers can sometimes be forced through spirals which are naturally too fine for them, and fine ethers through spirals which
|
|||
|
|
are naturally too coarse for them. Although chromo-electricity may stimulate, and to some extent pass through the atomic spirals
|
|||
|
|
of a magnet, this stimulus evidently tends to draw in from the
|
|||
|
|
|
|||
|
|
128
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
atmosphere magneto-electricity, especially in cold weather, from the fact that if the former electricity were sufficiently abundant,
|
|||
|
|
the magnet itself would be bathed in blue and violet colors. 4. Electricity being the principal cause of phosphorescence, and
|
|||
|
|
these colors having the same power, tends to prove their similarity of character. "Beccaria examined the solar phosphori,"
|
|||
|
|
says Prof. Hunt, "and ascertained that the violet ray was the most energetic, and the red ray the least so, in exciting phosphorescence in certain bodies. M. Biot and the elder Becquerel
|
|||
|
|
have proved that the slightest electrical disturbance is sufficient to produce these phosphorescent effects. May we not then re-
|
|||
|
|
gard the action of the most refrangible rays, namely, the violet, as analagous to that of electrical disturbance? May not electricity itself be but a development of this mysterious solar
|
|||
|
|
emanation?" To this question, aided by our knowledge of atoms, we may answer no, so far as ordinary electricity is concerned, as
|
|||
|
|
ordinary electricity and magnetism are aroused only indirectly by the solar rays.
|
|||
|
|
5. Electricity is the principle of cold, but, by means of chemi-
|
|||
|
|
cal action with thermal substances, can develop the greatest heat known; in the same way blue, indigo and violet constitute the
|
|||
|
|
cold end of the spectrum, and yet by means of chemical combination with thermal colors can develop greater heat than could be done with the red color alone. I will cite one example
|
|||
|
|
merely. General Pleasanton, of Philadelphia, by putting blue glass in among the panes of clear glass so as to bring blue and
|
|||
|
|
white light together, caused the thermometer in his grapery to rise to 110°, while on the outside the temperature was only 35° F., or a little above the freezing point. The General supposed
|
|||
|
|
that this effect occurred partly by gaining some electrical force from transmission through the glass, but we shall see under
|
|||
|
|
Chromo-Chemistry that the blue rays develop this great heat by combining chemically with the thermal rays of the sunlight.
|
|||
|
|
Like other styles of electricity the blue and violet colors can develop no heat, excepting in chemical affinity with warm substances, or when bent into magnetic curves.
|
|||
|
|
6. The odylic colors, explained in the chapter on Chromo Dynamics, and developing the finer potencies of things, prove the
|
|||
|
|
electrical nature of blue, violet, etc.
|
|||
|
|
|
|||
|
|
MAGNETISM.
|
|||
|
|
|
|||
|
|
129
|
|||
|
|
|
|||
|
|
7. It will be fully shown hereafter in this work, that there can be no possible style of chemical affinity without combining
|
|||
|
|
some style of electricity with the principle of thermism in atoms. If it should be proved that all shades and hues of blue, indigo
|
|||
|
|
and violet fill the office of electricity in chemical combinations, would it not be absurd to say they are not electrical? How fully
|
|||
|
|
this can be proved will be seen hereafter. 8. Thus do we have the most overwhelming proofs from the
|
|||
|
|
construction of atoms, and from actual experiment, of the elec-
|
|||
|
|
trical nature of these colors, including blue-green, blue, indigoblue, indigo, violet-indigo, violet and dark violet.
|
|||
|
|
|
|||
|
|
XXX.—MAGNETISM.
|
|||
|
|
|
|||
|
|
1. Having attained to some conception of electricity as a principle and as an element, and the law of its movement through
|
|||
|
|
atoms, it would be well to inquire how it is modified to constitute magnetism. We have already seen that the reason why steel constitutes a permanent magnet when once charged with the
|
|||
|
|
proper electricities is, that its atoms must be arranged in transverse layers. This is shown by a bar magnet placed under a
|
|||
|
|
piece of card-board or glass upon which iron filings are lying, as in fig. 143. These filings will be drawn into concentric curves each side of the magnet, currents of ether sweeping in connected cir-
|
|||
|
|
cuits around, through and on both sides of the magnet, sometimes making the filings project a half an inch above the glass, while
|
|||
|
|
through the centre in the direction of N. and S. they lie in straight lines. It is easy to see how transverse lines of force, caused by transverse atoms passing at right angles, could deflect each other
|
|||
|
|
from a straight line, and being once deflected they could be drawn into a neighboring vortex of a line of atoms in the magnet where,
|
|||
|
|
after passing through, they would be deflected again and perhaps return into the same old channels of the magnet to continue their
|
|||
|
|
endless circuits. 2. The straight lines through the centre show that some lines
|
|||
|
|
of force are constantly gliding through the magnet lengthwise,
|
|||
|
|
having its influx at one end, its efflux at the other. Experiments, especially with the odic lights and colors, seem to prove that
|
|||
|
|
these lines of force, sweeping in one direction, consist of magnetoelectricity which passes in at the south or negative pole and
|
|||
|
|
9
|
|||
|
|
|
|||
|
|
130
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
passes out at the north or positive pole, while sweeping through the centre in the other direction is the weaker chemico-
|
|||
|
|
electricity, entering at the positive pole and emerging at the negative. This will at once show why the magnetic needle points
|
|||
|
|
north and south, or at least in the magnetic meridian, as the strong electric and magnetic currents which ever pass northward above
|
|||
|
|
the equator and southward below the equator, hold it in the direction in which they move, turning the positive end northward in north latitude, and southward in south latitude. And yet these
|
|||
|
|
currents of force that have sufficient momentum to turn the needle in their own direction, just as a vane is turned by the
|
|||
|
|
wind, or to throw their curves around heavy weights and bind them to the magnet, are named by our scientists imponderable! An electro horse-shoe magnet has been made to lift 10,000
|
|||
|
|
pounds by means of these hooks and lines of so called imponderable forces, which are really ethers. The curves at the feebler end
|
|||
|
|
of the magnet have a predominance of the chemico-electricity, those at the positive end, of magneto-electricity.
|
|||
|
|
3. The reader can now solve the great mystery of why similar
|
|||
|
|
electricities repel, dissimilar ones attract. When two positive poles are placed together the currents of magneto-electricity dash
|
|||
|
|
against each other and find no vortexes of the right size in the opposite pole to draw them on. When the negative poles are joined the chemico-electricity wars upon chemico-electricity in
|
|||
|
|
the same way. When positive and negative poles are joined, the magneto-electricity of the positive end rushes outward and is
|
|||
|
|
drawn into its own grade of spirals in the negative end, while the chemico-electricity of the negative end passes outward into its own affinitive spirals of the positive end.
|
|||
|
|
4. Fig. 138 shows by the dotted line 6 how a line of magnetism may pass out of the torrent end of one line of atoms and
|
|||
|
|
into the vortex end of another line. It is not probable, however, that it would ever pass out and into contiguous lines as repre-
|
|||
|
|
sented in the cut, nor in any two lines in the same layer of atoms, as the atomic torrents would be apt to deflect the currents above or below, especially above and northward, as may be supposed
|
|||
|
|
from the earth's currents and in a somewhat diagonal direction. That the magnetic currents have this direction may be seen by
|
|||
|
|
studying their action on iron filings.
|
|||
|
|
|
|||
|
|
MAGNETISM.
|
|||
|
|
|
|||
|
|
131
|
|||
|
|
|
|||
|
|
5. Why does not iron, like steel, become permanently magnetic when once charged? Because it needs an electric or magnetic influence to polarize its lines transversely. Above all other substances iron seems to have the right sized spirals for magneto-electricity, although, as Faraday has shown, nickel,
|
|||
|
|
cobalt, manganese, chromium, cerium, titanium, palladium, crown
|
|||
|
|
glass, platinum, osmium, and oxygen are more or less magnetic, commencing with the strongest.
|
|||
|
|
6. Why the atmosphere is but slightly magnetic may be accounted for by the fact that the radiations of fine ethers from the sun in the daytime, or from the earth at night, are but slightly transverse, consequently it is diamagnetic.
|
|||
|
|
7. When glass, sealing wax and other substances are rubbed they become electrical, and the fact that they will attract hairs, feathers, &c., shows that, for the time being, they are in a condition something like magnetism or at least diamagnetism. Ferromagnetism is by no means the finest or only quality of magnetism, that of light being more exquisite, while the finer grade of human magnetism is so refined as to defy the measurement of the most delicate instruments. Multitudes of examples could be given of persons who possess that psycho-magnetism which enables them to attract and control sensitive persons at a great distance. Sensitives should understand this fact and use their will-power to prevent undue control.
|
|||
|
|
8. "What is the thing that causes magnetic attraction?" says Tyndall. "The human mind has striven long to realize it. * * * The real origin of magnetism is yet to be revealed." The matter seems to be very simple when aided by a knowledge of fluidic and atomic forces. We know how a whirlwind draws in all surrounding objects and holds them fast in its own embrace, and we have seen just how a magnet has millions of minute whirlwinds which sweep into and out of the atomic lines of a magnet and draw a kindred substance like iron to itself. It cannot draw lead or most metals to itself, because their spirillæ are not of the right size to receive magnetic currents.
|
|||
|
|
9. Why is the middle of a magnet devoid of attractive force? The magneto-electricity seems to charge all the spirals and circuits of the positive end towards which it flows as far as it can without escaping into the air, and the same is the case with the
|
|||
|
|
|
|||
|
|
132
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
chemico-electricity at the negative end towards which it flows. The air being partially non-conducting, hedges in the electricity
|
|||
|
|
until it fills some considerable distance from each end, but not enough to reach to the middle.
|
|||
|
|
10. Great Heat destroys magnetism by rendering the currents too powerful to be deflected into curves. A magnet must draw in
|
|||
|
|
and emit constant streams of electricity from and to the atmosphere. A wire through which a galvanic current is passing becomes for the time being a magnet able to attract iron filings,
|
|||
|
|
and causing, by its transverse curves, a magnetic needle to stand at right angles to itself.
|
|||
|
|
11. If we put a magnet under a pane of glass upon which iron filings have been placed, we can at once see that the currents of magneto-electricity throw the filings upward, forward and
|
|||
|
|
laterally, thus showing that many of the lines of atoms are polarized in at least three directions. Fig. 143 will show some of the
|
|||
|
|
curves and straight lines of force flowing laterally and longitudenally in connexion with a bar magnet, and the lower portion of Plate III will show some of the lines of force which are mani-
|
|||
|
|
fested when the sides of the poles of a horse-shoe magnet are placed under the same pane of glass, while the colored flames
|
|||
|
|
from each pole, which can be seen by some persons, will show that the north pole has greater power than the south and is manifested by a different array of colors, the significance of which
|
|||
|
|
will be explained in the chapter on Chromo Dynamics. The superior attractive power of the north pole is well known and can
|
|||
|
|
be tested at any time. 12. I have given thus much attention to magnetism, not only
|
|||
|
|
from its great importance and the impossibility of understand-
|
|||
|
|
ing the various potencies of light without it, but because its laws are not understood, and like a hundred other mysteries never
|
|||
|
|
can be understood without a knowledge of atoms. The cause of the two directions and two grades of electricity will be shown
|
|||
|
|
under the head of Galvanism, in XXXIV of this chapter.
|
|||
|
|
|
|||
|
|
XXXI. DIAMAGNETISM.
|
|||
|
|
|
|||
|
|
1. If an iron nail or other magnetic substance should be sus-
|
|||
|
|
pended from the middle between the poles of a horse-shoe magnet it will immediately arrange itself in the magnetic axis and
|
|||
|
|
|
|||
|
|
MAGNETISM.
|
|||
|
|
|
|||
|
|
133
|
|||
|
|
|
|||
|
|
point to the north and south pole thus, N—S, but if a piece of
|
|||
|
|
bismuth, or phosphorus, or antimony, should be suspended in the same way, it will be arranged equatorially or at
|
|||
|
|
right angles to the axis as in fig. 142. Such substances are diamagnetic, and they are commonly supposed to repel the magnetic currents.
|
|||
|
|
This, as I have learned, is a mistake and they assume that position because the diamagnetic
|
|||
|
|
axis crosses these substances laterally instead of longitudinally, as is done in the case of magnetic substances: thus the following
|
|||
|
|
represents a diamagnetic substance between the magnetic poles:—
|
|||
|
|
|
|||
|
|
Magneto-electricity flowing from the positive pole of the magnet, through the substance laterally and into the nega-
|
|||
|
|
tive pole of the magnet.
|
|||
|
|
|
|||
|
|
Chemico-electricity flowing from the negative pole of the magnet in opposite direction into the positive or north pole
|
|||
|
|
of magnet.
|
|||
|
|
|
|||
|
|
The following represents the axis of a magnetic substance:—
|
|||
|
|
|
|||
|
|
Magneto-electricity flowing from positive pole of magnet through the substance longitudinally and entering the positive pole of magnet.
|
|||
|
|
|
|||
|
|
Chemico-electricity flowing from negative pole of magnet in opposite direction and entering the positive pole of magnet.
|
|||
|
|
|
|||
|
|
2. A little better conception of the distinctions which seem to arrange all substances under two divisions, the magnetic and diamagnetic, may be obtained by considering figs. 143 and 144.
|
|||
|
|
Fig. 143 shows a bar of steel, S N, which has been converted
|
|||
|
|
|
|||
|
|
into a magnet, N being the north or positive pole, and S the
|
|||
|
|
south or negative pole. When a pane of glass or a piece of card-board, sprinkled with iron filings, is laid upon this bar, the
|
|||
|
|
filings will be arranged as shown in the cut, and some will also be thrown upward in a bristling attitude which cannot be shown here. It will readily be perceived from the lines running longitud-
|
|||
|
|
|
|||
|
|
134
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
inally that there must be polarized lines of atoms running conversely from S to N, and from the curves which sweep directly
|
|||
|
|
across the bar that there must be transverse lines in the direction of T, L and L, T. The many curves of force which must sweep
|
|||
|
|
in and out at the ends do not appear distinctly. It will be seen that the longitudinal lines are sufficiently strong to prevent the
|
|||
|
|
transverse forces from passing at a point midway between the poles where the magnet is weakest, although consequent points of special power are sometimes formed between the poles where
|
|||
|
|
the forces break through, especially in a long magnet. 3. In fig. 144, illustrating what is probably the pathway of
|
|||
|
|
forces in one kind of diamagnetism, if not in all, the arrangement of atoms is quite different, being on the law of transverse diagonals, some modification of which is no doubt the universal law
|
|||
|
|
in diamagnetism, just as lines directly transverse or nearly so, are required for magnetism. Before going further the reader should
|
|||
|
|
be familiar with the combination of atoms as described in previous figures, especially 139 and 140. In fig. 144 we will suppose a diamagnetic substance 3 has diagonal polarizations in the
|
|||
|
|
direction of 2, 7, and 4, 6, or still more diagonally. When the electro ethers are radiated powerfully by means of electrical or
|
|||
|
|
magnetic excitement into two or more general directions, diagonally transverse, those passing through the atmosphere in one direction must create currents which will deflect some of the lines
|
|||
|
|
passing in the other direction sufficiently inward to cause them to be drawn in by the vortical suction, and thus lines of force
|
|||
|
|
would be formed as in the figure. In such transverse diagonals, there being no longitudinal lines, a passage way is naturally easily forced through the shorter pathway from side to side,
|
|||
|
|
whereas it must be a difficult matter to force it lengthwise. 4. In speaking of magneto and chemico electricity as passing
|
|||
|
|
through diamagnetic substances, I simply mean that they do so under the pressure of magnetic excitement. It is reasonable to
|
|||
|
|
suppose, however, that the ethers which usually course through diamagnetic substances differ from each other in different bodies and especially from ferro-magnetism. It has been found that a
|
|||
|
|
powerful magnet will either attract or repel all substances. Those substances which are spoken of as being repelled by it are
|
|||
|
|
doubtless simply diamagnetic.
|
|||
|
|
|
|||
|
|
PHOSPHORESCENCE.
|
|||
|
|
|
|||
|
|
135
|
|||
|
|
|
|||
|
|
5. We learn then, that while a magnetic substance consists of
|
|||
|
|
converse lines of atoms which cross each other at right angles, or
|
|||
|
|
nearly so, the lines of a diamagnetic substance cross each other diagonally, or consist of transverse diagonals. These diagonals may be the natural arrangement of atoms in a diamagnetic substance, or may be polarized into this shape by the power of light or electricity. Diamagnets have a very much feebler attractive power than magnets, as comparatively few of their lines are bent into curves. The flame of a candle as well as electric light has been found to be diamagnetic, and the sunlight coming to us in convergent and divergent rays and polarizing the atmosphere accordingly, must impart more of the diamagnetic than the magnetic style of influence, as electricians have ascertained. The names of some of the diamagnetic substances as ascertained by Faraday, commencing with the most decided, are bismuth,
|
|||
|
|
phosphorus, antimony, zinc, tin, cadmium, sodium, flint-glass, mer-
|
|||
|
|
cury, lead, silver, copper, water, gold, alcohol, ether, arsenic, uranium, rhodium, iridium, tungsten, nitrogen, etc. Faraday says that man as a whole is diamagnetic. This is doubtless true, the right side being positive, the left negative, all the way from the head to the feet, as will be shown hereafter. The living human form may also be called a series of magnets.
|
|||
|
|
|
|||
|
|
XXXII. PHOSPHORESCENCE.
|
|||
|
|
|
|||
|
|
1. "The sulphur compounds of calcium, strontium and barium
|
|||
|
|
(which should be kept in hermetically sealed glass tubes) do not exhibit the faintest light in a dark room. Moreover, if they be covered with a yellow glass and illuminated with the light of
|
|||
|
|
a magnesium lamp, they remain as dark as before. But if the yellow be exchanged for a blue glass, and the magnesium light
|
|||
|
|
be allowed to play upon them for a few seconds only, they emit in the dark a soft light, each powder having its own proper tint
|
|||
|
|
of color." (Prof. Eugene Lommel's Light and Color.) This power of shining in the dark is termed phosphorescence, and as in the above case it is developed by the electrical blue, so in all
|
|||
|
|
cases must some principle of electricity be used in its production. The electrical principle strikes some sensitive substance
|
|||
|
|
for which it has a chemical affiinity, and creates such activity of atomic action as to render it partly incandescent.
|
|||
|
|
|
|||
|
|
136
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
2. "Mademoiselle Linnæus" says Pouchet, "first discovered that the monkshood sent out passing gleams of light which were
|
|||
|
|
generally attributed to electricity." 3. In phosphorus, touchwood, fireflies and different kinds of
|
|||
|
|
marine animals, the light is awakened by certain physiological as well as chemical processes in which electricity and heat are com-
|
|||
|
|
bined. The gentle style of combustion which constitutes phosphorescence, seems to be attended with so fine a grade of heat as to be imperceptible as heat to most persons.
|
|||
|
|
4. Several substances may be exposed to brilliant light like that of the sun or a magnesium light, and on darkening the room
|
|||
|
|
will continue to glow for hours, emitting the red, blue, green, etc., according to the nature of the substances. Alumina, when phosphorescent, emits a red light; diamond, from its refrangibil-
|
|||
|
|
ity, emits most of the colors. Phosphate of lime, fluor spar, etc., phosphoresce with different colors. Metals, liquids, &c., do not
|
|||
|
|
phosphoresce from the power of light.
|
|||
|
|
|
|||
|
|
XXXIII. FLUORESCENCE, CALORESCENCE AND KINDRED PRINCIPLES.
|
|||
|
|
|
|||
|
|
1. This is a proper place to show how nearly the ethers, and the spirals through which they pass, must correspond in grade with each other. In music, a stretched cord or a tuning fork
|
|||
|
|
will respond to vibrations of the air which synchronize with their own, so in atoms, as we have already seen, each spiral cord must
|
|||
|
|
vibrate to and invite onward that grade of ether whose waves are simultaneous with its own movements. Thus the red forming spiral naturally invites a certain grade of ether; the blue, being
|
|||
|
|
finer and more frequent of movement, invites a finer ether, while the violet and the space above the violet invite still finer ones.
|
|||
|
|
What I wish to state here is, that although this is the general law, yet under the stimulus of electricity, or light, or heat, or
|
|||
|
|
chemical action, a grade of ether may at times be forced through spirals naturally too fine for it, and at other times through spirals not fine enough for it. Take glass for instance. Its spirals being
|
|||
|
|
of the grade suited to the ethers which go to make light, are too fine to admit the ethers of frictional or galvanic electricity at any
|
|||
|
|
ordinary pressure, consequently glass is used as an insulator to prevent their passage. If we charge a bar of metal strongly
|
|||
|
|
|
|||
|
|
FLUORESCENCE, CALORESCENCE, ETC.
|
|||
|
|
|
|||
|
|
137
|
|||
|
|
|
|||
|
|
with electricity, however, and place a pane of glass near one end where the electrical tension is great, another bar of metal held on
|
|||
|
|
the other side will become charged by induction through the glass. In the same way, the electrical currents of a magnet are so pow-
|
|||
|
|
erful as readily to sweep through glass in all directions, as may be seen by placing iron filings on the upper side of glass and a
|
|||
|
|
magnet below. It is evident that all ordinary grades of electricity must become somewhat refined by being strained through glass.
|
|||
|
|
2. Calorescence. Again, take an opaque metal, such as iron or
|
|||
|
|
copper for instance. This has its seven intra spirals, as facts go to show, corresponding with the color spirals and yet of a coarser
|
|||
|
|
grade. If they were of as fine a grade as the color spirals they would transmit all the colors in their natural state just as glass or water or the asmosphere does, and hence be transparent. As
|
|||
|
|
the metal becomes heated its atoms expand with violent motion, and its ethers are absorbed and transmitted with power. When
|
|||
|
|
heated to 700° F. it begins to emit a dull red color in the dark. Why is this? The following seems to be the answer:—The thermo spirals which are the first to respond to heat, being put into
|
|||
|
|
violent motion, agitate the thermel and red of the iron, or rather the spirals corresponding to the thermel and red, into such a vio-
|
|||
|
|
lent whirl as to draw on and propel to the eye not only the ethers which naturally answer to it, but a certain amount of a still finer ether which constitutes the element of red. This transmutation
|
|||
|
|
of power under extreme action is common in nature. So fine a substance as the air when in violent motion, may carry so coarse
|
|||
|
|
a substance as water into the sky, and this coarse element of water may be made to move so rapidly, as to sweep a current of air along with it. Even a cannon ball will at times kill a man with-
|
|||
|
|
out touching him, simply by the terrific atmospheric forces which it arouses. So, reasoning from the known to the unknown,
|
|||
|
|
we see how a coarser current in violent action may draw on or propel a little finer current of a color-ether. As the heat rises
|
|||
|
|
to 1000° F. the red-orange spiral, which is contiguous to the red, becomes sufficiently agitated to put into play the red-orange ethers and thus the iron appears red-orange. When reaching
|
|||
|
|
1100°, the spiral answering to yellow is reached, and so the metal is said to be at a yellow heat; when the heat ranges from 1400°
|
|||
|
|
to 3280°, a sufficient amount of the green and blue-green has
|
|||
|
|
|
|||
|
|
138
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
been reached to form, when combined with the lower colors, white, consequently the iron is said to be at a white heat. When
|
|||
|
|
still hotter, the blue and indigo become so intense as to predominate and cause a blue heat. This shows three things, 1st,
|
|||
|
|
that ethers can be propelled by spirillæ which are naturally too coarse for them; 2dly, that iron and other metals have the same
|
|||
|
|
number and general system of gradation in their intra-spirals as have the color spirals of transparent substances; 3dly, that in circumstances of great activity, a coarser spirilla may work with
|
|||
|
|
a color ether somewhat too fine for it, and not very much pervert the color itself. It is true that what we call red hot is not a pure
|
|||
|
|
red as compared with carmine and the other colors thus caused, though luminous, are not absolutely pure, but are a close approach to it and become the more pure by being strained through
|
|||
|
|
the color spirillæ of the asmosphere which are of the right grade. This development of colors in metals and other bodies by dif-
|
|||
|
|
ferent grades of heat is well called CALORESCENCE by Tyndall. 3. On the other hand white light may be transferred into the
|
|||
|
|
coarser spirals of a black substance and transform its color forces
|
|||
|
|
into heat, through the attractive power of chemical affinity. 4. The invisible portion of the solar spectrum above the violet
|
|||
|
|
is sometimes called ultraviolet, which means extreme violet. But we have seen that this portion is not violet at all, but rather a finer grade of reddish color towards which the violet progres-
|
|||
|
|
ses and consequently such a term as trans-violet (beyond the violet) would seem more proper. The invisible portion below
|
|||
|
|
the red is not properly ultra or extreme red, as it is sometimes called, but rather the trans-red (beyond the red), the beginning of which is the thermel.
|
|||
|
|
5. The trans-violet may suddenly be made visible in the form of blue and sometimes lavender if its rays are made to pass through
|
|||
|
|
fluor spar, or a decoction of the bark of horse-chestnut, or a solution of sulphate of quinine, etc. This is an example of fine
|
|||
|
|
ethers being drawn on into spirillæ which are naturally too coarse for them, by means of the chemical affinity which these substances have for them, and is called FLUORESCENCE, from
|
|||
|
|
fluor spar. Fluorescence, then, is caused by straining the transviolet colors which are too fine to be seen, through spirillæ, whose
|
|||
|
|
movements are sufficiently slow to affect the vision. The pro-
|
|||
|
|
|
|||
|
|
GALVANISM.
|
|||
|
|
|
|||
|
|
139
|
|||
|
|
|
|||
|
|
cess of lowering a color to a coarser grade is sometimes called the degradation of light.
|
|||
|
|
6. We may thus see how several mysteries are cleared up by this department of the etherio-atomic law, and new light thrown
|
|||
|
|
upon the convertibility of forces.
|
|||
|
|
|
|||
|
|
XXXIV.—GALVANISM.*
|
|||
|
|
|
|||
|
|
1. Galvanism is electricity which is developed by chemical ac-
|
|||
|
|
tion, just as frictional electricity is developed by mechanical and thermal action. The one may be artificially developed by aid of
|
|||
|
|
what is called the battery, usually supplied with acidulated water and two heterogeneous metals; the other, by means of the electrical machine, which is supplied with a glass plate or cylin-
|
|||
|
|
der. This is revolved against some frictionizing substance, such as gutta percha or leather, which contains a more negative
|
|||
|
|
quality of electricity. Galvanism develops chemico-electricity, galvano-electricity, and to some extent magneto-electricity.
|
|||
|
|
2. Water, as can be shown, naturally winds up into ball-coils
|
|||
|
|
whose threads are polarized lines of atoms composed of hydrogen and oxygen. Hydrogen, which has an immense thermal action of
|
|||
|
|
its atoms, far greater than that of any other known substance, tends to draw the other atoms around to itself, and thus the winding process is commenced. Drops of water are spherical
|
|||
|
|
ball-coils. Acids are highly electrical and abound in chemico as well as other kinds of electricity. One part of sulphuric
|
|||
|
|
acid to 8, 10, or 12 parts of soft water is generally used, though other acids and substances are frequently employed.
|
|||
|
|
3. This powerful acid thus combined has its thermal and axial
|
|||
|
|
forces especially aroused and immediately unwinds and straightens out by its swift forces, the polarized lines of water, loosening the
|
|||
|
|
cohesion of its own atoms of oxygen and hydrogen, and probably arranging them conversely with those of that fluid accord-
|
|||
|
|
ing to a necessity which we have already seen. Two metals of diverse character are placed in this liquid, one of which, as zinc for instance, must have a much greater affinity for oxygen
|
|||
|
|
than the other, which is usually copper or platinum. In fig. 145,
|
|||
|
|
|
|||
|
|
*From Galvani, who first discovered it, although Volta made such improvements in it that it is often called Voltaic Electricity
|
|||
|
|
|
|||
|
|
140
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
Z is the zinc plate, and C the copper plate, set into the diluted sulphuric acid, and connected at the top
|
|||
|
|
with a wire. No. 1 shows a polarized line of molecules of water; No. 2 consists of
|
|||
|
|
a contiguous line of the molecules of sulphuric acid polarized in the opposite direc-
|
|||
|
|
tion. The galvano, and doubtless the magneto electric current, sweeps through the line of water No. 1, enters the zinc,
|
|||
|
|
passes up and around through the wire and through the copper plate back into the
|
|||
|
|
zinc again, and so continues as before. The chemico, and perhaps some other electric currents, under the active movement of the sulphuric
|
|||
|
|
acid, pass through line No. 2 from the zinc to the copper and then around through the wire back into the zinc and acid again.
|
|||
|
|
What gives the starting impulse of these great forces? In the first place, in the polarized lines of water, the atoms of oxygen nearest the zinc rendered intensely active by the presence of
|
|||
|
|
sulphuric acid, are both swept and drawn by affinitive currents into the vortexes of the zinc, and consequently are torn away
|
|||
|
|
from their affinitive atoms of hydrogen. These atoms of hydrogen thus set free seize upon the atoms of oxygen of the contiguous molecules, and thus their atoms of hydrogen become free.
|
|||
|
|
This second set of freed hydrogen atoms seizes the third set of oxygen atoms, and so the process goes on until all the molecules
|
|||
|
|
leading to the plate of copper have thus been readjusted. When the last molecule contiguous to the copper has been reached, the freed particles of hydrogen finding no oxygen to combine with,
|
|||
|
|
rise to the top of the liquid and emerge into the air in small bubbles. The vortex end of this line of atoms with suction made es-
|
|||
|
|
pecially powerful by such an active chemical readjustment, draws on the affinitive currents from the copper itself, and this again
|
|||
|
|
from the wire, and the wire from the upper portion of the zinc until original currents through the water have again been reached, and so the current is rendered continuous as long as the wire
|
|||
|
|
joins the plates and the chemical action is kept up. The atoms of oxygen which are first driven and drawn into the vortexes of
|
|||
|
|
the zinc in connection with the sulphuric acid, loosen and sepa-
|
|||
|
|
|
|||
|
|
GALVANISM.
|
|||
|
|
|
|||
|
|
141
|
|||
|
|
|
|||
|
|
rate these contiguous atoms of zinc which encase them from the original metal, and fall into the liquid as the sulphate of zinc,
|
|||
|
|
there to be dissolved. This leaves the atoms of zinc exposed for the next set of atoms of oxygen, which rush in and cause another
|
|||
|
|
redjustment all the way to the copper. This process is continued until the zinc is eaten away, or the acid exhausted of its power.
|
|||
|
|
4. "If the zinc, after being thoroughly cleansed by immersion in the acidulated water, be rubbed with mercury, it immediately acquires a bright amalgamated surface, and when restored to the
|
|||
|
|
water it no longer exerts any decomposing action, and particles of hydrogen are no longer seen to rise from it. The instant,
|
|||
|
|
however, that a connection is made by a wire or otherwise, with the conducting plate, hydrogen bubbles at once begin to be discharged from it as before. The cause of this is not understood,
|
|||
|
|
but constant use is made of the fact to protect the zinc plates from corrosion, except during the period when the battery is
|
|||
|
|
actually in action." (Pynchon's "Chemical Forces.") 5. The above mystery is readily solved by the principles
|
|||
|
|
already illustrated in paragraph XXXIII. The mercury which
|
|||
|
|
forms the amalgam of the zinc evidently has spirals too fine to be penetrated by the currents which ordinarily draw the oxygen
|
|||
|
|
up to the zinc, but when the circuit is made complete by uniting the wires, the electro motive force becomes sufficiently powerful to drive them through.
|
|||
|
|
6. Electricians, being unacquainted with the laws of atomic action, commonly suppose that the leading electric current must
|
|||
|
|
move from the zinc to the copper because chemical action is in that direction, but the error of this is easily seen. The chemicoelectric current which flows through the sulphuric acid passes
|
|||
|
|
in that direction, but it is really less penetrating than the other, although its ruder style of power may produce a more immediate
|
|||
|
|
effect. It moves in a direction opposite to that of the water because the atoms are polarized conversely to those of that fluid. The
|
|||
|
|
reasons for saying the chemico electricity circulates through the acid will also be given in the paragraph XXXVI. The fact that the chemico electricity may in galvanism become a seem-
|
|||
|
|
ingly positive current, stronger in electrolysis than even the currents in the opposite direction, shows that a grade of elec-
|
|||
|
|
tricity, naturally weak, can be made powerful by an intense acid. In the magnet, however, its weakness is more evident.
|
|||
|
|
|
|||
|
|
142
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
XXXV.—WHY DOES FRICTIONAL ELECTRICITY MOVE MAINLY IN ONE DIRECTION?
|
|||
|
|
|
|||
|
|
1. We will suppose that in fig.
|
|||
|
|
146, a rubber of an electrical machine should be passed over the
|
|||
|
|
atoms from right to left. The motion being in the same direction as the spirillæ of the lower line of
|
|||
|
|
atoms, 1, 4, 9, would intensify their motion. On the upper line of atoms, however, the spirillæ being
|
|||
|
|
in the opposite direction would be impeded in their action. The negative eddy 3, would be robbed of a portion of its ethers by the positive eddy 1, and by the time it should pass axially from 7 to
|
|||
|
|
8 its principle of electricity would be very feeble. A movement from left to right would set the upper spirals into active move-
|
|||
|
|
ment and impede the lower. A movement from 3 to 1 would have the same effect. A movement from 1 to 3, would arouse the lower spirals and deaden the upper, so that in whatever way
|
|||
|
|
the friction is directed, only the alternate spirals, which move in one direction, are appreciably affected by any ordinary action, in
|
|||
|
|
any one part of a substance. The common supposition that there are two kinds of electricity moving in opposite directions in frictionized substances, would seem, then, to be an error.
|
|||
|
|
2. Magnetism has its bipolar conditions and its different electricities moving in opposite directions, but these are ac-
|
|||
|
|
counted for on the same principle as the same thing in galvanism, magnetism usually being generated through the aid of galvanism. The loadstone or natural magnet, composed of the
|
|||
|
|
oxide of iron, probably owes its dual polarity to liquids and elements of the soil which act on the galvanic principle.
|
|||
|
|
|
|||
|
|
XXXVI. POSITIVE AND NEGATIVE ELECTRICITIES.
|
|||
|
|
|
|||
|
|
1. It is now time to attack this great mystery and see what light can be afforded by the etherio-atomic law. "Notwithstand-
|
|||
|
|
ing the great importance of the numerous electrical phenomena, we are still ignorant of their cause," says Ganot. Chambers's
|
|||
|
|
Encyclopedia admits that the terms positive and negative, as
|
|||
|
|
|
|||
|
|
POSITIVE AND NEGATIVE ELECTRICITIES.
|
|||
|
|
|
|||
|
|
143
|
|||
|
|
|
|||
|
|
generally used, are "meaningless," but are adopted for convenience. Certain substances, when rubbed or beaten, send forth more positive electrical effect than others. Thus frictionized glass produces a decided action and is said to have positive or + electricity, while frictionized gutta percha, shellac or resin, being feebler, are said to have negative or — electricity.
|
|||
|
|
Why should one substance thus have stronger currents than another?
|
|||
|
|
One great cause of electrical power in bodies is their superior polar-
|
|||
|
|
ization, as the others must sweep with much greater force through
|
|||
|
|
unbroken lines than they would through amorphous bodies, or those
|
|||
|
|
in which short or confused lines prevail. But why should some
|
|||
|
|
bodies possess this finer polarization and crystallization? Evi-
|
|||
|
|
dently because they have spirals which invite the finer and swifter
|
|||
|
|
electricities that are so powerful as to straighten out the atoms into continuous lines. Take the two substances, glass and shellac, for instance. Shellac is evidently more amorphous than glass, from having coarser and weaker electricities. Glass, as we have seen, must have spirillæ adapted to the electro-lumino as well as the magneto ethers, and capable of thorough polarization from its power to transmit light. Shellac has no spirillæ fine enough to admit light, and very probably has the chemico-electricity as its prominent force, which would account for its different and weaker character. But frictional electricity, it may be said, does not deal with these more interior electricities. Not so directly, I admit, although powerful fractionizing machines have developed even galvano and magneto electricities by reaction, no doubt, upon the intra-spirals. It is evident, however, that if glass has longer lines of polarization than shellac, its frictional electricity must be more positive than the same electricity of that substance.
|
|||
|
|
2. But another principle must be considered. Metals doubtless have quite as long lines of polarization as glass or silk. Why, then, will they not produce the attractive and electrical effect when rubbed that these substances do? Because they are such good conductors that their electricity escapes. Glass, silk, flannel, etc., have a sufficiency of transverse lines to deflect a portion of their currents into curves somewhat like the magnetic, which accounts for their power to attract light substances, such as hairs, feathers, etc., and also for their poor conduction. Unlike the
|
|||
|
|
|
|||
|
|
144
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
magnet, however, we can scarcely say that there are two electricities moving in opposite directions in such substances as they are not bipolar.
|
|||
|
|
3. "The electricity developed on a body," says Ganot, "depends on the body rubbed. Thus glass becomes negatively electrified when rubbed with catskin, but positively when rubbed with silk." In the following list, the substances are arranged in such an order, that each becomes positively electrified when rubbed with any of the bodies following, but negatively when rubbed with any of those which precede it: 1 catskin; 2, flannel; 3, glass; 4, silk; 5, the hand; 6, wood; 7, metals; 8, caoutchouc (India Rubber); 9 resin; 10, sulphur; 11, gutta percha; 12, gun cotton. The ordinary supposition that each substance can develop two different kinds of electricities in other substances is unnecessary and unnatural. (See P. XXXV.) The following seems to be an easy solution of the difficulty: glass becomes negative when rubbed with catskin because its currents are overpowered and driven inward by the stronger currents of the latter. It becomes positive when rubbed with silk because its currents are strong enough to drive inward those of that substance. The same principle holds with the other substances. The metals may naturally have swifter styles of electricity than catskin or silk, but these latter, by their curved and transverse lines, can hold the electricity until its tension is sufficient to overpower even the metals. A negative body, or part of a body, is that in
|
|||
|
|
which the influx electricities preponderate over the efflux, while a
|
|||
|
|
positive body or part of a body, is that in which the efflux electricities preponderate over the influx. It is easy to see, then, why positive and negative conditions of electricity attract each other, as the influx or vortical currents of the latter attract the torrents of the former, and it is also plain that two positives must repel because their torrents dash against each other, or that two negatives must also be inharmonious as they draw in opposite directions. The law is that contrasting electricities attract, similar
|
|||
|
|
electricities repel. 4 Why one end of a magnet is more positive than the other,
|
|||
|
|
as we have already seen, comes from the fact of a more interior and potent electricity. Fogs, snow and rain are nearly always charged with a positive grade of electricity, and clouds quite fre-
|
|||
|
|
|
|||
|
|
CHEMICAL AFFINITY.
|
|||
|
|
|
|||
|
|
145
|
|||
|
|
|
|||
|
|
quently are. The earth is negative in the daytime to the atmospheric electricities, which, under the polarizing power and stimulus
|
|||
|
|
of the sunlight, are radiated into its surface, while in the night it becomes positive to the atmosphere, radiating its electric cur-
|
|||
|
|
rents upward and outward. A thunder-cloud with its transverse and irregular lines, is capable of holding the electricity in curves
|
|||
|
|
around its surface until a large amount is collected and the electrical tension becomes very great. Suppose, now, that this cloud, so strongly or positively charged, should approach another cloud
|
|||
|
|
less charged. The vortical attractions of this feebler cloud will cause this mass of electricity to burst the barriers of the non-
|
|||
|
|
conducting atmosphere and dash into its neighbor with an explosive and frictional force which gives the effect of lightning and thunder. The clouds are relatively + and — in their electrical
|
|||
|
|
condition. When a positive cloud approaches the earth, which is negative, the electricity passes into the earth. When a nega-
|
|||
|
|
tively charged cloud approaches the earth, however, we sometimes have the ascending lightning, the electricity passing from the earth to the cloud.
|
|||
|
|
|
|||
|
|
XXXVII CHEMICAL AFFINITY.
|
|||
|
|
|
|||
|
|
1. This great mystery of chemical affinity which has so long puzzled the chemists, becomes comparatively simple by understanding the working of ethers and atoms. The reader, who has not become familiar with the matter already explained, should go back and study the form and working of atoms, together with the etherial winds of force which sweep them together, or drive them asunder. Chemical affinity results principally from the two following laws:
|
|||
|
|
2. The leading cause of chemical affinity appears in the fact
|
|||
|
|
that atoms of one kind, having a strong thermal and vortical action,
|
|||
|
|
become thus expanded so as to receive far within themselves atoms
|
|||
|
|
of another kind which are drawn in narrower by means of their
|
|||
|
|
strong axial or electrical action. 3. There must be a similarity in the character and size of some
|
|||
|
|
of the leading spirillæ of the combining atoms so that the same
|
|||
|
|
ethers may glide unimpeded through the whole to bind them together by a common propulsion and suction. The first of the above
|
|||
|
|
10
|
|||
|
|
|
|||
|
|
146
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
rules gives the law of diversity, the second the law of unity in chemical combination.
|
|||
|
|
4. It is easy to see how the wide mouthed heat-atom, with its powerful vortical forces, can draw the narrower cold producing
|
|||
|
|
atom into itself, while on the other hand, the powerful axial forces from behind drive the narrower electrical atom into the
|
|||
|
|
wide one. It is easy to see, also, how such a powerful affinitive action can drive the one atom into the other all the way up to the ridge formed
|
|||
|
|
by the widest thermo spirals which are near the vortex, as represented in fig. 147, while ordinary
|
|||
|
|
cohesion is not strong enough to drive the atom into the encasing one farther than to the first or positive thermo spirals, as seen in figs. 136 and
|
|||
|
|
137, which are non-chemical. But why do I know that the basic atom in chemical affinity encases the other
|
|||
|
|
up to these larger thermo spirals? Because, first, I know that chemical union is closer than that of ordinary cohesion, conesquently it must sink the atoms deeper than to the smaller or
|
|||
|
|
positive thermo spirals. Having surmounted these there will be no barrier until the larger spirals are reached; and, secondly,
|
|||
|
|
chemical affinity hides the color spirals of the encased atom. Thus carbon is a black substance, while potassium and sodium are white. According to the 2d rule, what should their color be
|
|||
|
|
when combined chemically into carbonate of potassa, and carbonate of soda—that of the black carbon, or that of the white
|
|||
|
|
potassium and sodium? It should be that of the encasing atom, and the encasing or thermal atoms here must be the potassium and sodium which are electro-positive, as will be shown hereafter,
|
|||
|
|
while the carbon, being more electrical, must have its atoms encased and thus have their color spirals hidden by the white of
|
|||
|
|
the potassium, etc. In the same way common salt, which is formed of chlorine and sodium, shows only the white color of
|
|||
|
|
the latter, the atoms of which entirely swallow up the greenish yellow color of the former. See Chromo-Chemistry for further illustrations.
|
|||
|
|
5. It is important to dwell a moment on the causes which give to atoms these dual styles of form by which they are ena-
|
|||
|
|
bled to be combined so beautifully and powerfully. Fig. 148
|
|||
|
|
|
|||
|
|
CHEMICAL AFFINITY.
|
|||
|
|
|
|||
|
|
147
|
|||
|
|
|
|||
|
|
shows the encasing atom made broad by its thermal activity. The figure represents two types
|
|||
|
|
of atoms, one represented by the dotted line, of which potassium
|
|||
|
|
is a good example, and the other shown by the main line, of which
|
|||
|
|
hydrogen is a good example. Hydrogen, having more specific heat than any other substance
|
|||
|
|
must have the broadest atoms, taken all in all, and yet potassium, with far less specific heat, can
|
|||
|
|
outdo the hydrogen as shown in its power to tear the atoms of oxygen away from it when thrown into water for instance. How is this? Hydrogen, which is distinguished for its deli-
|
|||
|
|
cacy of action, doubtless has an abundance of fine spirillæ which quickly kindle into action the main spiral, and this com-
|
|||
|
|
mences to lessen before it gets so near the negative end. The potassium has doubtless much coarser spirillæ and corresponding coarse ethers, among which the chemico is doubtless prominent,
|
|||
|
|
and working more slowly does not attain its maximum power until the vortex is nearly reached. This gives it a powerful vortex
|
|||
|
|
and hence great attractive force. Hydrogen, having an immense amount of heat, has very probably more than three thermo spirals. Its chemical action is fine and powerful, but if its in-
|
|||
|
|
tensity of movement were to be transferred to the vortex it would be terrific and kindle into flame every time a chemical union
|
|||
|
|
with other atoms should occur. As it is, it is a great leading developer of heat and light. Sodium, magnesium and other alkaline and electro-positive elements belong to this general style of
|
|||
|
|
atom, ranking between the extremes of the hydrogen and potassium. This includes most of the metals whose thermal spirals and
|
|||
|
|
ethers are sufficiently coarse and slow of action not to gain their full power until the vortex is approximated, so that they become
|
|||
|
|
wide mouthed and especially attractive to the other style of atoms.
|
|||
|
|
6. Fig. 149 presents the more narrow and electrical style, in
|
|||
|
|
which the axial activities are more potent than the thermal, and in which even the thermal spirals are probably more oblique than
|
|||
|
|
in the broader atoms as shown in the diagram. It includes such
|
|||
|
|
|
|||
|
|
148
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
atoms as those of the oxygen, sulphur, chlorine, and the other electro-negative substances. This grade of atoms, among which
|
|||
|
|
the oxygen is foremost, is prominent in acids in which electricity rules, although hydrogen intensifies the same. The dotted line
|
|||
|
|
shows an atom of this grade whose vortex is somewhat expanded and its positive end drawn in small. This is a good type of an atom
|
|||
|
|
of oxygen, whose pointed end being small by being the most electrical of atoms, makes it especially suited to penetrate other substances and oxydize them.* More than that its vortex is suffi-
|
|||
|
|
ciently large and active to attract other atoms into itself, and this diversity in its two poles is a great leading cause of its being
|
|||
|
|
able to combine with all other elements excepting fluorine. Another reason why it can combine thus universally is that it must have a diversity of spirillæ by means of which it is supplied
|
|||
|
|
with those ethers that work harmoniously with the atoms of other substances and drive them together. It is known to be
|
|||
|
|
the most electro-negative of substances, which is a term that signifies it is the most electrical. Faraday has shown its magnetic character which proves that it has magneto-electricity. Its wide
|
|||
|
|
vortex and the fact that it affinitizes with metals and so many substances in which chemico-electricity must exist, argue that
|
|||
|
|
chemico ether is one of its forces. As a gas or liquid in air and water, it transmits light, being transparent, which shows that the color electricities may pass through it. Thus does oxygen have
|
|||
|
|
affinitive spirals, which are able to receive more or less well the thermo, chemico, thermo-lumino, electro, electro-lumino, galvano
|
|||
|
|
and magnetic ethers which, with the form resulting from connection with them, makes it on the whole the most powerful known agent of chemical action, and constituting, according to Dr. Att-
|
|||
|
|
field, about half of the substance of the globe. Gold, silver and platinum, and a few other bodies, have but feeble affinities for
|
|||
|
|
oxygen excepting when the added electricities of sulphur are brought into action, consequently they maintain their brightness
|
|||
|
|
under all ordinary circumstances. 7. The thermo spiral at 2, in fig 149, shows how far the atom
|
|||
|
|
generally sinks into the encasing atom in chemical combinations,
|
|||
|
|
while that at 1 shows how far it sinks in cases of ordinary cohe-
|
|||
|
|
|
|||
|
|
*When metals are oxidized they are said to be covered with rust, which is simply a chemical deposit of oxygen.
|
|||
|
|
|
|||
|
|
CHEMICAL AFFINITY.
|
|||
|
|
|
|||
|
|
149
|
|||
|
|
|
|||
|
|
sion or mere mixtures, as in the oxygen and nitrogen which constitute air, as well as in other substances. In chemical affinity,
|
|||
|
|
however, in which there is an alternation of both the narrow and broad atoms, it is not probable that the broader atom sinks into
|
|||
|
|
the narrower as far as the narrower sinks into the broader in many cases. Thus in common salt there is an alternation of sodium
|
|||
|
|
as the broad mouthed, and chlorine as the narrow-pointed atom, forming when combined what is called a molecule of salt. The chlorine sinks far down into the sodium and hides its color.
|
|||
|
|
When the next molecule is joined to this, the broader sodium atom has to be inserted into that of the chlorine, but it evidently
|
|||
|
|
does not become encased in it farther than the first or positive thermo spiral at 1, because if it entered as far as 2, its color-spirals would be covered up and it would no longer appear white.
|
|||
|
|
It is quite probable, however, that in the case of sulphuric acid (H2SO4), and some similar combinations in which the forces move with tremendous power, all the atoms are driven into each other up to their shoulders, in other words to number 2, and such may be the case with water, which is really the most powerful
|
|||
|
|
solvent, taking it all in all, to be found in nature. Closely as the atoms are driven together in sulphuric acid and water, they become
|
|||
|
|
three per cent. smaller still when these substances are combined equally, thus showing that the electrical forces are made even more powerful by their union.
|
|||
|
|
8. ACIDS are substances in which the electrical forces predominate, as I have already remarked, oxygen, or some other electri-
|
|||
|
|
cal element, being the acidifying principle, while hydrogen, also a common ingredient of acids, although possessing a predominant thermism, must yet be highly stimulating to the electrical forces.
|
|||
|
|
For proof of the cold, electrical nature of acids, see the chapter on Chromo Chemistry, XVII, 6, 7, 8.
|
|||
|
|
9. ALKALIES, the contrast of acids, belong to the thermal side of the question, and are included among electro-positives and
|
|||
|
|
broad mouthed atoms. As the result of this they must be expansive and relaxing in their general character. This is verified in our medical books, which prescribe as their principle laxatives
|
|||
|
|
and purgatives substances which have alkaline bases such as magnesia, sulphate of potassium, sulphate of magnesium (Epsom
|
|||
|
|
salts), tartrate of potassium and sodium (Rochelle salts), etc.
|
|||
|
|
|
|||
|
|
150
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
Citrate of magnesia, Vichy water and some other alkaline drinks
|
|||
|
|
|
|||
|
|
are called cooling, but this can come only from their reactionary
|
|||
|
|
|
|||
|
|
effect, or from the electrical principle with which they are
|
|||
|
|
|
|||
|
|
combined.
|
|||
|
|
|
|||
|
|
It is perfectly clear, then, why acids and alkalies have such an
|
|||
|
|
|
|||
|
|
affinity for each other, as they include the dual conditions of
|
|||
|
|
|
|||
|
|
narrow and broad forms, &c.
|
|||
|
|
|
|||
|
|
10. COLOR AFFINITIES may be merely mentioned here. In
|
|||
|
|
|
|||
|
|
the chapter on Chromo-Chemistry this whole subject will be
|
|||
|
|
|
|||
|
|
developed much more minutely. The reader has already seen
|
|||
|
|
|
|||
|
|
that the colors on what is sometimes called the warm end of the
|
|||
|
|
|
|||
|
|
spectrum, including red, red-orange, orange, yellow-orange, yel-
|
|||
|
|
|
|||
|
|
low and yellow-green, are made in connection with the spirillæ of
|
|||
|
|
|
|||
|
|
the thermal or widening portion of atoms, while the cold colors,
|
|||
|
|
|
|||
|
|
blue-green, blue, indigo-blue, indigo, violet-indigo, violet, and
|
|||
|
|
|
|||
|
|
dark violet, are made in connection with the spirillæ of the axial
|
|||
|
|
|
|||
|
|
or contracting portion of atoms. It is evident at once, then, that
|
|||
|
|
|
|||
|
|
substances in which the thermal colors predominate must affini-
|
|||
|
|
|
|||
|
|
tize with those in which the electrical colors rule. But what is
|
|||
|
|
|
|||
|
|
the exact affinity of each color? Let us take the blue-green for
|
|||
|
|
|
|||
|
|
instance. The very spiral, or more exactly the spirilla which
|
|||
|
|
|
|||
|
|
works as the blue green principle in the axis of an atom, works
|
|||
|
|
|
|||
|
|
as the principle of thermel on the outside (See fig. 135). Is it
|
|||
|
|
|
|||
|
|
not evident, then, that when the thermel is swept by strong
|
|||
|
|
|
|||
|
|
ethers the vibration extends to the inner blue-green portion and
|
|||
|
|
|
|||
|
|
vice versa? Again the axial spirilla for blue is simply the inner
|
|||
|
|
|
|||
|
|
portion of the thermal spirilla for red. When the blue part is
|
|||
|
|
|
|||
|
|
quickened the red part responds by reaction, or when the red
|
|||
|
|
|
|||
|
|
part is quickened the blue part responds by direct action. Is it
|
|||
|
|
|
|||
|
|
not plain, then, that a broad atom in which red rules would
|
|||
|
|
|
|||
|
|
naturally draw into its vortex the narrower electrical atom in
|
|||
|
|
|
|||
|
|
which blue rules, especially as the inner portion of each has a
|
|||
|
|
|
|||
|
|
leading spirilla of exactly the same size and responding to the
|
|||
|
|
|
|||
|
|
same ethers, while both thermal and axial forces must quicken
|
|||
|
|
|
|||
|
|
each other? On the same principle, then, the following are the
|
|||
|
|
|
|||
|
|
affinitive colors:
|
|||
|
|
|
|||
|
|
Thermel (invisible), affinitizes with Blue-Green.
|
|||
|
|
|
|||
|
|
Red
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
Blue.
|
|||
|
|
|
|||
|
|
Red-Orange
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
Indigo-Blue.
|
|||
|
|
|
|||
|
|
ARE ATOMS ANIMALS?
|
|||
|
|
|
|||
|
|
151
|
|||
|
|
|
|||
|
|
Orange
|
|||
|
|
|
|||
|
|
affinitizes with Indigo.
|
|||
|
|
|
|||
|
|
Yellow-Orange "
|
|||
|
|
|
|||
|
|
Violet-Indigo.
|
|||
|
|
|
|||
|
|
Yellow
|
|||
|
|
|
|||
|
|
"
|
|||
|
|
|
|||
|
|
Violet.
|
|||
|
|
|
|||
|
|
Yellow-Green "
|
|||
|
|
|
|||
|
|
Dark-Violet.
|
|||
|
|
|
|||
|
|
For abundant facts in proof that these are affinitive colors,
|
|||
|
|
|
|||
|
|
see Chromo-Chemistry (XX), and Chromo-Dynamics.
|
|||
|
|
|
|||
|
|
XXXVIII. ARE ATOMS ANIMALS?
|
|||
|
|
|
|||
|
|
We have already seen that atoms constitute the most wonderful of machines. Has the reader noticed, also, that they
|
|||
|
|
are formed almost like an animal? On their outside we have the large and small arteries in the shape of the 1st, 2d, and 3d spirillæ within which the etherial blood flows, and the tubing
|
|||
|
|
which constitutes the frame work of these spirillæ, wherein dwell the still finer ethers that may be called their nerve force. The
|
|||
|
|
axial spirillæ passing in the other direction on the law of electricity constitute the veins. Does the reader notice the remarkable analogy to the human system? Do not the arteries carry
|
|||
|
|
the warm red blood in one direction, while the veins carry the more electrical purple blood in the other? We have the ligo as
|
|||
|
|
the spine, the tubing of the main spiral as the bowels, that of the spirillæ as the nerves, the vortex as the point of ingress, the torrent as the point of egress, the channels laid out by the exter-
|
|||
|
|
nal spirillæ as the arteries, those by the axial spirillæ as the veins, while the ethers constitute the blood and nervous aura.
|
|||
|
|
And yet a single atom can never constitute a living animal. Different atoms must be combined on the law of chemical affinity before we can presume to have that swift flow of force which
|
|||
|
|
helps to inaugurate life. The space is too limited here to show how lines of active atoms may, under the stimulus of a certain
|
|||
|
|
amount of heat, be wound up into spirals, spiral balls, tubes, etc., in a way to constitute the static life of vegetable growths or the
|
|||
|
|
locomotive life of animal existences. Hints could be given of how organized vegetable life developed in connection with the soil could establish a flow of fine ethers and gases constituting
|
|||
|
|
its vitality, and then how a neighboring organization of finer atoms might eventually draw off these ethers and life forces of
|
|||
|
|
the vegetable into itself and succeed in reaching a grade of being sufficiently active to exist a brief time aside from the soil which
|
|||
|
|
|
|||
|
|
152
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
would thus constitute animal life, and again how this animal life might give up its fine forces to some organization a little higher
|
|||
|
|
still and so on until this everlasting progression and evolution from lower to higher conditions, working through countless ages,
|
|||
|
|
has attained to the present marvelous developments of vegetable, animal and human life. Is it atheistic to speak of this sublime
|
|||
|
|
law of nature because it is seemingly self-acting? By no means, for as we have seen (X) there must be some infinite spiritualizing Power beyond coarse matter, beyond even the finest ethers,
|
|||
|
|
before natural forms can be potentialized into life and motion. The conception of Deific wisdom which can arrange such won-
|
|||
|
|
derful laws and self-acting conditions is far grander than the God of confusion, too often conceived of, who works very generally without law and who must be constantly supplementing the
|
|||
|
|
deficiencies of things by some special efforts.
|
|||
|
|
|
|||
|
|
XXXIX. COUNT RUMFORD AND THE DYNAMIC THEORY.
|
|||
|
|
|
|||
|
|
1. We have already seen the one-sidedness of a mere dynamic
|
|||
|
|
theory of force on the one hand, or of a mere material or fluidic theory on the other hand, see Chapter Second, XIV—XVIII.
|
|||
|
|
We have also seen in this Chapter, how many mysteries of matter and force stand revealed by uniting both theories in one on the etherio-atomic law. In order that this mere dynamic
|
|||
|
|
theory, now so much advocated by scientists, should if possible be laid on the shelf so as no longer to retard the progress of
|
|||
|
|
correct knowledge, a little more should be said in this place. 2. In 1798, an eminent philosopher, by the name of Count
|
|||
|
|
Rumford, read an essay on Heat before the Royal Society, which
|
|||
|
|
has been the stronghold of the dynamic theorists, and is perhaps the most plausible thing that has thus far been presented on
|
|||
|
|
that side of the question. Of this essay Prof. Tyndall says, "Rumford, in this memoir, annihilates the material theory of
|
|||
|
|
heat. Nothing more powerful on the subject has since been written." (Heat as a Mode of Motion, p. 39.) In this essay the Count explained an experiment of boring into steel, while 2½
|
|||
|
|
gallons of water surrounded the boring apparatus, and thus developing an amount of heat that caused the water to boil.
|
|||
|
|
Seizing the small amount of steel dust that had been caused by the boring, he had held it up and exclaimed: "Is it possible that
|
|||
|
|
|
|||
|
|
COUNT RUMFORD AND THE DYNAMIC THEORY.
|
|||
|
|
|
|||
|
|
153
|
|||
|
|
|
|||
|
|
the very considerable quantity of heat produced in this experiment, could have been furnished by so inconsiderable a quantity of
|
|||
|
|
dust?" I quote his strongest point, Italics and all, in the following:—"What is heat—is there any such thing as an igneous
|
|||
|
|
fluid? Is there anything, that with propriety can be called caloric? We have seen that a very considerable quantity of
|
|||
|
|
heat may be excited by the friction of two metallic surfaces and given off in a constant stream or flux in all directions, without interruption or intermission and without any signs of diminution
|
|||
|
|
or exhaustion. In reasoning on this subject we must not forget that most remarkable circumstance that the source of heat gen-
|
|||
|
|
erated by friction in these experiments appeared evidently to be inexhaustible. It is hardly necessary to add that anything which any insulated body or system of bodies can continue to furnish
|
|||
|
|
without limitation cannot possibly be a material substance; and it appears to me to be extremely difficult, if not quite impossible,
|
|||
|
|
to form any distinct idea of anything capable of being excited and communicated in those experiments except it be motion."
|
|||
|
|
3. It will be seen from the above that Rumford was reasoning
|
|||
|
|
on the supposition that heat must be confined to the portion bored, and that the metal acted as an insulator to prevent heat from
|
|||
|
|
coming into the water from without. But we have seen how heat and electricity when under stimulus can pass through all substances including atmosphere, water and metals, and how easily
|
|||
|
|
the ethers can sweep through steel, as in the magnet, for instance, in which the forces come from the atmosphere and pass into the
|
|||
|
|
atmosphere again, as shown by the iron filings which they influence. We have seen that atoms are a kind of wind-mills or fanning-mills into which and out of which the currents of ether
|
|||
|
|
flow, their spiral wheel-work becoming especially active when frictionized or pressed so that both the caloric and electricity
|
|||
|
|
must be drawn along with the greater rapidity. The Count's reasoning then is on a par with the following, with reference to a fan-
|
|||
|
|
ning-mill:—The fanning-mill is turned and a very considerable quantity of air is "excited and given off in a constant stream or flux" in various directions, "without interruption or intermission,
|
|||
|
|
and without any signs of diminution or exhaustion. In reasoning on this subject we must not forget that most remarkable cir-
|
|||
|
|
cumstance that the source of wind (heat) generated in these ex-
|
|||
|
|
|
|||
|
|
154
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
periments appeared evidently to be inexhaustible. It is hardly necessary to add, that any" air which a fanning-mill, covered with
|
|||
|
|
a wire screen (insulated), "can continue to furnish without limitation, cannot possibly be a material substance; and it appears to
|
|||
|
|
me to be extremely difficult, if not quite impossible, to form any distinct idea of anything capable of being excited and communi-
|
|||
|
|
cated in those experiments, except it be MOTION." 4. This is parallel to the common reasoning of to-day on this
|
|||
|
|
subject. To speak of insulating or shutting out the heat currents
|
|||
|
|
by means of steel is very similar to insulating or shutting off the air currents from a fanning-mill by a wire screen. Very many
|
|||
|
|
persons are able to feel, as I myself have sometimes done, the warm currents flowing from the negative pole of a magnet and the cold currents flowing from its positive pole. Baron Reichen-
|
|||
|
|
bach furnishes numerous examples of persons who can do this, and who can see fiery emanations from both poles, the warm red
|
|||
|
|
flames coming from the south pole, and blue flames from the north pole, which is more positively electrical. (See Chromo-Dynamics.) Suppose a person should hold his hand in front of the
|
|||
|
|
fanning-mill, and, as he feels a strong breeze emanating from it should declare there was nothing there but motion, would his
|
|||
|
|
observation be considered very scientific? If not, neither is it scientific to reason in the same way about the ethereal breezes. It is absurd to suppose that there can be motion without some-
|
|||
|
|
thing to make the motion. 5. A similar error was committed by Faraday in the measure-
|
|||
|
|
ment of electricity. As Rumford presumed that heat can be shut in by a bar of steel so did Faraday presume that electricity can be enclosed and then measured in a drop of water, as signified in
|
|||
|
|
the following sentence:—"One grain of water acidulated to promote conduction, has a quantity of electricity equal to a power-
|
|||
|
|
ful flash of lightning." (Experimental Researches in Electricity, p. 250.) In answer to this statement which has been widely quoted
|
|||
|
|
as a fact, I would say 1st, that a grain of water is about equivalent to one drop. A powerful flash of lightning from a cloud doubtless comes from thousands of drops; is it to be supposed
|
|||
|
|
that one drop should equal this? 2dly, we have seen under the head of Galvanism (XXXIV) that acidulated water, by means of
|
|||
|
|
chemical action, brings not only its own electricities into play but
|
|||
|
|
|
|||
|
|
WEIGHT AND SPECIFIC HEAT OF ATOMS.
|
|||
|
|
|
|||
|
|
155
|
|||
|
|
|
|||
|
|
those of the surrounding metals and wires. How then shall its electricity be measured aside from theirs?
|
|||
|
|
6. That all the fine forces of light, heat, electricity, etc., include both atomic vibrations and ethers, should by this time be
|
|||
|
|
quite clear to the reader, especially as on this theory so many mysteries of nature stand revealed which on the mere dynamic
|
|||
|
|
plan must ever remain inexplicable. I have myself collected several colors on chemically prepared paper, and this directly from the sunlight, with only colored glass between, thus proving
|
|||
|
|
that light is a substance as well as the result of vibrations. The following from Prof. Henry, one of our most eminent scientists,
|
|||
|
|
shows the fluidic and material side of electricity:—"In a new investigation of the discharge of a Leyden jar, the facts clearly indicated the transfer of a fluid from the inside to the outside and
|
|||
|
|
a rebound back and forward several times in succession until equilibrium was obtained by a series of diminishing oscillations"
|
|||
|
|
(Patent Office Report on Agriculture in 1857.)
|
|||
|
|
|
|||
|
|
XL. WEIGHT AND SPECIFIC HEAT OF ATOMS.
|
|||
|
|
|
|||
|
|
The specific heat in the following table is given as determined
|
|||
|
|
by Regnault and others, and the relative weight of atoms as established by chemists. The real weight of atoms of course cannot be ascertained. Hydrogen is the lightest substance, has
|
|||
|
|
the lightest atoms of any which chemists have been able to take cognizance of, and its atomic weight is called 1; the carbon being
|
|||
|
|
12 times as heavy, is called 12, Oxygen 16, etc.; chemists have concluded that all atoms in a gaseous form occupy equal sizes or volumes, those of oxygen gas, for instance, occupying the same
|
|||
|
|
amount of space as those of hydrogen, although 16 times as heavy. I will give the names of the substance, then the chemical symbol,
|
|||
|
|
as O for Oxygen, H for Hydrogen, Na (natrium) for Sodium, Fe (ferrum) for Iron, etc. In compound substances, the different
|
|||
|
|
elements and the quantity of each is represented chemically by placing the symbols with figures thus: H2O for water, meaning 2 atoms (or volumes) of hydrogen to one of oxygen, or eight times
|
|||
|
|
as much by weight of Oxygen as of Hydrogen. In the next column I furnish the relative weight of each atom, then the
|
|||
|
|
specific heat which each atom has the capacity for as compared with water, then the products of the specific heat multiplied by
|
|||
|
|
|
|||
|
|
156
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
the atomic weight, which makes about the same amount for nearly all the elements. Dulong and Petit were the first to deduce the
|
|||
|
|
law that the specific heat of an elementary body is inversely as its atomic weight. The rule seems to be that the greater the thermal
|
|||
|
|
|
|||
|
|
LATENT AND SENSIBLE HEAT.
|
|||
|
|
|
|||
|
|
157
|
|||
|
|
|
|||
|
|
activity and capacity of an atom the less is it liable to be loaded
|
|||
|
|
down and saturated with gravito-ether, whose attractive principles give the effect of weight. The heaviest atoms do not always make the heaviest substances, as bismuth, whose atoms are the heaviest of all, is not 10 times as heavy as water, while gold is so compact as to weigh over 19 times more than that fluid. The formula for Alcohol as above is C2H6O, 2 equivalents (volumes) of Carbon, 6 of Hydrogen and 1 of Oxygen, or by weight 24 parts of Carbon, 6 of Hydrogen and 16 of Oxygen.
|
|||
|
|
|
|||
|
|
XLI. LATENT AND SENSIBLE HEAT.
|
|||
|
|
|
|||
|
|
How is it that atoms become so vastly expanded when in the gaseous state over what they are in the liquid or solid condition,
|
|||
|
|
or when heated, over what they are when cold? The channels formed by the spirillæ around the main spiral through which the
|
|||
|
|
fluid ethers flow, must ever remain much the same in size excepting under great pressure (See XXXIII), otherwise we could not get the same color continuously, or the same grade of elec-
|
|||
|
|
tricity within the same spirilla, for if it grew larger or smaller it would vibrate at different rates and attract different grades of
|
|||
|
|
ethers. The atoms of water expand nearly 1700 times on being converted into steam, and something wonderfully elastic and spring-like must be thus projected outward by the centrifugal
|
|||
|
|
force of the heat currents. As the thermo-spirals form the channels of the ordinary heat currents, suppose we consider the tube of the
|
|||
|
|
same. Within this tube is the spiric ether, which, though static to some extent, yet like the static atoms of jelly may be supposed to move about only with incomparably more freedom than that
|
|||
|
|
substance from its great fineness. This spiric ether must be swung with tremendous velocity against the outside portion of
|
|||
|
|
the tube which contains it, causing it to project in case it is thin and elastic. That it must be thin would seem to be indicated by
|
|||
|
|
the fact that the billions of revolutions and vibrations of the heat forces every second, acting ever centrifugally, are constantly hurling this ether against the outward membrane and thus ren-
|
|||
|
|
dering it pliable. Knowing now as we do, that something must protrude far beyond the body of the atom, and that this some-
|
|||
|
|
thing may be thus naturally accounted for by this elastic and
|
|||
|
|
|
|||
|
|
158
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
pouch-like membrane of the spiral tubes driven outward by the momentum of the ether within, I think we may settle down upon this as the correct hypothesis. The greater the heat action, other things being equal, the farther will this membrane be projected outward. In gases, there is no power to hinder it, and it may thus extend very far. Now this spiric ether while within its
|
|||
|
|
tube may be called latent heat, but when it is projected outward its
|
|||
|
|
ribbon-like membrane, lashing against all surrounding objects
|
|||
|
|
gives the burning effect of sensible heat causing the thermometer to rise. Of course the fluid ethers must combine with this lashing to give the full effect of heat, and excite the spiral tube itself. But why, it may be said, is the heat of boiling water more severe to the sensation even than that of steam, as long as the atoms are so much nearer together and the lashing membrane so much shorter? Because 1700 times as many lashes are laid on in the same space by water as by steam, so they make up in number what they lack in length. This shows why the latent heat generally diminishes in proportion as the sensible heat increases, as the spiric ether lessens in its tube as it is projected externally. According to the experiments of Clement and Desormes, a certain weight of steam at 212° F. condensed into water at 32° exhibited:
|
|||
|
|
Of Sensible heat, 180°—of Latent heat, 950°,—total 1130°. The same weight at 250° manifested:
|
|||
|
|
Of Sensible heat, 218°—of Latent heat, 912°—total 1130°. The sensible heat, it will be remembered, is that which is measured by the thermometer.
|
|||
|
|
|
|||
|
|
XLII. THEORIES OF ATOMS.
|
|||
|
|
|
|||
|
|
1. It is becoming more and more apparent to men of thought
|
|||
|
|
that the knowledge of atoms is the foundation stone of the temple of Science. The ignoring of the fine ethers, however, which
|
|||
|
|
vitalize and propel the atoms, has made it a very difficult matter for them to gain any kind of rational conception of how they work. Tyndall and others very correctly conceive that there is
|
|||
|
|
some spiral style of movement connected with heat, and yet the following is his conception of the matter: "I have here a weight
|
|||
|
|
attached to a spiral string; if I twirl the weight round in the air, it tends to fly away from me, the spring stretches to a cer-
|
|||
|
|
|
|||
|
|
THEORIES OF ATOMS.
|
|||
|
|
|
|||
|
|
159
|
|||
|
|
|
|||
|
|
tain extent, and as I augment the speed of revolution the spring stretches still more, the distance between my hand and the weight being thus augmented. It has been thought that the augmentation of the distance between a body's atoms by heat may be also due to a revolution of its particles. And imagine the motion to continue until the spring snaps; the ball attached to it would fly off in a tangent to its former orbit, and thus represent an atom freed by heat from the force of cohesion, which is rudely represented by our spring." Thus does Tyndal hint at a "revolution of particles." If he means a revolution of etherial particles around the main atoms through some directing lines of force or spiral spring work, then it is clear enough just how this "revolution" can be effected; but if he means that the main atoms revolve spirally around each other without any guiding force, or channel, to systematize this revolution, the mystery is as great as ever; for how could they ever become polarized or crystallized in
|
|||
|
|
the midst of this constant whirl, and whence comes their propel-
|
|||
|
|
ling power? 2. Molecular Astronomy. I have just met with a very good
|
|||
|
|
synopsis of the views of scientists on these revolutions of atoms which is strangely confirmatory of what I have already been stating with reference to the atomic structure when viewed in one light and yet strangely absurd as a whole. The theory is very pretty, and it is given in All the Year Round, from which I quote the following:—
|
|||
|
|
"Comparing the infinitely small with the infinitely great, it is held that a body, of what kind soever, represents in miniature and very exactly, an astronomical system, like those which we behold every night in the firmament. If we could construct a miscroscope of sufficient power, we should be able, by the help of such an instrument, to resolve the molecular constellations of every little terrestrial milky way, exactly as our first rate telescopes resolve the celestial nebulæ and separate double and triple stars. Were our sight sufficiently penetrating we should behold what now appear mere confused heaps of matter, arranged in groups of admirable symmetry. Bodies would appear honeycombed in all directions, daylight would stream through vast interstices as it does through the columns of a temple or the tree trunks of a forest. Nay, we should see immense empty spaces,
|
|||
|
|
|
|||
|
|
160
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
like those which intervene between the planets. From distance to distance, too, we should perceive clusters of stars, in harmo-
|
|||
|
|
nious order, each surrounded by its own proper atmosphere; and still more astounding spectacle!—every one of those little mole-
|
|||
|
|
cular stars would be found revolving with giddy rapidity, in more or less elongated ovals, exactly like the great stars of heaven;
|
|||
|
|
while by increasing the power of our instrument, we should discover around each principle star minor stars—satellites resembling our moon—accomplishing their revolutions swiftly and reg-
|
|||
|
|
ularly. This view of the constitution of matter is aptly described by M. de Parville as molecular astronomy, maintaining even that
|
|||
|
|
astronomy, without our suspecting it, is dependent on minerology; and that whenever we shall have discovered the laws which govern the grouping and the movements of the infinitely small, as-
|
|||
|
|
tronomers will have only to follow in our track. But who, a hundred years ago, could dare to imagine that the infinitely small was
|
|||
|
|
so infinitely great? What is now believed to be the nearest guess at the truth appears, at first sight, to be the dream of a madman."
|
|||
|
|
3. This system of molecular astronomy, with its circles within
|
|||
|
|
circles, is remarkably in harmony with what I have ascertained must be the law of the atom, working with its spirals and dif-
|
|||
|
|
ferent grades of spirillæ, with its flow of small ethereal atoms which revolve around and through the main atoms and its still more delicate atoms that circulate through them. But it is an
|
|||
|
|
immense absurdity to suppose that atoms exist at great distances apart in open vacuity, which must at once make them independent
|
|||
|
|
of the rest of the universe and cause immediate lawlessness and ruin. It can be shown that the gravitation which holds all worlds in their orbits would at once cease were there not an al-
|
|||
|
|
most infinite series of atomic pathways held in a beautiful polarity and contiguity by means of sunbeams and starbeams through
|
|||
|
|
which the amazingly swift and attractive ethers pass and repass and hold suns and systems to their allegiance.
|
|||
|
|
4. Mr. L. R. Curtiss, in an article on Molecular Magnitudes in the Popular Science Monthly, of Oct. 1877, uses the following language: "As to the shape and internal structure of atoms,
|
|||
|
|
there is no definite knowledge, but Helmholtz's studies of certain equations in hydro-kinetics, several years ago, gave rise to the
|
|||
|
|
idea that vortex motion in a frictionless medium would exist for-
|
|||
|
|
|
|||
|
|
SUMMATION OF POINTS IN CHAPTER THIRD.
|
|||
|
|
|
|||
|
|
161
|
|||
|
|
|
|||
|
|
ever—an assumption which is purely hypothetical; but since the proposition has been enlarged upon by Sir William Thompson—
|
|||
|
|
who conjectures that the atoms might be filaments or rings endowed with a vortex motion—the subject assumes a shape better
|
|||
|
|
calculated to form the basis of a scientific theory." The above shows that scientists are approaching more and more nearly to
|
|||
|
|
the true conception of atoms. But when Helmholtz, Thompson, and others talk about a vortex, they are considering something altogether vague, unless they also admit the necessity of fluidic
|
|||
|
|
ethers to sweep through this vortex, for otherwise the atoms must be as lifeless as a windmill without wind.
|
|||
|
|
5. These and many other atomic theories are pretty and ingenious, and give some conception of the immense movements that are ever taking place among atoms, but how these movements
|
|||
|
|
occur and why they occur, and what is the philosophy of molecular action, has thus far never been presented, so far as I know.
|
|||
|
|
A thousand hypotheses concerning atoms may be propounded; but so long as they are not reduced to definite law and harmonized with the mechanics of nature, they will be entirely unable to
|
|||
|
|
unfold the fundamental principles of light, color, heat, electricity, magnetism, physiology, psychology or dynamics of any kind, and
|
|||
|
|
the world must continue to build on conjecture.
|
|||
|
|
|
|||
|
|
XLIII. SUMMATION OF POINTS IN CHAPTER THIRD.
|
|||
|
|
|
|||
|
|
1. Correct science is impossible without a knowledge of atoms. 2. All things are comprised under the terms force and matter. 3. While the largest atoms are inconceivably small, they are vast as compared with those of the finest ethers. 4. The form of atoms must be that of an oblate ovoid, or the shape of
|
|||
|
|
an egg flattened somewhat on the sides, from the necessities of force. This
|
|||
|
|
form is not solid, but consists principally of an immensely elastic spring-
|
|||
|
|
work of spirals encircled by spirillæ of different grades, which form con-
|
|||
|
|
stant channels of force. These channels move spirally around the outside
|
|||
|
|
of atoms as the principle of expansion and heat, and forming a vortex at
|
|||
|
|
the larger end, pass through the center in the other direction, tending to draw
|
|||
|
|
the atom in smaller on the principle of cold and electricity. 5. The smaller positive end of the atom has the greater intensity of heat, 11
|
|||
|
|
|
|||
|
|
162
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
cold, repulsion and efflux power; the larger vortical or negative end is the
|
|||
|
|
point of greatest attraction, and influx power. 6. Ordinary atoms must have certain spirals that are more external
|
|||
|
|
and projecting than the others, which are finer and set farther within.
|
|||
|
|
The external are known as extra-spirals, the internal, as intra-spirals.
|
|||
|
|
These pass within as axial extra-spirals and axial intra spirals. 7. The thermo or extra-spirals are the principle of the ordinary coarser
|
|||
|
|
grades of heat, and when passing axially are the principle of the coarser
|
|||
|
|
grades of cold and also frictional electricity, which last works much like
|
|||
|
|
thermo-electricity. The intra-spirals in transparent bodies are the pathway
|
|||
|
|
of the warm or thermal colors, and when moving axially, of the electrical
|
|||
|
|
colors. In somewhat coarser and opaque bodies these same spirals become
|
|||
|
|
the principle of coarser grades of heat, and when moving axially, of the chemico, galvano and magneto electricities.
|
|||
|
|
8. Atoms in harmony with all mechanical action are kept in move-
|
|||
|
|
ment by fluidic forces. These forces are called ethers and are guided and
|
|||
|
|
drawn on by and through the channels called the spirillæ. The finer spirillæ respond to the finer ethers.
|
|||
|
|
9. Ethers have weight, otherwise they could not have momentum. 10. Polar cohesion is caused by the flow of ethers which sweep and
|
|||
|
|
draw the positive end of one atom into the larger vortical end of a con-
|
|||
|
|
tiguous one. Lateral cohesion is caused by the contiguity of positive and negative thermo-spirals.
|
|||
|
|
11. The unity of atoms requires that the spirals and spirillæ should
|
|||
|
|
be connected with each other by various little pillars or tubes from one to the other. These pillars may be termed atomic tendrils.
|
|||
|
|
12. The most common method of polarization among atoms is in con-
|
|||
|
|
verse layers, in which the lines of atoms run side by side, but alternately
|
|||
|
|
in opposite directions. Transverse layers are those which cross each other
|
|||
|
|
at right angles or nearly so; transverse diagonals, those which cross
|
|||
|
|
diagonally and irregularly, while paraverse layers have all the atoms of a layer pointing in the same direction.
|
|||
|
|
13. Heat tends to individualize and disintegrate, cold to organize and
|
|||
|
|
make rigid; both combined to create harmony. It is only the coarser grades
|
|||
|
|
of heat and cold which are most painful to endure. The finer grades are
|
|||
|
|
more soothing and penetrating. The different grades of electricity are simply grades of cold.
|
|||
|
|
|
|||
|
|
SUMMATION OF POINTS IN CHAPTER THIRD.
|
|||
|
|
|
|||
|
|
163
|
|||
|
|
|
|||
|
|
14. Polar cohesion is aided by the flow of electricities, and in hard or
|
|||
|
|
solid bodies, doubtless, by a special riveting arrangement called the ligo. 15. There are six especial divisions of electricity, 1, the frictional; 2,
|
|||
|
|
Chemico electricity; 3, Galvano electricity; 4, Magneto electricity; 5,
|
|||
|
|
Chroma electricity; and 6, Psycho electricity. Other grades exist in con-
|
|||
|
|
nection with the fine spirillæ, etc. Frictional electricity is the most interior
|
|||
|
|
and probably the swiftest, psycho electricity the finest, and chromo-electricity
|
|||
|
|
somewhat coarser, while chemico electricity is slow and negative. Unan-
|
|||
|
|
swerable facts show that the various shades of blue, indigo and violet are
|
|||
|
|
electrical. 16. Magnetism consists especially of two leading grades of electricity,
|
|||
|
|
the more positive of which is the magneto, the more negative, the chemico,
|
|||
|
|
deflected to a great extent into curves by the transverse polarization of the
|
|||
|
|
atoms of certain substances through which they pass. The negative, some-
|
|||
|
|
times called the south pole of the magnet, is saturated with the chemico
|
|||
|
|
electricity, the positive pole with magneto and perhaps galvano electricity,
|
|||
|
|
being stronger in both its attractions and repulsions than the negative pole. 17. Diamagnetic substances are those which have a lateral axis, instead
|
|||
|
|
of a longitudinal one like that of the magnet, and this comes from the polarization of its atoms into transverse diagonals.
|
|||
|
|
18. Phosphorescence, like every other style of combustion or chemical
|
|||
|
|
action, is always developed in connection with some grade of electricity,
|
|||
|
|
whether caused by vital action, the blue color, or otherwise. Its light is of
|
|||
|
|
too fine a grade to give the painful heat sensations of ordinary burning objects. (See XXI.)
|
|||
|
|
19. Fluorescence, Calorescence, etc., prove that under the stimulus of
|
|||
|
|
chemical or electrical action, fine ethers can sometimes be attracted through
|
|||
|
|
spirillæ which are naturally too coarse for them, and coarse ethers driven through spirillæ naturally too fine for them.
|
|||
|
|
20. In galvanism the acid or other substance used is polarized con-
|
|||
|
|
versely with the molecules of water, the galvano and magneto electricities
|
|||
|
|
passing through the water from the platinum to the zinc, and so on through
|
|||
|
|
the circuit, while the chemico electricity passes through the acid in the other direction.
|
|||
|
|
21. In frictional Electricity there are not two kinds of electrical force passing in two directions, as is often supposed.
|
|||
|
|
|
|||
|
|
164
|
|||
|
|
|
|||
|
|
ETHERIO—ATOMIC PHILOSOPHY OF FORCE.
|
|||
|
|
|
|||
|
|
22. A negatively electrified body, or part of a body, is one in which the
|
|||
|
|
influx electrical currents preponderate over the efflux ones, while a positive-
|
|||
|
|
ly electrified body, or part of a body, is one in which the efflux currents pre-
|
|||
|
|
ponderate over the influx ones. Positiveness of electrical power sometimes
|
|||
|
|
depends upon the quantity and tension of electricity in one body as opposed
|
|||
|
|
to less of the same in another, and sometimes upon a stronger as opposed to
|
|||
|
|
a feebler quality of electricity, as the magneto in one substance as opposed
|
|||
|
|
to the chemico in another. 23. Chemical affinity occurs between atoms that have been made full
|
|||
|
|
and wide mouthed from their strong thermal and vortical action and
|
|||
|
|
those that have been made more narrow from their strong electrical action,
|
|||
|
|
especially if some similar grades of ether are able to pass through and con-
|
|||
|
|
nect them both. The most direct affinity occurs between the electro-positives,
|
|||
|
|
including the alkalies, and the electro-negatives, including the acids, the former
|
|||
|
|
having the more wide mouthed atoms, the latter, the more pointed and elec-
|
|||
|
|
trical atoms. The electrical colors affinitize with the thermal colors. 24. Atoms constitute at once the most perfect of machines and yet pos-
|
|||
|
|
sess many leading characteristics of an animal. 25. The reason why the etherio-atomic law is a key to unlock so many
|
|||
|
|
mysteries of science, is, that it adopts the system of duality so universal in
|
|||
|
|
nature which combines the form and working of atoms as the base work of
|
|||
|
|
matter and the vitalizing flow of ethers, as the instruments of force, neither
|
|||
|
|
of which departments can ever be divorced from each other any more than
|
|||
|
|
action can be sundered from reaction. 26. The heavier the atom, the more feeble is its capacity for heat. 27. Scientists are right in presuming that atoms revolve around other
|
|||
|
|
atoms like planets around their parent sun, but these revolving atoms con-
|
|||
|
|
stitute the ethers which circulate through their spiral orbits around the
|
|||
|
|
parent atom. The orbits are brought to the most unerring system by means
|
|||
|
|
of the 1st, 2d and 3d spirillæ which represent orbits like those of the moon,
|
|||
|
|
earth and sun.
|
|||
|
|
28. Thus is an atom an epitome of the universe, having a gradation of elliptical and spiral orbits in imitation of those of the solar system; having its axial center of unity around which its external spirals revolve as a principle of diversity; having its positive end at which repulsion rules, and its negative end at
|
|||
|
|
|
|||
|
|
SUMMATION OF POINTS IN CHAPTER THIRD.
|
|||
|
|
|
|||
|
|
165
|
|||
|
|
|
|||
|
|
which attraction is the dominant principle; constituting the most marvelous of machines with wheels within wheels driven
|
|||
|
|
by water, even the water of ether, some of which is much swifter than the lightning; resembling also an animal with veins, arteries,
|
|||
|
|
nerves, spine, viscera, blood, nerve-force, etc. In general form it resembles the egg, which at one time was thought to be the starting point of all life, Harvey having written "omne vivum
|
|||
|
|
ex ovo." Atoms indeed are the eggs out of which the whole universe is built, though on quite another principle. Their ac-
|
|||
|
|
tivities are so amazing that if one of them could be enlarged to the size of a man's head, constructed of some material millions of times stronger than anything known upon earth, and the tre-
|
|||
|
|
mendous whirl of forces set to revolving through their spirals which at their ordinary speed vibrate several hundred trillion
|
|||
|
|
times a second, what must be the effect? If such an atom should be set in the midst of New York City, it must create such a whirlwind that all its palatial structures, ships, bridges and sur-
|
|||
|
|
rounding cities, with nearly two millions of people, would be swept into fragments and carried into the sky.
|
|||
|
|
If the reader has become familiar with the foregoing chapters and gained possession of the atomic key, I think we shall be able to go hand in hand through many hidden pathways of power and
|
|||
|
|
open new doors in the infinite temple of knowledge.
|
|||
|
|
|
|||
|
|
166
|
|||
|
|
|
|||
|
|
THE SOURCES OF LIGHT.
|
|||
|
|
|
|||
|
|
CHAPTER FOURTH.
|
|||
|
|
THE SOURCES OF LIGHT.
|
|||
|
|
I. INTRODUCTORY POINT.
|
|||
|
|
Whence is the radiation that kindles all things into brilliance, and without which the whole universe would be but an infernum of blackness and death? It is meet that we should mount from atoms to suns, nature's opposite extremes of wonder. Opposite Extremes, did I say? They are identical, for suns and planets are but aggregations of atoms.
|
|||
|
|
II. WORLD FORMATIONS.
|
|||
|
|
Something concerning cosmical formations will explain the existence of suns and fixed stars, or the luminous worlds, and also of the planets and moons, which are non-luminous. The etherio-atomic key opens up the law of forces so clearly as to make it evident that astronomers with all their wonderful achievements have committed some important errors in getting at the development of worlds and of cosmical forces. For many years there has been a great division of sentiment as to whether the universe is the result of instantaneous creation, or of progressive growth and development from nebulous conditions. The nebulous theory declares that originally world matter was spread out through space in cloud-like forms of almost immeasurable extent. Scientists have often spoken of this as having been caused by heat so intense as to convert liquids, metals and mineral forms generally into a vapor which is thus spread out through space, and which is finally condensed into suns and worlds by natural processes. The prize essay of the World's Evangelical Alliance, written by Mr. Pearson, admits that the world is far older than six thousand years, but considers that all things were spoken into existence from nothing. He thinks that because the tele-
|
|||
|
|
|
|||
|
|
NEBULOUS MATTER.
|
|||
|
|
|
|||
|
|
167
|
|||
|
|
|
|||
|
|
scope has resolved many of the nebulæ into stars, it will yet resolve all of them and thus put an end to the nebular theory which
|
|||
|
|
signifies progressive development. But an instrument keener in its powers of analysis than the telescope has come out against him,
|
|||
|
|
namely the spectroscope. Prof. Draper in 1846 proved that the spectrum of an ignited solid is always continuous, just as Fraun-
|
|||
|
|
hofer had still earlier shown that the spectrum of ignited gases is discontinuous, or broken by lines or bands. Of 70 nebulæ examined by Huggins, about one-third gave discontinuous or
|
|||
|
|
gaseous spectra, and the others continuous ones, and other observers have arrived at about the same result, thus proving the truth
|
|||
|
|
of the nebular hypothesis and showing that the divine activity is unceasing in its grand processes of development.
|
|||
|
|
|
|||
|
|
III. NEBULOUS MATTER.
|
|||
|
|
|
|||
|
|
The idea that this nebulous or world-forming matter must necessarily be intensely hot is evidently a great mistake. When matter has been thus spread out in the intensely cold realms of space and
|
|||
|
|
especially with such great tenuity, and kept there for untold ages, it must naturally become cool excepting where chemically excited.
|
|||
|
|
But how can heavy metals and liquids be held in such a vaporous and etherial condition without heat, it may be asked? To this it may be answered that the substance which, in a sun or planet,
|
|||
|
|
constitutes a metal, is not necessarily a metal while in the nebulous condition, but exists in a negative, unformed state just as the
|
|||
|
|
oxygen and hydrogen, which compose water, may exist side by side without combining, in a gaseous state which is 2,000 times as expansive as water itself. I think it will sometime be ascer-
|
|||
|
|
tained by chemists that iron, lead, silver, gold and other supposed elements, are really substances which are chemically combined in
|
|||
|
|
molecules from heterogeneous atoms, but united so closely that no analytical power has yet been able to disintegrate them.
|
|||
|
|
That at least might help account for some of their intensity of cohesion and finer and coarser grades of atoms which exist in the same element. But why do they thus expand in open space
|
|||
|
|
without cohering as metals? Because their affinitive ethers are not sufficiently powerful to drive them into union. They con-
|
|||
|
|
stitute a good example of the utter helplessness of all matter when
|
|||
|
|
|
|||
|
|
168
|
|||
|
|
|
|||
|
|
THE SOURCES OF LIGHT.
|
|||
|
|
|
|||
|
|
divorced from its ethers. But how are we to get these great cloud-masses converted into worlds, and especially into the great
|
|||
|
|
fiery worlds which we call suns? Can cold, nebulous, vapory matter turn into fire-balls?
|
|||
|
|
|
|||
|
|
IV. THE SUN FORMING PROCESS.
|
|||
|
|
|
|||
|
|
It should be understood that all combustion is simply a chemical process. This chemical union may be induced by
|
|||
|
|
electricity, or mechanical force, or heat. We have seen how a cloud, positively charged with electricity, coming in contact with
|
|||
|
|
a cloud more feebly charged, sends its superabundant ethers into its neighbor with great power, causing the flash of the lightning and a peal of thunder. (Chapter Third, XXXVI.) We will
|
|||
|
|
now suppose that two great cloud masses of nebulous matter approach each other. They may be millions or even billions of miles
|
|||
|
|
in diameter. One of them has become far more powerfully charged than the other with the electric radiations from distant suns. Why should one mass of nebulous matter become more
|
|||
|
|
highly charged than another? From being nearer to some central sun around which both are moving, and thus being able to
|
|||
|
|
receive the electricities of that sphere more powerfully. All matter, it should be remembered, must be moving around some other more powerful center. This charging may have been going on for
|
|||
|
|
thousands perhaps millions of years, for nature is sublime in her periods of time as well as her achievements of power. When this
|
|||
|
|
charge of forces is fired into the negative world-mass, can any human mind conceive of the almost infinite burst of power, the shock of which must vibrate even to far off starry worlds? These tides
|
|||
|
|
of electricity would sweep the oxygen into the hydrogen to form watery vapor, into the sulphur to form sulphides, into the calcium
|
|||
|
|
to form lime, into the silicon to form silica or flinty substance, into the carbon to form carbonic acid, into hydrogen and sulphur to
|
|||
|
|
form sulphuric acid, would drive the chlorine into the sodium to form common salt, would unite hydrogen and chlorine to form hydrochloric acid, would send the metallic atoms into union and
|
|||
|
|
start altogether a process of action which thenceforward and forever must have no end. These masses, and perhaps many
|
|||
|
|
other similar ones thus segregated into oxides, metals, etc., would become aggregated by gravitation into a single mass. The heat
|
|||
|
|
|
|||
|
|
THE PLANET FORMING PROCESS.
|
|||
|
|
|
|||
|
|
169
|
|||
|
|
|
|||
|
|
that would be developed by these processes must simply be indescribable, and all things must exist in vaporous conditions.
|
|||
|
|
Let us see some of the steps of progress. The attraction of gravitation uniting with cohesion and chemical force, then rounds
|
|||
|
|
it out into a vast sun-globe, compared with which our own sun is quite a minute affair. From some cause, perhaps from a
|
|||
|
|
powerful eruption on one side, it is set into an axial whirl. But the great flaming, seething mass of fire is too furious in its chemical repulsions to settle into peaceful action, and thus vast
|
|||
|
|
explosions take place, sending their burning fragments trillions of miles into space. These fragments contitute a new family
|
|||
|
|
of suns, one of which is our own central sphere. I say sphere, for being in a fluid or plastic condition, gravitation acts equally in all directions from a common center, and hence it must
|
|||
|
|
be mainly globular. The original central globe, however, remains powerful enough to attract all the other suns around
|
|||
|
|
itself. The translatory motion of our own sun through space is said to be carrying it onward toward the constellation Hercules.
|
|||
|
|
|
|||
|
|
V. THE PLANET FORMING PROCESS
|
|||
|
|
|
|||
|
|
1. When our sun was sent out into space, its projecting power was evidently exerted more strongly on one side of its mass than on the other, so that it gained a rotary motion around its
|
|||
|
|
axis once in about 25⅓ days. But our sun itself in its earlier cruder condition, when its gaseous, electrical and chemical dis-
|
|||
|
|
turbances were terrific, was subject to eruptive action which sent off masses of matter into space, and which, being fluidic from the amount of heat, were formed by gravitation into globes or planets,
|
|||
|
|
of which our earth is one. These planets for a long time until they were cooled off, were simply smaller suns being self-lumin-
|
|||
|
|
ous, or incandescent from their radiant heat. A great world like Jupiter, equal in size to about 1300 earths, must have re-
|
|||
|
|
tained its character as a sun for a long time before cooling off, while a small world like Mars lost its excessive heat much sooner and has probably marched forward to a greater maturity
|
|||
|
|
than our own planet. A great argument to show that the planets must have emanated from the sun is the fact that that sphere
|
|||
|
|
has an axial motion from west to east while all the planets move
|
|||
|
|
|
|||
|
|
170
|
|||
|
|
|
|||
|
|
THE SOURCES OF LIGHT.
|
|||
|
|
|
|||
|
|
in their orbits and mainly in their axial rotations from west to east, having evidently received their motions from the parent
|
|||
|
|
sphere. La Place and others admit that the planets must have emanated from the sun, and as far as revealed in the spectroscope
|
|||
|
|
the same elements exist in the sun as on our earth. The moons, however, doubtless emanated from their planets, and move in
|
|||
|
|
harmony with their axial motions. So we see that all planets and moons move nearly from west to east in their orbits through the heavens, and all worlds, as far as known, move from west to
|
|||
|
|
east on their axis. This harmony of direction in the sun, planets and satellites, parallels the harmony of direction in the
|
|||
|
|
atomic spirals and different grades of ethereal atoms match the different grades of planets. Thus the main atom is the great central sun (Alcyone), the ethereal atoms which revolve around
|
|||
|
|
it through the 1st spirilla are the smaller suns, those of the 2d spirilla are the planets, those of the 3d spirilla, the moons. Do
|
|||
|
|
not the infinite lines of gravito-ether which hold all spheres to their central orbs, work with the greater perfection from this harmony of motions? Truly nature is harmony.
|
|||
|
|
2. Thus we see that our earth and its sister planets were all once suns. After a vast series of ages when they became cooled
|
|||
|
|
into greater solidity, some of their gross part formed into a hard crust which constitutes the soil with its various rocks and minerals; a finer substance, existing as steam, was condensed into wa-
|
|||
|
|
ter, and a still more exquisite condition of gases was converted into an atmosphere which gradually became sufficiently refined
|
|||
|
|
to promote vegetable and animal life. All their interior portions, however, must still remain in a molten condition.
|
|||
|
|
|
|||
|
|
VI. COMETS.
|
|||
|
|
|
|||
|
|
All space seems to be more or less filled with floating clouds of nebulous matter, portions of which are often drawn to the
|
|||
|
|
earth in the form of meteors and aerolites, larger masses move around the sun as Comets, while still greater masses exist in far off space as more immediate materials for world building. Hug-
|
|||
|
|
gins ascertained by means of the spectroscope that in some distant gaseous nebulæ, hydrogen and nitrogen and some other
|
|||
|
|
material unknown on earth were to be found, and repeatedly
|
|||
|
|
|
|||
|
|
COMETS
|
|||
|
|
|
|||
|
|
171
|
|||
|
|
|
|||
|
|
found Carbon in comets. But comets are now known to be selfluminons, at least when sufficiently near the sun to become
|
|||
|
|
ignited by the solar electrical and thermal forces, although when far removed they must naturally contract greatly in size and be-
|
|||
|
|
come dark. Why do comets thus become visible and luminous while so much of the other nebulous matter is never seen? Prob-
|
|||
|
|
ably because it has more hydrogen, the most intense of all substances in its heat action, and especially quick to ignite when combined with affinitive substances, such as oxygen, etc. The
|
|||
|
|
aqueous vapors of the atmosphere, or of a comet or other nebuous mass, must be especially quick to become incandescent
|
|||
|
|
before the impact of sun-forces or even of distant star-forces when the Chemical proportions are favorable. So the gaseous nebulæ must exist in all grades of heat and cold, of darkness and
|
|||
|
|
luminosity, as well as of material, and it probably requires a
|
|||
|
|
|
|||
|
|
variety of nebulæ to afford the full material for a world. Comets are so very attenuated and misty as to come as near being an
|
|||
|
|
illuminated piece of nothing as anything we can conceive of. The comet of 1843 was at one time expanded so that its tail
|
|||
|
|
reached 200,000,000 miles into space. Comets move with their nucleus toward the sun and their tails in the opposite direction. The cause of this is that the nucleus being more dense becomes
|
|||
|
|
first heated, then as thermo-electricity always moves from a warm to a colder region, it must pass from the nucleus toward
|
|||
|
|
the colder realms of space, which must necessarily polarize the mass of the comet in a direction opposite to that of the sun. Lalande enumerates 700 comets, and Arago thinks there are as
|
|||
|
|
many as 7,000,000 in the solar system. Their orbits are exceedingly elliptical, and in every conceivable direction, so that their
|
|||
|
|
substance could not have come from the sun as did the planets. The comet that appeared in July, 1844, requires more than 100000 years to make its journey around the sun, while some comets
|
|||
|
|
moving in the curve of an hyperbola must go off into distant starry systems never to return. But even these seemingly law-
|
|||
|
|
|
|||
|
|
172
|
|||
|
|
|
|||
|
|
THE SOURCES OF LIGHT.
|
|||
|
|
|
|||
|
|
less comets are subject to law and are always doing obeisance to some sun around which
|
|||
|
|
they revolve, or responding to some planet or nebula which they may approach, ever giv-
|
|||
|
|
ing and ever receiving from all quarters. The comet of 1680 (fig. 150), beautiful in its
|
|||
|
|
gradations and contrasts, having a center of unity at its head which widens into an exquisite diversity, is not to visit us again before
|
|||
|
|
the year 2485, according to Encke. Fig. 151 is only one of the various forms which Hal-
|
|||
|
|
ley's Comet exhibited to us. Its next appearance will be in 1911.
|
|||
|
|
|
|||
|
|
VII. REFINEMENT OF MATTER.
|
|||
|
|
|
|||
|
|
We have already seen that everything is on an ascending scale, from the crude, eruptive and fiery conditions of nascent world-life to the calmer conditions of cooled-off planets, and thence through all the geological ages to the present time. We know how fruits, vegetation and animal life have ever been reaching up into greater refinement and superiority from the lapse of time. Romance talks of the "good old times"; Truth speaks of the crude old times. What I wish to impress upon the reader is, that atoms and etherial forces are ever tending to greater refine-
|
|||
|
|
ment and subtilty, and that some atoms are more refined than others of the same element. This is a point of great importance, for without it the phenomena of matter and force can never be correctly understood. It will explain the allotropic conditions of the same element and many other mysteries. Thus ozone (+ O or O) is the finer part of oxygen, while antozone (—O) is the coarser, and both combined will produce oxygen (O). Ozone is more electrical and potent as an oxydizer and bleacher than ordinary oxygen, and gives great purity and vitalizing character to the air. Its atoms are probably lighter than the average ones of oxygen, and yet ozone of itself is heavier, probably from its strong electrical currents which draw its atoms into a narrow compass, just as sulphuric acid when put with water condenses it by its powerful electricity. When the sun does not shine, the ozone
|
|||
|
|
|
|||
|
|
REFINEMENT OF MATTER.
|
|||
|
|
|
|||
|
|
173
|
|||
|
|
|
|||
|
|
seems to rise above us, as it is known to be deficent in the air around us, but under the electrical force of the sun it is driven
|
|||
|
|
down to the surface of the earth in much larger quantities. 2. Again, let us take diamond and plumbago, which last is
|
|||
|
|
sometimes known as black lead or graphite. These are both crystallized forms of carbon, and yet there must be a decided dif-
|
|||
|
|
ference from some cause. Diamond transmits the light, but not ordinary electricity; plumbago is a good conductor of electricity, but totally excludes the light. In other words diamond is evi-
|
|||
|
|
dently of a finer grade of carbon atoms, as it transmits a finer substance through its spirillæ. But some may say the diamond
|
|||
|
|
is crystallized differently, and hence its transparency. But glass and water cannot be put into any kind of connected arrangement without permitting some light to pass through them, while plum-
|
|||
|
|
bago is constantly opaque. Transparent atoms cannot be crystallized in any possible way so as to exclude the light in all direc-
|
|||
|
|
tions, and this should be proof that diamond and plumbago possess different grades of fineness.
|
|||
|
|
But through the whole atmosphere are floating particles of
|
|||
|
|
nearly if not quite all of the substances of the earth. M. Nordenskica has analyzed the metallic substances iron, nickel and co-
|
|||
|
|
balt found in the atmosphere at 80° north latitude. "There are," says he, "invisible and infinitely minute grains of cosmic oxygen floating in the air." M. G. Tissandier communicated to the
|
|||
|
|
French Academy of Sciences the results of his experiments which show that a vast number of the particles of solid substances
|
|||
|
|
are volatile in the atmosphere. The spectroscope shows that particles of sodium exist everywhere in the air, while chemists have taken cognizance of carbonic acid, ammonia, nitric acid, carburet-
|
|||
|
|
ted hydrogen, aqueous vapor, and other elements as being common. Is not this a good argument in favor of the superior fineness and
|
|||
|
|
lightness of atoms which thus float? The sweep of ethers through all substances seems to carry off their lighter atoms into the air
|
|||
|
|
where very many of them continue to float. We may easily conceive that very refined iron and some other magnetic substances may receive slight assistance in becoming volatile from the
|
|||
|
|
strong magnetic currents of the far north, but what about, sodium and other elements whose ordinary atoms are much heavier than
|
|||
|
|
those of the atmosphere? If there is not a finer, lighter grade
|
|||
|
|
|
|||
|
|
174
|
|||
|
|
|
|||
|
|
THE SOURCES OF LIGHT.
|
|||
|
|
|
|||
|
|
of sodium, how could it thus float, for the common sodium atom is 23 times as heavy as that of hydrogen, while the nitrogen and
|
|||
|
|
oxygen of the air are respectively only 14 and 16 times as heavy. To say that a light substance can float a heavier one is like say-
|
|||
|
|
ing that water can float a rock. We may safely conclude, then, that atoms which float in the air are generally lighter than those
|
|||
|
|
of the air itself, and that the lighter atoms, other things being equal, will float in higher portions of the atmosphere than the heavier ones; that those of nitrogen, for instance, will naturally
|
|||
|
|
float a little higher than those of oxygen, being one-eighth lighter, that those of carbon will float a little higher than those of nitro-
|
|||
|
|
gen, being one-seventh lighter, that the lithium atoms will float higher than any of these substances, being only one-half as heavy as those of nitrogen, while those of hydrogen will float far
|
|||
|
|
higher than any others, being seven times as light as those of lithium, the lightest of atoms next to hydrogen.
|
|||
|
|
4. Another important fact explained on the supposition of different degrees of refinement in atoms, is the exquisiteness of the gradation of colors. While, as we have seen, there are
|
|||
|
|
probably seven thermal and seven axial spirillæ for the fourteen leading colors of the spectrum, including the thermel, yet there
|
|||
|
|
are very many times this number of hues and tints progressing from one to the other by imperceptible degrees, thus showing that one line of atoms may be a little finer than the contigous
|
|||
|
|
line. For instance, we may have a line of atmospheric atoms with spirillæ for yellow-orange, then another somewhat finer line,
|
|||
|
|
in which the same spirillæ produces a very yellow-orange, or almost yellow, and so with other spirillæ. In this way we get the beautiful variety of nature.
|
|||
|
|
5. A mystery which is also solved by this hypothesis, is the fact that iron and some other minerals have been found hurtful
|
|||
|
|
to sensitive stomachs when taken in the ordinary mineral form, but very bracing and useful when taken in the vegetable form,
|
|||
|
|
which goes to show that the vegetable processes cannot take up the heavier and grosser atoms of a mineral substance, but rather its finer ones which are necessarily much better adapted to so
|
|||
|
|
fine an organization as the human system. We are now prepared to appreciate the next very important
|
|||
|
|
point.
|
|||
|
|
|
|||
|
|
THE ATMOSPHERE OF SPACE.
|
|||
|
|
|
|||
|
|
175
|
|||
|
|
|
|||
|
|
VIII. THE ATMOSPHERE OF SPACE.
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From the last paragraph we see that the atoms grow more refined and light in proportion as we rise from the earth's centre into the sky. Although the earth's atmosphere is not sufficiently dense to sensibly refract light over 45 or 50 miles in height, still its more volatile atoms and especially its hydrogen, must be continued on into space. Has it not occurred to our scientists, who
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admit that there is an ether pervading all space, that this ether
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must simply be the extension of hydrogen from the atmosphere of the different suns and worlds? Is not this the real COSMIC ETHER,
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the bridge-work formed on the most natural plan, over which the
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sun forces, star forces, planetary forces and nebulous forces pass and repass throughout the infinities of space? The following are some of the reasons for this hypothesis:—
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1. Hydrogen is the lightest of all known atoms, consequently it would naturally gravitate into space higher than the other atoms.
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2. Hydrogen constitutes about two-thirds of the atoms of all water and all aqueous vapor, consequently the hydrogen atoms that are thrown off by all oceans, lakes, rivers and clouds must rise higher and higher into space in proportion as they become refined.
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3. Hydrogen is produced from water or aqueous conditions by means of heat, electricity and chemical action, all of which exist on the most immense scale in the sun and fixed stars, which by their propulsive forces in connection with planetary and nebulous action, would seem quite sufficient to fill all space with this gas in a more or less attenuated condition.
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4. The spectroscope has shown that there is a vast atmosphere of luminous hydrogen surrounding the sun, which, sometimes, during the solar cyclones, projects hundreds of thousands of miles into space. Is it reasonable to suppose that the hydrogen atmosphere stops with that which happens to be made visible by the solar heat; especially when we consider the almost infinite fountains of hydrogen gas that are sent forth by this very heat itself?
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5. Hydrogen has an unequaled capacity for heat, has also a fine capacity for electricity, and is the most elastic and ethereal
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176
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THE SOURCES OF LIGHT.
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of all known atoms, hence it is best adapted to form the pathway for the ethers which convey heat, electricity, light, color and
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gravitation through interstellar space. "There is some indication, from the identity of coronal with zodiacal light and auroral
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lines, of the existence of a very attenuated atmosphere extending largely throughout space." (Roscoe's Spectrum Analysis.)
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6. There being nothing then seemingly to limit the expansion of the hydrogen over space, and especially as it is eminently suitable to act as a series of carrier atoms, we may deem it the
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real cosmic ether. The blending of the earthly and ethereal
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atmospheres I have represented by fig. 152. As it reaches far into space it must become very ethereal in its nature, and yet
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must have weight. The region between the sun, and earth at which its refinement and lightness is greatest, must be incomparably nearer the earth than the sun from the fact that the sun
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is 320,000 times as heavy as the earth, and its attractive force must be sufficiently great to condense this ethereal gas as fully
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at a long distance as our earth can at a short distance. "The luminiferous ether," says Ganot, "occupies space, and although
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THE ATMOSPHERE OF SPACE.
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177
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it presents no appreciable resistance to the motion of the denser bodies, it is possible that it hinders the motions of the smaller
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comets. It has been found, for example, that Encke's comet, whose period of revolution is about 3⅓ years, has its period
|
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diminished by about 0.11 of a day at each successive rotation." (Cours Elémentaire de Physique.) When I speak of hydrogen
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as forming the atmosphere of space, I mean to say that it is doubtless the leading element in this atmosphere, especially in its more refined forms, but all other elements also are capable
|
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of becoming refined and volatile, they probably form some portion of the same.
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7. I have called this a static ether. This is a proper place to gain a clear idea of what is meant by a static or stationary ether. When the atmosphere is calm, it is polarized conversely by the
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sunlight, with the more positive tide of forces streaming toward the earth in the day time, and from the earth in the night. It
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then resembles a static ether. It does not signify that the ether is so stationary that it may not be swept into currents or waves by counterforces, and those which at times may be far swifter
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than the grosser atmospheric currents. But these do not depolarize the atoms in a way to essentially hinder the flow of lumen-
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ous ethers from the sun to the earth and other planets. 8. The finest portion of this ether must come from the earth
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and other planets rather than from the sun. The condition of
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all suns is far more primitive and crude than that of planets, and must be what our earth was many millions of years ago before
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it became cooled off and commenced its refining processes.*
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*The eminent scientist Helmholtz says, "The period of time during which the
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earth has nourished organized beings, is still very short when compared to the period during which it was a mass of molten rock. Bishop's experiments on basalt appear to prove that to cool down from 1000° to 200° Centigrade, our earth must have taken 350,000,000 years. As to the length of time that has been required by the original
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nebula to condense itself into the form of our planetary system, it entirely defies our imagination, and all conjectures." And yet after all these almost infinite eras of time through which the earth has been struggling in order to get into condition for man to live in comfort, Prof. Proctor says, "we find the earth gradually tending towards
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the end." Why? Because the atmosphere which formerly consisted greatly of " hydrochloric acid and sulphuric acid," lost these ingredients and became mainly "carbonic acid," while when vegetation commenced the carbonic acid was absorbed and our present atmosphere took its place. But this is a mere refining process. Is there
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anything alarming about having the atmosphere drop off its more poisonous elements and become more pure? "It seems conceivable," he says, "that other parts of
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12
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178
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THE SOURCES OF LIGHT.
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Does this signify that sunlight is a coarse element? By no
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means for its cruder elements are strained off by the sun's outer atmospheres or deposited with the nebulous matter of space and
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still further refined by our own atmosphere until it becomes one of the most exquisite forces in nature.
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9. In fig. 153, is a representation of the way in which the
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atoms must be arranged in this cosmic ether. As will be seen, they are arranged conversely, the line a at the left carrying the
|
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thermal forces from the sun to the earth, and the electrical forces from the earth to the sun, while the very next line exactly reverses the process, thus allowing the electrical forces to pass both
|
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|
ways and the thermal forces both ways. This is doubtless the usual arrangement of atoms (see fig. 138), and shows how it is
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|
that the sun does not become exhausted, as it is able to receive the ethereal forces of all kinds from all quarters of the heavens, including planets, comets, stars and nebulous matter at the same
|
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time that it is transmitting the same to all quarters in return. Thus is easily settled a great and troublesome difficulty which
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has ever been arrayed against Isaac Newton and others who advocated the emission theory of light, as it scarcely seems to have entered the conceptions of people that the sun could receive as
|
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well as give. "May there not be in the heavenly regions," says La Place, "another fluid besides light? Its resistance and the
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diminution which its emission produces in the mass of the sun,
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the atmosphere will gradually be withdrawn by chemical processes, and that then a time will come when the earth will have no atmosphere." I think my readers, however, need not worry for fear the atmosphere will fail them, unless they expect to live for several hundred thousand years yet. "It seem to me," continues the learned professor, "that the way in which man is consuming the vegetable supplies of the
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earth must have an end. When man, the inventor of so many machines which are using up the supplies of coal, when man insists upon using the materials of the earth at such a rapid rate, we begin to see our way toward an end." The Professor should remember that but a small part of the earth is now really cultivated; and besides this,
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|
statistics show that much that is cultivated is a perversion, several times more money and effort being spent to gain liquor, tobacco and other hurtful things than to gain food. The fact that coal and fuel are being used up rapidly for machinery, cooking, etc., should not give the least uneasiness, as any one who has looked into the fine
|
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|
forces of nature, will readily understand that far greater potencies are yet to be evoked from electricity, magnetism, sunlight, air, water and the finer ethers for heating, lighting, locomotion and driving machinery than the world now dreams of. Millerites and scientists who would thus destroy us before our time, just as we are getting
|
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ready to live, should remember that nature's general plan is to allow fruit and worlds to come to maturity before permitting the processes of destruction to commence.
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SEGMENT OF THE SUN.
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179
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Fig. 153. The Sun, Earth and the Ethereal pathway of the Solar Ethers; a, converse lines of atoms polarised and traversed by Solar ethers between the sun and earth; b, converse lines of another layer of atoms arranged obliquely; d, converse lines of still another oblique layer of
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atoms; N. North Pole; S. South pole; E. Equator; 1, 2, 3, layer of molton iron beneath the earth's surface; 5, North Magnetic Pole; 7, South Magnetic Pole; 2, 4, 5, currents of thermo electricity flowing northward; 2, 6, 7, currents of thermo electricity flowing southward. The dotted lines just below the earth's surface show layers of cooled iron while the magnetic curves issuing from them are shown by the curved dotted lines; 8, 9, 10, etc., show lines of thermo electricity are drawn into the earth by the magnetic currents, by means of which the magnetic needle is made to dip
|
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180
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THE SOURCES OF LIGHT.
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ought at length to destroy the arrangement of the planets, so that
|
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to maintain this, a renovation would evidently be necessary." (System of the World, vol. ii. p. 332.) Just how this renovation
|
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takes place may be seen by this atomic law. 10. Such is the crystal pathway over which such boundless
|
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floods of luminous and other forces are transmitted through
|
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space, and such are the links on which all worlds are hung and by means of which the universe is held together. The tide of
|
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|
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light which comes to us seems almost limitless, and yet our planet receives only a 2300 millionth part of the sun's power. It may be asked, how can light come to any given point of the earth
|
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|
|
from so many different directions as long as the lines of the cosmic ether in each layer of atoms must naturally lie parallel to
|
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|
|
each other or at least approximately so? This difficulty at once vanishes when we consider that there must be layers of atoms almost infinite in number pointing in every conceivable direction;
|
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thus one layer has polarized lines in the direction of a, c, e, another perhaps directly under it has all its lines parallel with b,
|
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another still under that in the direction of d, and so on. Thousands of these minute layers can strike the eye at once, and thus render visible objects in every possible direction.
|
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11. Gravitation must be able to use these atoms and their ethers, as well as the atoms of much finer atmospheres which in-
|
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|
|
terpenetrate the cosmic ether, as pathways for its sublime movements, some conception of which we may gain when we realize
|
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|
|
the vortical suction of lines of atoms.
|
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|
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|
|
IX.—THE AURORA BOREALIS (NORTHERN LIGHTS)
|
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Has its culmination of power about the north magnetic pole, and,
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as in the case of meteors, gives its most brilliant effects in autumn. It is seen more and more vividly in proportion as the observer approaches the magnetic pole. It is preceded by a
|
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dingy appearance of the sky in the north, sometimes spreads out in a luminous arch of bluish white (see fig. 96), sometimes darts
|
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up streamers of light, sometimes expands into luminous ribbons, sometimes it flickers with radiations that are called merry dancers, and occasionally in the far north it widens over the whole northern
|
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sky like a cupola of fire sustained on vari-colored pillars. This phase is called the Boreal Crown or Corona. When the lights are
|
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|
TERRESTRIAL FORCES.
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181
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bright they sometimes assume the colors of green, purple, violet and rose. They have been estimated to extend from five to several
|
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|
hundred miles in height. But why do they appear at the north, and why do similar phenomena called AURORA AUSTRALIS, or
|
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|
|
SOUTHERN LIGHTS, appear in the southern hemisphere around the south magnetic pole? In order to understand this it will be
|
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|
|
necessary to explain something of the earth's electrical and magnetic forces, more of which will be given in the chapter on Chromo-Dynamics.
|
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|
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|
|
X.—TERRESTRIAL FORCES.
|
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1. Fig. 153 will assist in understanding the earth's forces. It should be remembered at the start that in thermo-electricity (electricity generated by heat) the law is, that unimpeded elec-
|
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trical currents always move from warm to colder regions. For
|
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|
|
this reason the great tendencies of the earth's electrical currents
|
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must be two-fold, 1st to move from the heated earth vertically into
|
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the cold atmosphere above, and 2dly, to move from the equator to
|
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|
|
the colder regions towards the poles, the electric current moving
|
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|
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northward in the northern hemisphere, and southward in the southern. It should be remembered also that electricity constitutes the cold principle as already abundantly shown and that from the law of atoms, cold attracts electricity just as heat excites and attracts thermism, hence the above rule. But why do not the electrical and magnetic forces in the northern hemisphere tend directly to the north pole instead of the north magnetic pole which is 11° farther south? Because the north magnetic pole is the centre of the greatest cold. Why? From the fact that it is located on land where the mineral action engenders the most intense electrical and magnetic currents, while the earth's north pole is evidently covered with water which is comparatively a poor conductor of electricity. Sir David Brewster was the first to prove that there are two special magnetic poles in our northern hemisphere, or two points of maximum cold in which the needle stands in a vertical direction, although there must be other points also where sufficient masses of iron exist to excite strong magnetic action. There are probably as many as two magnetic poles in the southern hemisphere also, one of which has already been discovered. Sir James Ross discovered one of the north
|
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182
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|
|
THE SOURCES OF LIGHT.
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magnetic poles in 1830. It is north of Hudson's Bay in latitude 79° north and in longitude 96° 43' west. This is the point
|
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towards which the electrical currents of a considerable section of the earth, including North America and vastly more, are ever
|
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|
tending, and these currents account for the direction of the magnetic needle which varies more and more from the true north as
|
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|
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we go east or west of this meridian. This too shows why all sensitive and delicate persons sleep much more comfortably with their heads to the north, as abundantly demonstrated by Baron
|
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|
|
Reichenbach, for in this way the cool electrical forces move towards their heads instead of their feet. See Chromo Dynamics,
|
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|
|
XI. 2. In the figure, 4, 5 represents thermo-electricity as flowing
|
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northward in the northern hemisphere and 6, 7 as flowing south-
|
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ward in the southern hemisphere. The space 1, 2, 3, enclosed between two arcs of a circle represents the layer of molten iron
|
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below the crust of the earth which, being somewhat light as a metal, cannot be located so far towards the centre of the earth as the heavier metals, such as copper, lead, gold, silver, platinum,
|
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|
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etc.,* Above this line nearer the surface of the earth are the metals which have been thrown up by volcanic action and
|
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|
|
cooled off. The most abundant of these is iron which being spread out over the whole crust of the earth I have represented by the dotted line, just below the surface. We have seen what
|
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|
|
causes the thermo-electric currents which must be strongly of the magneto grade of electricity as they sweep the magnetic
|
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|
|
needle towards the poles (i.e. the magnetic poles). But what is the cause of the earth's magnetism? Iron is the natural element of magnetism and when electrified becomes magnetic. The
|
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|
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molten iron 1, 2, 3, however, cannot be magnetic, as heat destroys the magnetic curves. The cooled iron nearer its surface
|
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|
|
then must be its generating power. But how can nature impart electricity to this iron? Under the head of Galvanism (Chap III,
|
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|
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*I have represented the iron in the figure as being thinner in its mass at the equator then at the poles. All the interor metallic and heavy substances being in a molten condition must be thrown nearer to the surface at the equator than at the
|
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poles by the earth's axial motion, which at the surface there, is a thousand miles an hour. The abundance of volcanic action in the torrid zone, argues in the same direction, as the melted matter underneath forces its way more easily through the thin crust near the equator.
|
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|
|||
|
|
TERRESTRIAL FORCES.
|
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183
|
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XXXIV), we have seen how different metals connected by acidulated water joined by a wire to complete the circuit, at once arouse
|
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|
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electricity. It is well known too, as Faraday proved, that an alkaline substance combined with the water, will also excite the elec-
|
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|
|
tric current. Now in the earth, above and below iron, are various metals and substances which will generate and conduct electri-
|
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city, and the moisture which everywhere saturates the earth, in connection with such alkaline substances as lime magnesium, potassium, etc., are admirably suited to develope electrical action over
|
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|
|
the crust of the earth and especially in connection with the iron. This makes the earth then a continuous battery and sets into
|
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|
|
action countless magnetic curves extending all the way from the equator to each magnetic pole. These curves may be from inches to miles in length, and must grow higher and steeper as they ap-
|
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|
|
proach the great electrical action of the poles. I have given a rude representation of some of these curves in the heavy dotted
|
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|
|
lines of the cut. At the equator the heat is so great as to pretty much destroy these curves. We may now explain the mystery of the dip of the magnetic needle. It is well known that the needle
|
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|
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points to the magnetic pole, or is arranged in what is called the magnetic meridian, yet if so hung as to be free to move up and
|
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|
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down as well as towards the north and south, the north pole will dip towards the earth in the northern hemisphere and the south pole the same in the southern hemisphere. At the magnetic
|
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poles the needle stands perpendicularly to the earth, showing that a very steep or vertical electrical current is sweeping into the
|
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earth, but its inclination averages less and less until the equator is reached where the needle is mainly level. The dip undergoes some changes from year to year, owing doubtless to changes in
|
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|
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temperature or contact with nebulous conditions, etc. In London in 1723, the dip reached an inclination of 74°+42' while in 1871
|
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it was only 67° 56' 3". In Peru it is 0°; in Cape of Good Hope 34°; in Gottingen 68° 22' 52"; in Edinburgh 71° 37"; in New
|
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|
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York 73° 14'; in Hudson's Bay between 89 and 90°. What is the cause of this? At a distance, for instance, not very far north of the equator the magnetic curves must rise but little above the
|
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|
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earth's surface, and directed by northward currents of thermo electricity must pass northward and enter the earth with a feeble
|
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slope. As this passes through the air and enters the earth, it
|
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184
|
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|
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|
|
THE SOURCES OF LIGHT
|
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|
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must deflect some of the thermo-electric and atmospheric electric currents with it and so carry the northward end of the needle
|
|||
|
|
somewhat downward as seen in 8, 9 etc. of fig. 153. Farther north where the curves become more intense and steep from the
|
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|
|
cold, or possibly from the great masses of underlying iron, the needle must dip still more, while at the magnetic poles, see 5. the
|
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|
|
curves must become almost perpendicular and drawing in some of the thermo-electric currents cause them to penetrate deeply into the earth until they strike the molten iron 3, and pass south-
|
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|
|
ward. As it approaches the equator (2) where the iron is crowded out thin and pushed up near the surface by the heavier metals
|
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|
|
below under the earth's axial motion, the ascending electrical currents may be supposed to draw them outward into the air again, and so a complete circuit is formed through 2, 4, 5, 3, 2
|
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|
|
just as in the southern hemisphere, the currents move through 2, 6, 7, 1, 2.
|
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|
|
3. Do we not then have a key to these polar lights? Are not the arches which sometimes appear simply the result of magnetic curves sweeping through nebulous matter. Is not the
|
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|
|
red light which appears caused through incandescent hydrogen, the green light by incandescent floating particles of iron, car-
|
|||
|
|
bon, oxygen and perhaps other substances whose combined spectra are strong in the green, blue, yellow, and so on? Is not this incandescence a necessary result of such powerful centres of elec-
|
|||
|
|
tric and magnetic force when striking against masses of volatile matter? It should not be presumed that the aurora borealis ap-
|
|||
|
|
pears only at the north magnetic pole, but rather northward, the electricity in that direction through the northern hemisphere being greater than it is southward, though its culmination is at
|
|||
|
|
the pole, of course. As proofs, then, that these polar lights are caused through electrical and magnetic action, we have the fact
|
|||
|
|
1st, than the magnetic needle is always greatly excited at their occurrence, sometimes varying many degrees from its ordinary
|
|||
|
|
position; 2dly, similar phenomena have been repeatedly produced by electricity artificially; 3dly, their greatest power is at the magnetic poles; 4thly, the magnetic poles as we have seen are the
|
|||
|
|
greatest terrestrial centers of electricity and magnetism. These and several other reasons seem to settle the matter conclusively,
|
|||
|
|
especially when viewed in the light of atomic and chemical action already explained.
|
|||
|
|
|
|||
|
|
THE SOLAR ATMOSPHERE.
|
|||
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|
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|
|
185
|
|||
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|
|||
|
|
4. Why is it that the aurora borealis appears in its highest brilliancy in the autumn unless it be that the nebulous matter
|
|||
|
|
which is ever revolving around the earth becoming condensed by the change from warm to cold, falls sufficiently low about the
|
|||
|
|
north pole to receive the play of the magnetic and electric forces? Why is it that meteors are also most abundant in autumn, if por-
|
|||
|
|
tions of this same nebulous matter, becoming condensed in the same way, are not sent through our atmosphere by their increaseed gravity?
|
|||
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|
|||
|
|
XI. THE SOLAR ATMOSPHERE.
|
|||
|
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|
|||
|
|
1. The heat of the sun is so immense that all of its metals and other substances become intensely incandescent on its sur-
|
|||
|
|
face, or exist in the form of luminous vapors for thousands of miles from its body. Prof. Tyndall, in harmony with the opinions
|
|||
|
|
of Mayer, Kirchhoff, etc., describes it excellently as follows:— "Without doubt the whole surface of the sun displays an unbroken ocean of fiery fluid matter. On this ocean rests an
|
|||
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|
|||
|
|
atmosphere of glowing gas—a flame atmosphere, or photosphere. But gaseous substances, when compared with solid ones, emit
|
|||
|
|
even when their temperature is very high, only a feeble and transparent light. Hence it is probable that the dazzling white
|
|||
|
|
light of the sun comes through the atmosphere from the more solid portion of the surface."
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2. "The spectroscope," says Prof. Roscoe, "is the mstru-
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186
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THE SOURCES OF LIGHT.
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merit by which the extraordinary phenomena of physics have been revealed, and the first step towards the extension of our
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knowledge has been the examination of the light emitted by those remarkable protuberances, or red flames, which, during
|
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a total eclipse, are seen to dart out from the surfaces of the sun to the enormous height of some 80,000 to 90,000 miles. * * *
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Lockyer's investigations have not only proved that these singular prominences consist of glowing gaseous hydrogen, but have revealed the existence of an atmosphere, chiefly consisting of
|
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incandescent hydrogen, extending all round the sun's surface. The prominences are only local aggregations of this local
|
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envelope of glowing hydrogen, which extends for 5000 miles in height, and
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has been termed the Chromosphere, to distin-
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guish it from the cooler absorbing atmosphere on the one hand, and the
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light giving photosphere on the other." During
|
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a total eclipse of the sun vast luminous projections called corona make their
|
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appearance, as seen in figs. 154, 155, and 156.
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These figures would seem to suggest opposite polarizations of force on dif-
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erent sides of the sun. 3. The movement of this luminous hydrogen, when wrought
|
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up into the terrific hurricanes which frequently take place in the sun's fiery atmosphere, is something fearful to think of. Lockyer
|
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discovered by his spectroscope gales which moved from 40 to 120 miles per second, or about 3600 times as swiftly as an earthly hurricane, while Prof. Young, of Dartmouth College, saw a mass
|
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of flaming hydrogen move upward over 200,000 miles from the surface, 100,000 miles of which was traversed in 10 minutes, a
|
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velocity about 600 times as great as that of a cannon ball! And
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THE SOLAR ATMOSPHERE.
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187
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yet some have been so absurd as to suppose the sun to be the abode of certain spiritual intelligences, while others have gone
|
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so far as to declare that even human beings dwell there, although the heat and fearful play of forces must be great beyond all
|
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conception, or measurement of earthly instruments. 4. The metals that exist in the luminous atmosphere of the
|
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sun have been examined by Lockyer, Huggins, Ångström, Young, etc., by means of the spectroscope, and thus far have been found to be 17 in number as follows:
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1. Sodium.
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2. Calcium. 3. Barium.
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4. Magnesium.
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5. Iron.
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9. Zinc.
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6. Chromium. 10. Strontium.
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7. Nickel.
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11. Cadmium.
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8. Copper.
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12. Cobalt.
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17. Rubidium.*
|
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13. Hydrogen (gas).
|
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14. Manganese. 15. Aluminum.
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16. Titanium.
|
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|
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5. The materials of the sun itself, as well as of the planets, must be the same as those of our own world, all having had a
|
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common origin as we have already seen. 6. Andrew Steinmitz, Esq., of the Middle Temple, London,
|
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says:—"We can no longer consider light as merely consisting
|
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|
of infinitessimal particles, or as infinitessimal waves; we may now conclude that it is metallic; that sunshine consists of a metallic
|
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shower; the beneficent sunshine bathes us with elementary iron, sodium, magnesium, calcium, chromium, nickel, barium,
|
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|
|
copper, zinc and hydrogen." But metal which can thus float in sunbeams is incomparably finer than that which lies in hard masses in the darkness of the soil.
|
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|
|
7. The following are the sun's outer conditions, commencing with the most refulgent (See fig. 153):—
|
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|
|
1st. The luminous surface of the sun's body. 3d. The Photosphere, or heavy flame-atmosphere of vaporized metals, as well as oxygen, hydrogen and other gases.
|
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|
|
3d. The Chromosphere, extending some 5000 miles beyond the photosphere, and consisting of the atmosphere of red incan-
|
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|
|
descent hydrogen, combined with finer and more ethereal elements of metals than those of the photosphere.
|
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|
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|
*Since writing the above, the Journal of the Franklin Institute has given Prof. Draper's paper, read before the American Philosophical Society on July 20, 1877, in which he announces the discovery of oxygen, and probably of nitrogen and other
|
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|
|
elements, in the solar atmosphere, by means of photography, their spectra being designated by bright instead of dark lines, as in the Fraunhofer scale.
|
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188
|
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|
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|
|
THE SOURCES OF LIGHT.
|
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|
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|
4th. The Obscure Hydrogen Atmosphere still farther outward than the Chromosphere. This is doubtless more or less incan-
|
|||
|
|
descent, and yet without a sufficiency of gross matter to be visible to us.
|
|||
|
|
5th. The Cosmic Ether or more ethereal hydrogen, which becomes finer and finer as it extends outward into space to form
|
|||
|
|
the pathway of the solar and other fluid ethers.
|
|||
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|
|||
|
|
XII. FACULÆ AND SPOTS ON THE SUN.
|
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|
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|
|
1. Sir William Herschel supposed the body of the sun to be
|
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|
|
a dark mass surrounded by a luminous atmosphere, through the openings of which at times the dark surface would appear. Kirchhoff showed the incorrectness of this theory, as the interior of
|
|||
|
|
the sun must be white hot, and concluded that these spots were clouds floating in the solar atmosphere. We have seen that there
|
|||
|
|
are tremendous commotions and tornadoes in the atmosphere of the sun, and we may well suppose that the body of the sun itself must be subject to great volcanic eruptions and perturbations.
|
|||
|
|
What are called faculæ, or bright spots, seem to be caused by some volcanic action, as the spectroscope reveals an upward
|
|||
|
|
movement of "incandescent, vapors of sodium, iron, magnesium, barium," etc., attended with great luminosity. Near these bright spots, or closely connected with them, are the dark spots, some-
|
|||
|
|
times called maculæ, and these are generally seen descending. Is it not evident that these masses of partially opaque matter are
|
|||
|
|
the clouds of substance thrown up for some time in continuous luminous columns which we call faculæ, and that these clouds, by reaching the upper atmosphere, become cooled off and cones-
|
|||
|
|
quently dark? Is not the fact that they float along the sun's disc with a gradually descending motion proof that they have
|
|||
|
|
become condensed by the cold, and so are carried downward by their own gravity? Lockyer describes a cloud of incandescent
|
|||
|
|
magnesium that he saw floating high above a prominence, and the whole phenomena of these faculæ and maculæ seem easy of explanation by inductions which we may draw from the revela-
|
|||
|
|
tions of the spectroscope. 2. When viewed with a telescope the sun is observed to be
|
|||
|
|
mottled over its whole surface with small dots or pores which when carefully watched are seen to be in a constant state of change. These are probably smaller masses of vaporous matter
|
|||
|
|
|
|||
|
|
FACULÆ AND SPOTS ON THE SUN.
|
|||
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|
|||
|
|
189
|
|||
|
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|
|||
|
|
which have risen upward and become cooled and darkened, and
|
|||
|
|
which then by their increased density sink again to become heated and rarified before going through the same process.
|
|||
|
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|
|||
|
|
190
|
|||
|
|
|
|||
|
|
THE SOURCES OF LIGHT.
|
|||
|
|
|
|||
|
|
XIII. SOLAR STATISTICS.
|
|||
|
|
|
|||
|
|
Some of the following statistics are given according to Prof.
|
|||
|
|
Young, the well known astronomer of Dartmouth College, and others are in harmony with the figures of general astronomical
|
|||
|
|
science. The diameter of the sun 860,000 miles; size 1,280,000 times that of the earth; average density, one-fourth that of the earth; Weight over 2,000,000,000,000,000,000,000,000,000 (2 oc-
|
|||
|
|
tillions) of tons, or nearly 750 times as great as that of all the combined planets and asteroids; mean distance from the earth
|
|||
|
|
about 92,250,000 miles; distance on Jan. 1st, 90,750,000 miles, or 3,000,000 miles nearer than in summer; the weight of any substance at the sun's surface is 27½ times as great as it would be
|
|||
|
|
on the earth. The sun revolves around its axis in 25⅓ days, and moves through space, according to Struve's estimate, with all its
|
|||
|
|
family of worlds, about 412,000 miles per day, but in reality probably far more rapidly, judging especially from some similar orbs
|
|||
|
|
in our system. The number of worlds so far discovered include 8 as ordinary planets, 22 moons and 106 asteroids, a very minute class of worlds probably of a fragmentary nature, and revolving
|
|||
|
|
between Mars and Jupiter. So our sun, with ts family, must be a pretty large and heavy pet for Alcyone to carry through space,
|
|||
|
|
and yet quite diminutive compared with many of its starry mates. Prof. Proctor asserts that Sirius, sometimes called the Dog Star, is 5,000 times the size of our sun.*
|
|||
|
|
|
|||
|
|
XIV. SUN POWER.
|
|||
|
|
|
|||
|
|
1. If the sun is thus able to vaporize the coarse and heavy metals and hurl them thousands of miles into space, how much more easily may it be supposed to propel the exquisitely fine and elastic ethers through untold millions of miles to our earth and to distant stars, especially when aided by the vortical suctions of the cosmic ethers. But many persons think of the sun's rays as having all the power which they awaken, in themselves, aside from the objects with which they come in contact. It is a well known
|
|||
|
|
fact that these rays have almost no sensible heat in passing through
|
|||
|
|
|
|||
|
|
*Prof. Hall of the Washington Observatory, by the aid of the great telescope, has discovered 2 minute Moons of Mars, which I have included in the estimate, and as new asteroids seem to be discovered every year, the table must from time to
|
|||
|
|
time receive some modification.
|
|||
|
|
|
|||
|
|
SUN POWER.
|
|||
|
|
|
|||
|
|
191
|
|||
|
|
|
|||
|
|
our atmosphere, but owe their great effect to their impact upon, and
|
|||
|
|
chemical affinity with, the elements of our earth. If they strike
|
|||
|
|
the earth vertically and for some time continuously as in the torrid zone, the earth becomes greatly heated, and by convection
|
|||
|
|
and somewhat by radiation, the atmosphere becomes heated thereby. If they strike the earth obliquely, as in the frigid zones,
|
|||
|
|
only a small number of rays comparatively reach the soil and the chemical action is too feeble to produce much heat. If they strike the summit of a high mountain, even in the torrid zone,
|
|||
|
|
they are unable to impart much sensible heat, 1st because the great mass of atmospheric strata which are heated by convection
|
|||
|
|
are much below this, thus leaving the summit far up in the colder electrical strata; 2dly, the form of the mountain receives most of the rays obliquely, and 3dly, the summit being above
|
|||
|
|
most of the clouds, there is nothing to shut in the reflected rays and hence they are lost in space.
|
|||
|
|
2. General Pleasonton gives extensive space in his work on "Blue and Sun-Lights," to the advocacy of the strange fancy that the sun is not the source of heat to the earth, because he
|
|||
|
|
discovers that the heat is not perceptible in coming through the atmosphere, that high mountains are cold, even in warm regions,
|
|||
|
|
etc. But on the same principle, neither is the sun the source of light, for as will be shown in the next paragraph, without the aid of solid particles in our atmosphere, it might beam on us a
|
|||
|
|
thousand years and we should still be in total darkness. 3. But here as usual we must combine the duality of action
|
|||
|
|
and reaction, of fluid and static elements, before we can get the beautiful effects of nature. Even Tyndall in the following sunburst of eloquence concerning the sun, has seemingly, for the
|
|||
|
|
time being, forgotten this principle:—"He rears the whole vegetable world and through it the animal; the lilies of the field are
|
|||
|
|
his workmanship, the verdure of the meadows and the cattle upon a thousand hills. He forms the muscle, he urges the
|
|||
|
|
blood, he builds the brain. His fleetness is in the lion's foot; he springs in the panther, he soars in the eagle, he slides in the snake. He builds the forest and hews it down, the power which
|
|||
|
|
raised the tree and which wields the axe being one and the same. The sun digs the ore from our mines, he rolls the iron, he rivets
|
|||
|
|
the plates, he boils the water, he draws the train. He not only
|
|||
|
|
|