Part 18

These results have a direct bearing upon what artists call 'aerial perspective.' As we look from the summit of Mont Blanc, or from a lower elevation, at the serried crowd of peaks, especially if the mountains be darkly coloured--covered with pines, for example--every peak and ridge is separated from the mountains behind it by a thin blue haze which renders the relations of the mountains as to distance unmistakable. When this haze is regarded through the Nicol perpendicular to the sun's rays, it is in many cases wholly quenched, because the light which it emits in this direction is wholly polarised. When this happens, aerial perspective is abolished, and mountains very differently distant appear to rise in the same vertical plane. Close to the Bel Alp for instance, is the gorge of the Massa, and beyond the gorge is a high ridge darkened by pines. This ridge may be projected upon the dark slopes at the opposite side of the Rhone valley, and between both we have the blue haze referred to, throwing the distant mountains far away. But at certain hours of the day the haze may be quenched, and then the Massa ridge and the mountains beyond the Rhone seem almost equally distant from the eye. The one appears, as it were, a vertical continuation of the other. The haze varies with the temperature and humidity of the atmosphere. At certain times and places it is almost as blue as the sky itself; but to see its colour, the attention must be withdrawn from the mountains and from the trees which cover them. In point of fact, the haze is a piece of more or less perfect sky; it is produced in the same manner, and is subject to the same laws, as the firmament itself. We live in the sky, not under it.

These points were further elucidated by the deportment of the selenite, plate, with which the readers of the foregoing pages are so well acquainted. On some of the sunny days of August the haze in the valley of the Rhone, as looked at from the Bel Alp, was very remarkable. Towards evening the sky above the mountains opposite to my place of observation yielded a series of the most splendidly-coloured iris-rings; but on lowering the selenite until it had the darkness of the pines at the opposite side of the Rhone 'valley, instead of the darkness of space, as a background, the colours were not much diminished in brilliancy. I should estimate the distance across the valley, as the crow flies, to the opposite mountain, at nine miles; so that a body of air of this thickness can, under favourable circumstances, produce chromatic effects of polarisation almost as vivid as those produced by the sky itself.

Again: the light of a landscape, as of most other things, consists of two parts; the one, coming purely from superficial reflection, is always of the same colour as the light which falls upon the landscape; the other part reaches us from a certain depth within the objects which compose the landscape, and it is this portion of the total light which gives these objects their distinctive colours. The white light of the sun enters all substances to a certain depth, and is partly ejected by internal reflection; each distinct substance absorbing and reflecting the light, in accordance with the laws of its own molecular constitution. Thus the solar light is sifted by the landscape, which appears in such colours and variations of colour as, after the sifting process, reach the observer's eye. Thus the bright green of grass, or the darker colour of the pine, never comes to us alone, but is always mingled with an amounts of light derived from superficial reflection. A certain hard brilliancy is conferred upon the woods and meadows by this superficially-reflected light. Under certain circumstances, it may be quenched by a Nicol's prism, and we then obtain the true colour of the grass and foliage. Trees and meadows, thus regarded, exhibit a richness and softness of tint which they never show as long as the superficial light is permitted to mingle with the true interior emission. The needles of the pines show this effect very well, large-leaved trees still better; while a glimmering field of maize exhibits the most extraordinary variations when looked at through the rotating Nicol.

Thoughts and questions like those here referred to took me, in August 1869, to the top of the Aletschhorn. The effects described in the foregoing paragraphs were for the most part reproduced on the summit of the mountain. I scanned the whole of the sky with my Nicol. Both alone, and in conjunction with the selenite, it pronounced the perpendicular to the solar beams to be the direction of maximum polarisation.

But at no portion of the firmament was the polarisation complete. The artificial sky produced in the experiments recorded in the preceding pages could, in this respect, be rendered far more perfect than the natural one; while the gorgeous 'residual blue' which makes its appearance when the polarisation of the artificial sky ceases to be perfect, was strongly contrasted with the lack-lustre hue which, in the case of the firmament, outlived the extinction of the brilliancy. With certain substances, however, artificially treated, this dull residue may also be obtained.

All along the arc from the Matterhorn to Mont Blanc the light of the sky immediately above the mountains was powerfully acted upon by the Nicol. In some cases the variations of intensity were astonishing. I have already said that a little practice enables the observer to shift the Nicol from one position to another so rapidly as to render the alternative extinction and restoration of the light immediate. When this was done along the arc to which I have referred, the alternations of light and darkness resembled the play of sheet lightning behind the mountains. There was an element of awe connected with the suddenness with which the mighty masses, ranged along the line referred to, changed their aspect and definition under the operation of the prism.

*****

The physical reason of the blueness of both natural and artificial skies is, I trust, correctly given in the essay on the Scientific use of the Imagination published in the second volume of these Fragments.

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V. ON DUST AND DISEASE.

Experiments on Dusty Air.

SOLAR light, in passing through a dark room, reveals its track by illuminating the dust floating in the air. 'The sun,' says Daniel Culverwell, 'discovers atomes, though they be invisible by candle-light, and makes them dance naked in his beams.'

In my researches on the decomposition of vapours by light, I was compelled to remove these 'atoms' and this dust. It was essential that the space containing the vapours should embrace no visible thing--that no substance capable of scattering light in the slightest sensible degree should, at the outset of an experiments, be found in the wide 'experimental tube' in which the vapour was enclosed.

For a long time I was troubled by the appearance there of floating matter, which, though invisible in diffuse daylight, was at once revealed by a powerfully condensed beam. Two U-tubes were placed in succession in the path of the air, before it entered the liquid whose vapour was to be carried into the experimental tube. One of the U-tubes contained fragments of marble wetted with a strong solution of caustic potash; the other, fragments of glass wetted with concentrated sulphuric acid which, while yielding no vapour of its own, powerfully absorbs the aqueous vapour of the air. [Footnote: The apparatus is figured in Fig. 3.] To my astonishment, the air of the Royal Institution, sent through these tubes at a rate sufficiently slow to dry it, and to remove its carbonic acid, carried into the experimental tube a considerable amounts of mechanically suspended matter, which was illuminated when the beam passed through the tube. The effect was substantially the same when the air was permitted to bubble through the liquid acid, and through the solution of potash.

I tried to intercept this floating matter in various ways; and on October 5, 1868, prior to sending the air through the drying apparatus, it was carefully permitted to pass over the tip of a spirit-lamp flame. The floating matter no longer appeared, having been burnt up by the flame. It was therefore organic matter. I was by no means prepared for this result; having previously thought that the dust of our air was, in great part, inorganic and non-combustible. [Footnote: According to an analysis kindly furnished to me by Dr. Percy, the dust collected from the walls of the British Museum contains fully 50 per cent. of inorganic matter. I have every confidence in the results of this distinguished chemist; they show that the floating dust of our rooms is, as it were, winnowed from the heavier matter. As bearing directly upon this point I may quote the following passage from Pasteur: 'Mais ici se présente une remarque: la poussière que Pon trouve à la surface de tous les corps est soumise constamment à des courants d'air, qui doivent soulever des particules les plus légères, au nombre desquelles se trouvent, sans doute, de préférence les corpuscules organisés, oeufs ou spores, moins lourds généralement que les particules minérales.']

I had constructed a small gas-furnace, now much employed by chemists, containing a platinum tube, which could be heated to vivid redness. [Footnote: Pasteur was, I believe, the first to employ such a tube.] The tube contained a roll of platinum gauze, which, while it permitted the air to pass through it, ensured the practical contact of the dust with the incandescent metal. The air of the laboratory was permitted to enter the experimental tube, sometimes through the cold, and sometimes through the heated, tube of platinum. In the first column of the following fragment of a long table the quantity of air operated on is expressed by the depression of the mercury gauge of the air-pump. In the second column the condition of the platinum tube is mentioned, and in the third the state of the air in the experimental tube.

Quantity of air State of platinum tube State of experimental tube

15 inches Cold Full of particles.

30 inches Red-hot Optically empty.

The phrase 'optically empty' shows that when the conditions of perfect combustion were present, the floating matter totally disappeared.

*****

In a cylindrical beam, which strongly illuminated the dust of the laboratory, I placed an ignited spirit-lamp. Mingling with the flame, and round its rim, were seen curious wreaths of darkness resembling an intensely black smoke. On placing the flame at some distance below the beam, the same dark masses stormed upwards. They were blacker than the blackest smoke ever seen issuing from the funnel of a steamer; and their resemblance to smoke was so perfect as to lead the most practised observer to conclude that the apparently pure flame of the alcohol lamp required but a beam of sufficient intensity to reveal its clouds of liberated carbon. But is the blackness smoke? This question presented itself in a moment and was thus answered: A red-hot poker was placed underneath the beam: from it the black wreaths also ascended. A large hydrogen flame was next employed, and it produced those whirling masses of darkness, far more copiously than either the spirit-flame or poker. Smoke was therefore out of the question. [Footnote: In none of the public rooms of the United States where I had the honour to lecture was this experiment made. The organic dust was too scanty. Certain rooms in England--the Brighton Pavilion, for example--also lack the necessary conditions.]

What, then, was the blackness? It was simply that of stellar space; that is to say, blackness resulting from the absence from the track of the beam of all matter competent to scatter its light. When the flame was placed below the beam the floating matter was destroyed in situ; and the air, freed from this matter, rose into the beam, jostled aside the illuminated particles, and substituted for their light the darkness due to its own perfect transparency. Nothing could more forcibly illustrate the invisibility of the agent which renders all things visible. The beam crossed, unseen, the black chasm formed by the transparent air, while, at both sides of the gap, the thick-strewn particles shone out like a luminous solid under the powerful illumination.

It is not, however, necessary to burn the particles to produce a stream of darkness. Without actual combustion, currents may be generated which shall displace the floating matter, and appear dark amid the surrounding brightness. I noticed this effect first on placing a red-hot copper ball below the beam, and permitting it to remain there until its temperature had fallen below that of boiling water. The dark currents, though much enfeebled, were still produced. They may also be produced by a flask filled with hot water.

To study this effect a platinum wire was stretched across the beam, the two ends of the wire being connected with the two poles of a voltaic battery. To regulate the strength of the current a rheostat was placed in the circuit. Beginning with a feeble current the temperature of the wire was gradually augmented; but long before it reached the heat of ignition, a flat stream of air rose from it, which when looked at edgeways appeared darker and sharper than one of the blackest lines of Fraunhofer in the purified spectrum. Right and left of this dark vertical band the floating matter rose upwards, bounding definitely the non-luminous stream of air. What is the explanation? Simply this: The hot wire rarefied the air in contact with it, but it did not equally lighten the floating matter. The convection current of pure air therefore passed upwards among the inert particles, dragging them after it right and left, but forming between them an impassable black partition. This elementary experiments enables us to render an account of the dark currents produced by bodies at a temperature below that of combustion.

But when the platinum wire is intensely heated, the floating matter is not only displaced, but destroyed. I stretched a wire about 4 inches long through the air of an ordinary glass shade resting on cotton-wool, which also surrounded the rim. The wire being raised to a white heat by an electric current, the air expanded, and some of it was forced through the cotton-wool. When the current was interrupted, and the air within the shade cooled, the returning air did not carry motes along with it, being filtered by the wool. At the beginning of this experiments the shade was charged with floating matter; at the end of half an hour it was optically empty.

On the wooden base of a cubical glass shade, a cubic foot in volume, upright supports were fixed, and from one support to the other 38 inches of platinum wire were stretched in four parallel lines. The ends of the platinum wire were soldered to two stout copper wires which passed through the base of the shade and could be connected with a battery. As in the last experiments the shade rested upon cotton-wool. A beam sent through the shade revealed the suspended matter. The platinum wire was then raised to whiteness. In five minutes there was a sensible diminution of the matter, and in ten minutes it was totally consumed.

Oxygen, hydrogen, nitrogen, carbonic acid, so prepared as to exclude all floating particles, produce, when poured or blown into the beam, the darkness of stellar space. Coal-gas does the same. An ordinary glass shade, placed in the air with its mouth downwards, permits the track of the beam to be seen crossing it. When coal-gas or hydrogen is allowed to enter the shade by a tube reaching to its top, the gas gradually fills the shade from above downwards. As soon as it occupies the space crossed by the beam, the luminous track is abolished. Lifting the shade so as to bring the common boundary of gas and air above the beam, the track flashes forth. After the shade is full, if it be inverted, the pure gas passes upwards like a black smoke among the illuminated particles.