Edwin Babbitt - Principles of Light and Color (1878)

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    BABBITT’S PRINCIPLES OF LIGHT AND COLOR.—PLATE I.

    VARIOUS SHADES OF GRAY ARRANGED IN ANALOGICAL HARMONY.

    SPECTRA OF THE SUN, SIRIUS, AND SEVERAL ELEMENTS.

    BABBITT’S PRINCIPLES OF LIGHT AND COLOR.—PLATE II.

    CHROMATIC HARMONY OF GRADATION AND CONTRAST.

    CONTRASTING CHROMATIC COLORS PLACED OPPOSITE THOSE WHICH ANALOGICALHARMONY FORM A CHEMICAL AFFINITY WITH THEM HARMONY

    In the above elaborate combination of colors the artist has found it impossible to get every feature accuratealthough he has many beautiful and pure tints. The grays on both plates I. and II. are not sufficientlydued, the chromatic colors standing out too brilliantly, the red, for instance, in the house, fig. 6, beingstrong, etc. For description of plates see pp. 63, 65, 66, 69, 71, etc. The spectra are described on p. 217.

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    4 HARMONIC LAWS OF THE UNIVERSE.

    branch out from each side. Fig. 7 has several centers of unitywhich meet at a general center. Fig. 8, a shell of Echinus,forms a little dome-shaped animal with a great variety of linesof forms which have their center of unity at the apex. Fig. 9presents a few of the radiating lines of the asterias, which has aflower-like center. Fig. 10 shows how the leaves and other

    parts of flowers affectionately meet at a center of unity. Whenthe cactus blossoms it is said to have an array of five hundredstamens which encircle the pistil as its center of unity.

    2.  Leaves  and other natural  forms  not only have centers ofunity in themselves, but their very contour is apt to give a por-tion of some other beautiful outline with centers outside ofthemselves, 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 consistsof a part of two eliipses, or rather of twoovals, which latter have two unequal centersof unity instead of two equal centers likethe 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 concen-tric lines. Fig. 14 has the line of grace  which winds around ageneral center of unity, and has also the unity of parallel lines,etc. Figures 15, 16, 17 and 18,illustrate various styles of unityin foliage and tree growth, andare taken from Ruskin's "Ele-ments of Drawing." The meth-ods 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 agreat truth which all nature proclaims. "The number of sys-

    tems," says Ruskin, "is incalculable, and even to represent any-thing like a representative number of types, I should have togive several hundreds of figures."

    3. Notice how many varieties of unity are presented in asimple cluster of leaves, grasses and flowers, as in fig. 19. Notonly 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,

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    20 HARMONIC LAWS OF THE UNIVERSE.

    within, but its general center of form around a line which shouldextend through the center of the whole ovoid longitudinally.I will now present some faces as illustrations of the principle.

    Figs. 57 and 58 are a copy from life of two sisters, who at thesame age had a good deal of resemblance to each other. Emmais 18 months old and has fine round features. Katie is 6 yearsold and her features have become much more oval, the curveof the chin being more delicate and yet more marked as

    GRADATION OR PROGRESSION. 21

    compared with that of the cheek, while the hair contrastsmore distinctly in color and prominence with the face. Fig-ures 59 and 60 present subjects still younger and still olderthan those of Emma and Katie, the infant which I have copiedfrom the London Art Journal having a face so nearly circularthat its chin almost disappears; while the French marketgirl, having reached early womanhood, has a fine oval face

    and more distinct features of every kind. In fig. 61, the sameprinciple is well illustrated in the three faces presented, whichlengthen out as their age progresses, while womanhood, asrepresented by Genevieve in fig. 62, presents a still greatervariety of gradations as seen in the curves of her form as wellas greater contrasts. The line of beauty will be seen on hercheeks, top hair, shoulders and bust, and the lines of gracein her lower hair, although the artist has not given her a verysuperior expression of countenance.

    6. Gradations of Light  and Shade so beautifully exemplified insky and hill and valley and lake, and in most of the manifestationsof nature, must be imitated as far as possible in art. In most ofthe foregoing pictures these gradations are easily seen, especiallyin that of the Astronomer, fig. 38, in which the light fades intoshadow as we pass from the forehead to the temples, or intostill deeper shadow on passing to the eyes, which are overhungby his prominent and intellectual brow. This latter, in fact,

    may be called a contrast of light and shade, although it is graded

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    24 HARMONIC LAWS OF THE UNIVERSE.

    Figure 66 presentssome elements of thebeautiful in the curvedform and sparkling ef-

    fect of the waters ofNiagara Falls, a part ofwhich appear, but theloftiness, vastness, pow-er, and the terrific con-trasts and whirling mo-tions of such mightycurrents are especiallysublime.

    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. Grada-tion of light and color in the sky, represented in fig. 67, is apt tobe the most delicate where no clouds are, the light of course be-ing most brilliant where the sun is, and having a progression

    *This pretty piece of landscape was drawn for me by a young artist, MissMay Kidder, daughter of Mrs. M. A. Kidder, the well known poetess.

    CONTRAST 25

    toward shadow as we recede from the sun. In a sunset sky, ora sunrise scene, there are often millions of degrees of tint fromthe point where the sun is all the way over to the opposite sideof the sky, when it is not cloudy; but in case of clouds, magnificentcontrasts of light, shade and color are apt to appear with theirmore exciting effects. The clouds and light of a tempest oftenmanifest brilliant contrasts, something as in fig. 68. Fig. 69shows a scene in which contrast and diversity are almost entirelylacking, so that the land can scarcely be distinguished from thewater, and the whole effect is feeble. In fig. 70 contrasts ofvarious kinds appear and give a brilliant effect. There is a con-

    trast of size and direction in the rocks and bold scenery as placedside by side with the placid sheet of water; and there is the con-

    trast of the deep shadow in which these rocks are placed with thebrilliant light that flashes over the water, and this light is toned

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    26 HARMONIC LAWS OF THE UNIVERSE.

    down by a gradation of shading which gives refinement. Thecontrast of luminous branches on the shadowy rocks should alsobe noticed.

    4. The contrast of Masculinity with Femininity is  one of na-

    ture's great strokes of harmony, being an admirable method ofemploying diversity in the sexes to bind them together in unityof spirit. It is really a contrast of gradation of style as predomina-ting in woman with contrast of style as ruling in man. In fig. 71,I have presented the beautiful queen of Delhi, in contrast withthe manly head of the Emperor of Germany in fig. 72. Thequeen'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 areavoided. The Emperor with his firm shoulders and neck, hismassive forehead and eyebrows, his bold features approachingangularity, his beard and mustache contrasting in form and colorwith his face, his angular ornaments with their bright colorsplaced in contrast with the dark color of his coat, give him anappearance 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 andgrace of the woman, while the woman enhances the majesty of theman by her more petite and yielding form. The true womannaturally desires in man masculine force of character, and thetrue man naturally loves in woman feminine refinement andgentleness. By  feminine  I do not mean effeminate, and by gen-tleness I do not mean lacking in firmness of principle. When

    such natures form a matrimonial union their harmony, bothphysical and spiritual, will be far greater than two natures whichare too much alike, or rather which do not contrast properly. Bycontrast   I do not mean contrariness, or opposition, but distinctlymarked diversity in unity; for natures that are almost totallyopposite cannot harmonize any better than those which arealmost wholly alike.

    Fig. 73 presents the face of our eminent ornithologist Au-dubon, certainly one of the most feminine of masculine faces,

    from the delicacy of his chin and mouth and the fine curves of

    CONTRAST. 27

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    232 CHROMO-CHEMISTRY. SPECTRA OF ELEMENTS WITH POSITIVE COLORS. 233

    When submitted to chemical or heat action as exhibited in thespectrum, they change their potencies according to the followinglaws:

    1. Their principal change is towards the finer end of thespectrum, including a grade of thermal colors finer than theirown and more or less of the electrical colors, on the law of

    calorescence already explained. (Chapter Third, XXXIII.)2. The most rapid change towards the finer electrical colors,

    and the greatest chemical power occurs in the case of the ele-ments which approach to lightness and tenuity, according to the

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    XIV. SPECTRA  OF  ELEMENTS  WITH  POSITIVE  COLORS.

    Certain elements in their normal condition exhibit positive or

    chromatic colors. These colors belong to the thermal group, there

    being no positive electrical colors among the elements. These ele-ments include gold  (yellow), copper   (red orange), Selenium (red-dish brown), Sulphur  (pale yellow), chlorine (greenish-yellow, orvery yellow-green), titanium, (reddish), and bromine (a red liquid).

    law explained in Chapter First, XV, as may be seen by examin-ing the spectra of sulphur, chlorine and bromine, as well as byinvestigating their chemical potencies elsewhere.

    3. The slowest change towards the electrical forces occurs in

    the heaviest metals of the group, gold being the heaviest andmost feebly electrical, and copper next.The spectra of these elements are as follows:—

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    392 CHROMO CULTURE OF VEGETABLE LIFE.

    9. Plants are affected by the chemical affinities and repulsions of other plants near them. 

    10. Brilliantly colored flowers are less apt to be fragrant than thosewhich are white or inconspicuous. 

    11. The spring time of the year is cooler, and consequently more elec-trical and better adapted to germination than the summer, while the

    summer and early autumn are better adapted to fruit and seed than the

    spring, from the force of the thermal rays. 

    CHROMO-PHILOSOPHY. 393

    CHAPTER EIGHTH.

    C H R O M O—P H I L O S O P H Y.

    1. THE  PLAN  OF  THIS  CHAPTER 

    Will be to present a few leading ideas concerning Refraction,Reflection, Absorption, Transparency, Polarization and someother points which, under the ordinary theories, are but dimlyapprehended, while the general points of optical mathematicswill be almost wholly omitted. These are already ably presentedin various works, and it is important that I dwell somewhat upon

    points which should be cleared if possible of their confusion.The ordinary dynamic theory of force being only one side oftruth, renders it about as difficult to get a clear perception ofoptical and many other facts as it is to drive a carriage with one

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    optical and many other facts, as it is to drive a carriage with onewheel, whereas a mere child can comprehend the leading ideasof the subject if presented in harmony with nature. Supposewe try to make a child understand the reflection of light  by tellinghim that light consists of waves of some fixed ether which some-times sweep obliquely against an object and then roll off just asobliquely away from it. He naturally thinks of waves of water,which will often roll up against an object and then break into allkinds of confused shapes, and of course scarcely gets the leastcorrect idea of the movement of light. Tell him, however, thatlight consists of ether made up of countless little fire-balls whichstrike against an object, and bound off just as any other wonder-fully elastic balls will do, and he has some conception of thematter immediately. Seeing a red object he asks what makes it

    look so red? The answer will be, because it reflects red wavesof light and absorbs all the rest. But why does it reflect the redwaves, and why absorb the others? The teacher now is non-plussed, for being unable to understand the matter for himself,much less can he explain it to another. The child, however, can

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    434 CHROMO-DYNAMICS.

    saw also the blue, and if her vision had been still clearer shewould perhaps have seen the other colors also, although the elec-trical colors predominate at the north pole, and the thermel at thesouth pole. As we have seen, a weaker grade of electricity ex-ists at the south pole, otherwise there could be no magnetic at-traction there. If a piece of card board or glass should be laidupon the sides of the poles as they lie horizontally, and sprinkledwith iron filings, the magnetic forces will arrange the filings into

    curves resembling the dotted lines in the plate, and if a sensitivelook at these in the dark, they will coruscate like countless starson account of the currents that are passing through them. Thefigures at the positive (north) pole represent colors as follows:—1, gray-colored smoke; 2, psychic red; 3, psychic thermel; 4,violet (odic scale); 5, indigo; 6,6, blue which predominates;7, green; 8, yellow; 9, orange; 10, red; 11, thermel. N isnorth pole, S, south pole. It will be seen on reflection how ad-mirable is the law by which the cold currents are made to goupward and thus prove cooling to the brains of human beings asthey stand or sit, while the warm currents pass downward andthus help the feet. In the following paragraphs it will be shownhow a person may lie in sleeping so as to get the advantage ofstill colder currents for the head and still warmer ones for thef t

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    feet.3.  Horizontal Forces. The great forces of the earth caused

    by sunlight, heat, magnetism and electricity, and which are more

    nearly horizontal, may be arrived at by studying the followingbrilliant experiment of Baron Reichenbach, a beautiful illustra-tion of which I have drawn up as nearly correct as possible, andhad engraved in the circular figure of Plate III:—"I now triedthe effect of a circular surface or disc. A disc of iron plate,13.2 inches in diameter, was well flattened, and an iron wire foldedinto its circumference, so that a smooth, round, clean border, onetwelfth of an inch thick, ran round it. It was suspended by asmall hook in the middle, horizontally above the pole of themagnet, and could be fixed at any hight. I could now let itdown on the northward pole of the magnet which stood verti-cally. * * I showed the disc to Mlle. Pauer. The odylic glowinstantly spread over it. The colors were developed as mighthave been expected; on the upper centre, a blue spot, on the

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    480 CHROMO-MENTALISM.

    positive radiations from the right side of the head and face whichsweep around and become influx curves on the left side, andthere are circuits behind, which enter on the right side of thecerebellum and emerge on the left, just contrary to the direc-tions of the frontal forces; and there are systems of straight

    THE COLORS AND FORCES OF THE BRAIN. 481

    head and face, and in fact too many other divisions to mentionhere, although I have named some of the more important.When I speak of the forehead and right side as strong in posi-tive and efflux forces, I mean in electrical forces, although thethermal radiations are just in the opposite directions as signifiedby the colors and other phenomena. I make these statementsfrom the observations of Henry Hall Sherwood, M. D., of Baron

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    line forces which enter at the left and emerge at the right morestrongly than they do in the opposite directions, and other sys-tems which glide conversely through the whole body from headto feet, and feet to head, and far beyond into space, and stillother systems which are influx behind and influx from the fore-

    Reichenbach and other persons, as well as from my own experi-ence, and the reader will find confirmation of several of them inwhat is still to follow. Not only are there curves encirling bothhemispheres of the brain, but systems of curves in each hemi-

    sphere. Persons of psychological power can sometimes throwthese curves of force around others at a great distance andinfluence them. An eminent German singer informed me thathe had often made persons turn around while forty yards away,

    31

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