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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..79bf833 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #63842 (https://www.gutenberg.org/ebooks/63842) diff --git a/old/63842-0.txt b/old/63842-0.txt deleted file mode 100644 index 7845981..0000000 --- a/old/63842-0.txt +++ /dev/null @@ -1,874 +0,0 @@ -The Project Gutenberg EBook of Spectropia; or, Surprising Spectral -Illusions, by J. H. Brown - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this ebook. - -Title: Spectropia; or, Surprising Spectral Illusions - Showing Ghosts Everywhere, and of Any Colour - -Author: J. H. Brown - -Release Date: November 22, 2020 [EBook #63842] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Tim Lindell, Chuck Greif and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK SPECTROPIA; OR, SURPRISING -SPECTRAL ILLUSIONS *** - - - - - -[Illustration: I - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - - - - - SPECTROPIA; - - OR, - - SURPRISING SPECTRAL ILLUSIONS. - - SHOWING - - GHOSTS EVERYWHERE, - - AND OF ANY COLOUR. - - - BY J. H. BROWN. - - - _FOURTH EDITION._ - - - First Series. - WITH SIXTEEN ILLUSTRATIONS. - - - LONDON: - GRIFFITH AND FARRAN, - SUCCESSORS TO NEWBERY AND HARRIS, - CORNER OF ST. PAUL’S CHURCHYARD. - H. & C. TREACHER, BRIGHTON. - MDCCCLXV. - - [_Entered at Stationers’ Hall._] - - - - -INTRODUCTION. - - -The following Illusions are founded on two well-known facts; namely, the -persistency of impressions, and the production of complementary colours, -on the retina. - -The explanations are divided into two Parts. The FIRST consists of -directions for seeing the spectres. The SECOND, a brief and popular, as -well as a scientific, description of the manner in which the spectres -are produced, and is intended for the use of those who may wish to know -more of this subject than is contained in the first Part. - -As an apology for the apparent disregard of taste and fine art in the -plates, such figures are selected as best serve the purpose for which -they are intended. - - J. H. BROWN. - -OLD STEYNE, BRIGHTON. - - - - -DIRECTIONS. - - -To see the spectres, it is only necessary to look _steadily_ at the dot, -or asterisk, which is to be found on each of the plates, for about a -_quarter_ of a minute, or while counting about twenty, the plate being -well illuminated by either artificial or day light. Then turning the -eyes to the ceiling, the wall, the sky, or better still to a white sheet -hung on the wall of a darkened room (not totally dark), and looking -rather steadily at any one point, the spectre will soon begin to make -its appearance, increasing in intensity, and then gradually vanishing, -to reappear and again vanish; it will continue to do so several times in -succession, each reappearance being fainter than the one preceding. -Winking the eyes, or passing a finger rapidly to and fro before them, -will frequently hasten the appearance of the spectre, especially if the -plate has been strongly illuminated. - -Those who use gaslight will find it convenient, after having looked at -the plate as above described, to extemporise a darkened room by having -the gaslight turned low; or one end of the room may be darkened by -placing a screen before the gas, lamp, or candle light. - -The spectres may be easily made to appear life-sized or colossal, by -having the plate _nearer_ the eyes while receiving the impression, and -by _increasing the distance_ between the observer and the surface -against which they are seen. As a general rule, the observer should be -about eight to twenty feet from the surface. When the spectres are seen -against opposite houses, the sky, and other distant surfaces, they will -appear colossal. - -Should any one not be able to see the spectre’s features, the reason -will be, either that the eyes have been allowed to wander, or the head -to move, while looking at the plate. - -Many persons will see some one coloured spectre better than the others, -in consequence of their eyes not being equally sensitive to all colours. - -The colours in the plate will be found to reverse themselves in the -spectres, as explained elsewhere, the spectres always appearing of the -complementary colour to that of the plate from which it is obtained. -Thus, blue will appear orange, and orange blue, &c. - - - - -LIST OF THE PLATES. - - -PLATE I. - -This winged figure of Victory will give a white spectre by artificial -light (rather green by daylight), the red wreaths green, the green roses -red, and the orange stars blue. - - -PLATE II. - -This black figure will give a white spectre. - - -PLATE III. - -This will give a dark spectre. - - -PLATE IV. - -This green figure will give a red spectre. - - -PLATE V. - -And this red figure will give a green spectre. - - -PLATE VI. - -This orange figure will give a blue spectre. - - -PLATE VII. - -And this blue figure an orange spectre. - - -PLATE VIII. - -This purple hand will give a yellow spectre. - - -PLATE IX. - -And this yellow figure of Victory will give a purple spectre. - - -PLATE X. - -The face of this figure will come out green in the spectre, the garment -red, and the cloud white. - - -PLATE XI. - -This black skeleton will make a white spectre. - - -PLATE XII. - -This skeleton will also give a white spectre, with a yellow mantle. - - -PLATE XIII. - -This figure and broom will give a yellow spectre, cloak and hat red, and -moon white. - - -PLATE XIV. - -These figures will give green and yellow spectres. - - -PLATE XV. - -This Cupid will give a rose-coloured spectre, with bow and arrow yellow. - - -PLATE XVI. - -This is a rainbow with colours reversed, the spectre of which will be -found a good resemblance of nature, especially when seen on a cloudy -sky. - - * * * * * - -The colours of the spectres produced by these figures will not only be -subject to a slight variation in different eyes, but also by the degree -in which the plates are illuminated while being looked at. - - - - -A POPULAR AND SCIENTIFIC DESCRIPTION. - - -It is a curious fact that, in this age of scientific research, the -absurd follies of spiritualism should find an increase of supporters; -but mental epidemics seem at certain seasons to affect our minds, and -one of the oldest of these moral afflictions--witchcraft--is once more -prevalent in this nineteenth century, under the contemptible forms of -spirit-rapping and table-turning. The modern professor of these -impostures, like his predecessors in all such disreputable arts, is bent -only on raising the contents of the pockets of the most gullible portion -of humanity, and not the spirits of the departed, over which, as he well -knows, notwithstanding his profane assumption, he can have no power. - -One thing we hope in some measure to further in the following pages, is -the extinction of the superstitious belief that apparitions are actual -spirits, by showing some of the many ways in which our senses may be -deceived, and that, in fact, no so-called ghost has ever appeared, -without its being referable either to mental or physiological deception, -or, in those instances where several persons have seen a spectre at the -same time, to natural objects, as in the case mentioned by Dr. -Abercrombie, in his work on “The Intellectual Powers:”--“A whole ship’s -company were thrown into the utmost consternation, by the apparition of -a cook who had died a few days before. He was distinctly seen walking -ahead of the ship, with a peculiar gait, by which he was distinguished -when alive, from having one of his legs shorter than the other. On -steering the ship toward the object, it was found to be a piece of -floating wreck.” - -A ghost, according to the general descriptions of those who fancy they -have been favoured with a sight of one, appears to be of a pale -phosphorescent white, or bluish white colour; usually indistinct, and so -transparent that objects are easily seen through it. When moving, it -glides in a peculiar manner, the legs not being necessary to its -locomotion. - -All the senses are more or less subject to deception, but the eye is -pre-eminently so; especially in the case of individuals who are in ill -health, because the sensibility of the retina is then generally much -exalted, as is also the imagination. - -We may divide the illusions to which the sense of sight is liable into -four kinds. First, mental, or those arising in the brain itself, and -only referred to the eye. Second, those produced by the structure of the -eye. Third, those arising from the impressions of outward objects on the -retina. Fourth, those produced by various combinations of the foregoing. -It is only the second and third we shall have occasion to touch upon. -But before we can well understand their nature, it will be necessary to -get a slight knowledge of the structure of the eye, and some idea -respecting the nature of light. - -[Illustration: FIG. 1.] - -With perhaps the exception of the ear, the eye is the most wonderful -example of the infinite skill of the Creator. A more exquisite piece of -mechanism it is impossible for the human mind to conceive. The annexed -diagram (Fig. 1) of a horizontal section of this organ will give a -better idea of its general structure than whole pages of letter-press. -It will be seen to consist of a globe of three envelopes or coats, which -are kept distended by three transparent humours or lenses: the aqueous -(_e_), the crystalline (_f_), and the vitreous (_g_). The outer coat -(_a_) is dense, white, and fibrous. In front of the eye it gives place -to a perfectly transparent one, called the cornea (_d_). The next coat, -the choroid (_b_), is vascular, very black on its internal surface, in -order that light falling on it through the pupil (_h_) may not be -reflected. The pupil is an opening through a diaphragm which is called -the iris (_i_), from its colour varying in different individuals. It has -the power of expanding and contracting the pupil, for the purpose of -regulating the supply of light to the retina (_c_), or third and last -coat which lies immediately on the choroid. It is transparent, very -complex, and the only part of the eye we shall carefully consider. The -following diagram (Fig. 2) represents a section of it magnified 250 -diameters, _a_ is called the limitary membrane, and forms its innermost -surface, or that which is next the vitreous humour; _b_ consists of the -layer of optic nerve fibers; _c_ is a layer of grey nerve cells; _d_, -two layers in which the principal retinal blood-vessels are spread out; -_e_, two layers of granular matter; _f_, Jacob’s membrane, or layer of -rods and cones. Fig. 3 will give some idea of the supposed connexion -between these various parts, the same letters referring to the same -parts as in Fig. 2. - -[Illustration: FIG. 2.] - -[Illustration: FIG. 3.] - -When a ray of light enters the eye, it passes through the humours or -lenses, and is formed by them into an image, on the choroid, of the -object looked at. The extremities of the rods and cones have the power -of appreciating the image there formed, and convey it up through the -ultimate parts of the retina (Fig. 2), thence along the optic nerve -fibres to the brain. We are inclined to regard the extremities of the -rods and cones as the true seat of perception, in consequence of -observing a considerable distance between the retinal blood-vessels and -the choroid, when performing Purkinje’s experiment.[A] This experiment -consists in passing a lighted candle slowly to and fro before the eyes, -at about two or three inches from the nose, when the retinal vessels -will exhibit themselves before the observer not unlike branching trees. -They may be seen by daylight, by passing the large teeth of an ordinary -comb slowly backwards and forwards before the eye, whilst looking on a -smooth sheet of paper, or upon the sky. Fig. 4 represents those of the -left eye, as seen by candlelight. The spot marked _k_ is the exact -centre of the retina. (The same letter marks the same spot in Fig. 1.) -It is the seat of most distinct vision. _j_ is the entrance of the optic -nerve (Figs. 4 and 1), from the centre of which the retinal artery will -be seen emerging and spreading over the entire retina; but in the -diagram that part only is represented which could be seen tolerably -distinct. The background to the artery appears of a pale red, except at -the part occupied by the optic nerve, where it is white. - -[A] This distance can easily be perceived by getting an impression -on the retina, according to the “Directions,” page 4, and then, on -performing the above experiment, the arterial ramifications and the -central spot will be distinctly perceived to move over the spectral -figure. - -[Illustration: FIG. 4.] - -After this rapid glance at so complicated a structure, and bearing in -mind that some persons can see its several parts with vastly greater -facility than others, it cannot be a matter of surprise that individuals -not aware of these facts are, now and then--especially at night, and -when carrying a light about--startled by what they fancy an apparition, -but which is in reality nothing more than some part of the structures -above considered. A lady assures us that she saw the ghost of her -husband as she was going downstairs with a lighted candle in her hand. -The spot _k_, Fig. 4, when seen against a wall a few feet distant, -appears about the size of a human head, and wants very little to furnish -it with features. Figured paper on the wall, and a host of other things, -may supply them, or even the retinal artery, which often lends body and -limbs. (Fig. 5.) - -[Illustration: FIG. 5.] - -Besides the above-mentioned structures, there are others which may play -an important part in these illusions, especially the common _muscæ -volantes_, so called from their resemblance to flying flies. They -consist of cells and filaments, the _débris_ of the structures of the -eye, and float about in its humours. That some of them exist very near -the retina appears evident from the fact that, on placing the eyes close -to a gauze wire blind, distinct miniature images of parts of the gauze -will be seen in them. (Fig. 6.) - -[Illustration: FIG. 6.] - -We now pass on to consider some of the leading properties of Light. -There have been many theories propounded from time to time in order to -explain the various phenomena connected with this subject, but only one -accords well with all, and that is called the undulatory or vibratory -theory, which, from its numerous complications, will compel us to -confine ourselves to a consideration of that part only which is -necessary to our present use. This theory regards light as the -vibrations of an imponderable ether pervading all space, the number of -these vibrations varying in a given time for each of the three primary -colours--blue, yellow, and red--the greatest number producing blue, the -least red, and an intermediate number yellow, all other colours being -produced by the combination of these in various proportions. Any two of -the three primary colours mixed together makes the complementary colour -to the third, and the third is also complementary to it. Thus, blue and -yellow make green, which is the complementary colour to red; red and -blue make purple, complementary to yellow; yellow and red make orange, -complementary to blue. When the three primary colours are mixed -together, white is the result: so that when a ray of white light falls -upon a piece of paper, and all the vibrations are equally reflected, the -paper will appear white, and if they are all absorbed, it will appear -black; but, if the paper absorbs some and reflects others, it will -appear coloured. Thus, if it absorbs those producing red, it will appear -green, from the mixture of the vibrations producing blue and yellow; and -if it absorbs blue and yellow, and reflects red, then it will appear -red. In this manner any object we look at will appear of any particular -colour, according to which vibrations it absorbs and which it reflects. - -The retina is so admirably constructed that it is susceptible of -different impressions of colour by these different vibrations, except in -the case of a few individuals, who are either blind to all colour, and -therefore see everything black or white, and their intermediate shades, -or who are blind to only one or two colours. - -When we look steadily at a red object for a few seconds, that part of -the retina on which the image impinges begins to get less sensitive to -vibrations producing red, but more sensitive to those producing blue -and yellow; so that on turning the eye away from the red object, and -permitting a little white light to enter it, that part of the retina -which received the red image will, in consequence of its diminished -sensibility to that colour, and its exalted sensibility to blue and -yellow, be able to perceive the two latter colours best, and by their -mixture will give rise to a green image of the red object. The same -thing will be observed with all the other colours; the secondary image -or spectre always appearing of the complementary colour to the object -from which the impression is obtained. - -The duration and vividness of these impressions on the retina vary -greatly in different individuals, and can be procured from almost any -object. A person may, after looking steadily, and as often happens, -unconsciously, for a short time at printed or painted figures, on paper, -porcelain, &c., see, on turning the head in some other direction, a -life-sized or colossal spectre (the spectre appears larger the greater -the distance of the surface against which it is seen), and there can be -little doubt but that many of the reputed ghosts originate in this -manner. - -[Illustration: II - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: III] - -[Illustration: IV - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: V - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: VI - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: VII - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: VIII - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: IX - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: X - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: XI - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: XII - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: XIII - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: XIV - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: XV - -_Designed by J. H. Brown, Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -[Illustration: XVI - -_Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London._] - -*** END OF THE PROJECT GUTENBERG EBOOK SPECTROPIA; OR, SURPRISING SPECTRAL -ILLUSIONS *** - -***** This file should be named 63842-0.txt or 63842-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/8/4/63842/ - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. 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H. Brown. -</title> -<style type="text/css"> - -a:link {background-color:#ffffff;color:blue;text-decoration:none;} - - link {background-color:#ffffff;color:blue;text-decoration:none;} - -a:visited {background-color:#ffffff;color:purple;text-decoration:none;} - -a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} - -big {font-size: 130%;} - -body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;} - -.blk {margin-top:2%;margin-bottom:2%;} -.blk p{text-align:center;margin:1em auto 1em auto;} - -.c {text-align:center;text-indent:0%;} - -.caption {font-weight:normal;} -.caption p{font-size:75%;text-align:center;text-indent:0%;} - -p.chead {margin-top:2em;} - -.eng {font-family: "Old English Text MT",fantasy,sans-serif;} - -.figcenter {margin:3% auto 3% auto;clear:both; -text-align:center;text-indent:0%;} - -.figleft {float:left;clear:left;margin-left:0;margin-bottom:1em;margin-top:1em;margin-right:1em;padding:0;text-align:center;} - -.figright {float:right;clear:right;margin-left:1em;margin-bottom:1em;margin-top:1em;margin-right:0;padding:0;text-align:center;} - -.footnote {width:95%;margin:auto 3% 1% auto;font-size:0.9em;position:relative;} - -.label {position:relative;left:-.5em;top:0;text-align:left;font-size:.8em;} - -.fnanchor {vertical-align:30%;font-size:.8em;} - - h1 {margin-top:5%;text-align:center;clear:both; -font-weight:normal;} - - h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both; - font-size:100%;font-weight:normal;} - - hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black; -padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;} - - img {border:none;} - -.nind {text-indent:0%;} - - p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;} - -.pagenum {font-style:normal;position:absolute; -left:95%;font-size:55%;text-align:right;color:gray; -background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;} -@media print, handheld -{.pagenum - {display: none;} - } - -.r {text-align:right;margin-right: 5%;} - -.sans {font-family:sans-serif;} - -small {font-size: 60%;} - -.sml80 {font-size: 70%;} - -.smcap {font-variant:small-caps;font-size:100%;} -</style> - </head> -<body> -<pre style='margin-bottom:6em;'>The Project Gutenberg EBook of Spectropia; or, Surprising Spectral -Illusions, by J. H. Brown - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this ebook. - -Title: Spectropia; or, Surprising Spectral Illusions - Showing Ghosts Everywhere, and of Any Colour - -Author: J. H. Brown - -Release Date: November 22, 2020 [EBook #63842] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Tim Lindell, Chuck Greif and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK SPECTROPIA; OR, SURPRISING -SPECTRAL ILLUSIONS *** -</pre><hr class="full" /> - -<div class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" height="550" alt="" /></a> -</div> - -<div class="figcenter" style="width: 497px;"> -<a name="plt_I" id="plt_I"></a> -<img src="images/i_I.jpg" width="497" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>I</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith &<br /> - -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span> </p> - -<h1>SPECTROPIA;<br /> -<small><small>OR,</small></small><br /> -<small>SURPRISING SPECTRAL ILLUSIONS.</small><br /> -<small><small>SHOWING</small></small><br /><span class="sml80"> -G H O S T S E V E R Y W H E R E,</span><br /> - -<small> -AND OF ANY COLOUR.</small></h1> - -<p class="c">BY J. H. BROWN.<br /> -<br /> -<br /> -<i>FOURTH EDITION.</i><br /> -<br /> -<br /> -——————<br /> -<span class="eng">First Series.</span><br /><br /> -<span class="sans">WITH SIXTEEN ILLUSTRATIONS.</span><br /> -——————<br /> -<br /> -<br /> -LONDON:<br /> -GRIFFITH AND FARRAN,<br /><small> -SUCCESSORS TO NEWBERY AND HARRIS,</small><br /> -CORNER OF ST. PAUL’S CHURCHYARD.<br /> -<small>H. & C. TREACHER, BRIGHTON.<br /> -MDCCCLXV.</small><br /> -<br /> -[<i>Entered at Stationers’ Hall.</i>]<br /></p> - -<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> </p> - -<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> </p> - -<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION.</h2> - -<p class="nind"><span class="smcap">The</span> following Illusions are founded on two well-known facts; namely, the -persistency of impressions, and the production of complementary colours, -on the retina.</p> - -<p>The explanations are divided into two Parts. The <small>FIRST</small> consists of -directions for seeing the spectres. The <small>SECOND</small>, a brief and popular, as -well as a scientific, description of the manner in which the spectres -are produced, and is intended for the use of those who may wish to know -more of this subject than is contained in the first Part.</p> - -<p>As an apology for the apparent disregard of taste and fine art in the -plates, such figures are selected as best serve the purpose for which -they are intended.</p> - -<p class="r"> -J. H. BROWN.<br /> -</p> - -<p class="nind"> -<span class="smcap">Old Steyne, Brighton.</span><br /></p> - -<p><span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> </p> - -<h2><a name="DIRECTIONS" id="DIRECTIONS"></a>DIRECTIONS.</h2> - -<p class="nind"><span class="smcap">To</span> see the spectres, it is only necessary to look <i>steadily</i> at the dot, -or asterisk, which is to be found on each of the plates, for about a -<i>quarter</i> of a minute, or while counting about twenty, the plate being -well illuminated by either artificial or day light. Then turning the -eyes to the ceiling, the wall, the sky, or better still to a white sheet -hung on the wall of a darkened room (not totally dark), and looking -rather steadily at any one point, the spectre will soon begin to make -its appearance, increasing in intensity, and then gradually vanishing, -to reappear and again vanish; it will continue to do so several times in -succession, each reappearance being fainter than the one preceding. -Winking the eyes, or passing a finger rapidly to and fro before them, -will frequently hasten the appearance of the spectre, especially if the -plate has been strongly illuminated.</p> - -<p>Those who use gaslight will find it convenient, after having looked at -the plate as above described, to extemporise a darkened room by having -the gaslight turned low; or one end of the room may be darkened by -placing a screen before the gas, lamp, or candle light.</p> - -<p>The spectres may be easily made to appear life-sized or colossal, by -having the plate <i>nearer</i> the eyes while receiving the impression, and -by <i>increasing the distance</i> between the observer and the surface -against which they are seen. As a general rule, the observer should be -about eight to twenty feet from the surface. When the spectres are seen -against opposite houses, the sky, and other distant surfaces, they will -appear colossal.</p> - -<p>Should any one not be able to see the spectre’s features, the reason -will be, either that the eyes have been allowed to wander, or the head -to move, while looking at the plate.</p> - -<p>Many persons will see some one coloured spectre better than the others, -in consequence of their eyes not being equally sensitive to all colours.</p> - -<p>The colours in the plate will be found to reverse themselves in the -spectres, as explained elsewhere, the spectres always appearing of the -complementary colour to that of the plate from which it is obtained. -Thus, blue will appear orange, and orange blue, <span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>&c.</p> - -<h2><a name="LIST_OF_THE_PLATES" id="LIST_OF_THE_PLATES"></a>LIST OF THE PLATES.</h2> - -<div class="blk"> - -<p class="chead"><a href="#plt_I">PLATE I</a></p> - -<p>This winged figure of Victory will give a white spectre by artificial -light (rather green by daylight), the red wreaths green, the green roses -red, and the orange stars blue.</p> - -<p class="chead"><a href="#plt_II">PLATE II</a></p> - -<p>This black figure will give a white spectre.</p> - -<p class="chead"><a href="#plt_III">PLATE III</a></p> - -<p>This will give a dark spectre.</p> - -<p class="chead"><a href="#plt_IV">PLATE IV</a></p> - -<p>This green figure will give a red spectre.</p> - -<p class="chead"><a href="#plt_V">PLATE V</a></p> - -<p>And this red figure will give a green spectre.</p> - -<p class="chead"><a href="#plt_VI">PLATE VI</a></p> - -<p>This orange figure will give a blue spectre.</p> - -<p class="chead"><a href="#plt_VII">PLATE VII</a></p> - -<p>And this blue figure an orange spectre.</p> - -<p class="chead"><a href="#plt_VIII">PLATE VIII</a></p> - -<p>This purple hand will give a yellow spectre.<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p> - -<p class="chead"><a href="#plt_IX">PLATE IX</a></p> - -<p>And this yellow figure of Victory will give a purple spectre.</p> - -<p class="chead"><a href="#plt_X">PLATE X</a></p> - -<p>The face of this figure will come out green in the spectre, the garment -red, and the cloud white.</p> - -<p class="chead"><a href="#plt_XI">PLATE XI</a></p> - -<p>This black skeleton will make a white spectre.</p> - -<p class="chead"><a href="#plt_XII">PLATE XII</a></p> - -<p>This skeleton will also give a white spectre, with a yellow mantle.</p> - -<p class="chead"><a href="#plt_XIII">PLATE XIII</a></p> - -<p>This figure and broom will give a yellow spectre, cloak and hat red, and -moon white.</p> - -<p class="chead"><a href="#plt_XIV">PLATE XIV</a></p> - -<p>These figures will give green and yellow spectres.</p> - -<p class="chead"><a href="#plt_XV">PLATE XV</a></p> - -<p>This Cupid will give a rose-coloured spectre, with bow and arrow yellow.</p> - -<p class="chead"><a href="#plt_XVI">PLATE XVI</a></p> - -<p>This is a rainbow with colours reversed, the spectre of which will be -found a good resemblance of nature, especially when seen on a cloudy -sky.</p> - -<hr style="width: 10%;" /> - -<p>The colours of the spectres produced by these figures will not only be -subject to a slight variation in different eyes, but also by the degree -in which the plates are illuminated while being looked at.</p> -</div> - -<p><span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> </p> - -<h2><a name="A_POPULAR_AND_SCIENTIFIC_DESCRIPTION" id="A_POPULAR_AND_SCIENTIFIC_DESCRIPTION"></a>A POPULAR AND SCIENTIFIC DESCRIPTION.</h2> - -<p class="nind"><span class="smcap">It</span> is a curious fact that, in this age of scientific research, the -absurd follies of spiritualism should find an increase of supporters; -but mental epidemics seem at certain seasons to affect our minds, and -one of the oldest of these moral afflictions—witchcraft—is once more -prevalent in this nineteenth century, under the contemptible forms of -spirit-rapping and table-turning. The modern professor of these -impostures, like his predecessors in all such disreputable arts, is bent -only on raising the contents of the pockets of the most gullible portion -of humanity, and not the spirits of the departed, over which, as he well -knows, notwithstanding his profane assumption, he can have no power.</p> - -<p>One thing we hope in some measure to further in the following pages, is -the extinction of the superstitious belief that apparitions are actual -spirits, by showing some of the many ways in which our senses may be -deceived, and that, in fact, no so-called ghost has ever appeared, -without its being referable either to mental or physiological deception, -or, in those instances where several persons have seen a spectre at the -same time, to natural objects, as in the case mentioned by Dr. -Abercrombie, in his work on “The Intellectual Powers:”—“A whole ship’s -company were thrown into the utmost consternation, by the apparition of -a cook who had died a few days before. He was distinctly seen walking -ahead of the ship, with a peculiar gait, by which he was distinguished -when alive, from having one of his legs shorter than the other. On -steering the ship toward the object, it was found to be a piece of -floating wreck.”</p> - -<p>A ghost, according to the general descriptions of those who fancy they -have been favoured with a sight of one, appears to be of a pale -phosphorescent white, or bluish white colour; usually indistinct, and so -transparent that objects are easily seen through it. When moving, it -glides in a peculiar manner, the legs not being necessary to its -locomotion.</p> - -<p>All the senses are more or less subject to deception, but the eye is -pre-eminently so; especially in the case of individuals who are in ill -health, because the sensibility of the retina is then generally much -exalted, as is also the imagination.<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p> - -<p>We may divide the illusions to which the sense of sight is liable into -four kinds. First, mental, or those arising in the brain itself, and -only referred to the eye. Second, those produced by the structure of the -eye. Third, those arising from the impressions of outward objects on the -retina. Fourth, those produced by various combinations of the foregoing. -It is only the second and third we shall have occasion to touch upon. -But before we can well understand their nature, it will be necessary to -get a slight knowledge of the structure of the eye, and some idea -respecting the nature of light.</p> - -<div class="figleft"><a id="fig_1"></a> -<a href="images/i_008-a.jpg"> -<img src="images/i_008-a.jpg" width="300" alt="Image unavailable." /></a> -<div class="caption"><p><span class="smcap">Fig. 1.</span></p></div> -</div> - -<p>With perhaps the exception of the ear, the eye is the most wonderful -example of the infinite skill of the Creator. A more exquisite piece of -mechanism it is impossible for the human mind to conceive. The annexed -diagram (<a href="#fig_1">Fig. 1</a>) of a horizontal section of this organ will give a -better idea of its general structure than whole pages of letter-press. -It will be seen to consist of a globe of three envelopes or coats, which -are kept distended by three transparent humours or lenses: the aqueous -(<i>e</i>), the crystalline (<i>f</i>), and the vitreous (<i>g</i>). The outer coat -(<i>a</i>) is dense, white, and fibrous. In front of the eye it gives place -to a perfectly transparent one, called the cornea (<i>d</i>). The next coat, -the choroid (<i>b</i>), is vascular, very black on its internal surface, in -order that light falling on it through the pupil (<i>h</i>) may not be -reflected. The pupil is an opening through a diaphragm which is called -the iris (<i>i</i>), from its colour varying in different individuals. It has -the power of expanding and contracting the pupil, for the purpose of -regulating the supply of light to the retina (<i>c</i>), or third and last -coat which lies immediately on the choroid. It is transparent, very -complex, and the only part of the eye we shall carefully consider. The -following diagram (<a href="#fig_2">Fig. 2</a>) represents a section of it magnified 250 -diameters, <i>a</i> is called the limitary membrane, and forms its innermost -surface, or that which is next the vitreous humour; <i>b</i> consists of the -layer of optic nerve fibers; <i>c</i> is a layer of grey nerve cells; <i>d</i>, -two layers in which the principal retinal blood-vessels are spread out; -<i>e</i>, two layers of granular matter; <i>f</i>, Jacob’s membrane, or layer of -rods and cones. Fig. 3 will give some idea of the supposed connexion -between these various parts, the same letters referring to the same -parts as in <a href="#fig_2">Fig. 2.</a></p> - -<div class="figleft"> -<p><a id="fig_2"></a></p> -<p><a id="fig_3"></a></p> -<a href="images/i_008-b.jpg"> -<img src="images/i_008-b.jpg" width="300" alt="Image unavailable." /></a> -<div class="caption"> -<p><span class="smcap">Fig. 2.</span> -<span style="margin-left:20%;"><span class="smcap">Fig. 3.</span></span> -</p></div> -</div> - -<p>When a ray of light enters the eye, it passes through the humours or -lenses, and is formed by them into an image, on the choroid, of the -object looked at. The extremities of the rods and cones<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> have the power -of appreciating the image there formed, and convey it up through the -ultimate parts of the retina (<a href="#fig_2">Fig. 2</a>), thence along the optic nerve -fibres to the brain. We are inclined to regard the extremities of the -rods and cones as the true seat of perception, in consequence of -observing a considerable distance between the retinal blood-vessels and -the choroid, when performing Purkinje’s experiment.<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> This experiment -consists in passing a lighted candle slowly to and fro before the eyes, -at about two or three inches from the nose, when the retinal vessels -will exhibit themselves before the observer not unlike branching trees. -They may be seen by daylight, by passing the large teeth of an ordinary -comb slowly backwards and forwards before the eye, whilst looking on a -smooth sheet of paper, or upon the sky. Fig. 4 represents those of the -left eye, as seen by candlelight. The spot marked <i>k</i> is the exact -centre of the retina. (The same letter marks the same spot in <a href="#fig_1">Fig. 1.</a>) -It is the seat of most distinct vision. <i>j</i> is the entrance of the optic -nerve (Figs. <a href="#fig_4">4</a> and <a href="#fig_1">1</a>), from the centre of which the retinal artery will -be seen emerging and spreading over the entire retina; but in the -diagram that part only is represented which could be seen tolerably -distinct. The background to the artery appears of a pale red, except at -the part occupied by the optic nerve, where it is white.</p> - -<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> This distance can easily be perceived by getting an -impression on the retina, according to the “Directions,” page 4, and -then, on performing the above experiment, the arterial ramifications and -the central spot will be distinctly perceived to move over the spectral -figure.</p></div> - -<div class="figright"> -<a id="fig_4"></a> -<a href="images/i_009-a.jpg"> -<img src="images/i_009-a.jpg" height="250" alt="Image unavailable." /></a> -<div class="caption"><p><span class="smcap">Fig. 4.</span></p></div> -</div> - -<p>After this rapid glance at so complicated a structure, and bearing in -mind that some persons can see its several parts with vastly greater -facility than others, it cannot be a matter of surprise that individuals -not aware of these facts are, now and then—especially at night, and -when carrying a light about—startled by what they fancy an apparition, -but which is in reality nothing more than some part of the structures -above considered. A lady assures us that she saw the ghost of her -husband as she was going downstairs with a lighted candle in her hand. -The spot <i>k</i>, Fig. 4, when seen against a wall a few feet distant, -appears about the size of a human head, and wants very little to furnish -it with features. Figured paper on the wall, and a host of other things, -may supply them, or even the retinal artery, which often lends body and -limbs. (<a href="#fig_5">Fig. 5.</a>)</p> - -<div class="figright"> -<a id="fig_5"></a> -<a href="images/i_009-b.jpg"> -<img src="images/i_009-b.jpg" width="250" alt="Image unavailable." /></a> -<div class="caption"><p><span class="smcap">Fig. 5.</span></p></div> -</div> - -<p><span class="pagenum"><a name="page_10" id="page_10">{10}</a></span></p> - -<p>Besides the above-mentioned structures, there are others which may play -an important part in these illusions, especially the common <i>muscæ -volantes</i>, so called from their resemblance to flying flies. They -consist of cells and filaments, the <i>débris</i> of the structures of the -eye, and float about in its humours. That some of them exist very near -the retina appears evident from the fact that, on placing the eyes close -to a gauze wire blind, distinct miniature images of parts of the gauze -will be seen in them. (<a href="#fig_6">Fig. 6.</a>)</p> - -<div class="figleft"> -<a id="fig_6"></a> -<a href="images/i_010.jpg"> -<img src="images/i_010.jpg" height="255" alt="Image unavailable." /></a> -<div class="caption"><p><span class="smcap">Fig. 6.</span></p></div> -</div> - -<p>We now pass on to consider some of the leading properties of Light. -There have been many theories propounded from time to time in order to -explain the various phenomena connected with this subject, but only one -accords well with all, and that is called the undulatory or vibratory -theory, which, from its numerous complications, will compel us to -confine ourselves to a consideration of that part only which is -necessary to our present use. This theory regards light as the -vibrations of an imponderable ether pervading all space, the number of -these vibrations varying in a given time for each of the three primary -colours—blue, yellow, and red—the greatest number producing blue, the -least red, and an intermediate number yellow, all other colours being -produced by the combination of these in various proportions. Any two of -the three primary colours mixed together makes the complementary colour -to the third, and the third is also complementary to it. Thus, blue and -yellow make green, which is the complementary colour to red; red and -blue make purple, complementary to yellow; yellow and red make orange, -complementary to blue. When the three primary colours are mixed -together, white is the result: so that when a ray of white light falls -upon a piece of paper, and all the vibrations are equally reflected, the -paper will appear white, and if they are all absorbed, it will appear -black; but, if the paper absorbs some and reflects others, it will -appear coloured. Thus, if it absorbs those producing red, it will appear -green, from the mixture of the vibrations producing blue and yellow; and -if it absorbs blue and yellow, and reflects red, then it will appear -red. In this manner any object we look at will appear of any particular -colour, according to which vibrations it absorbs and which it reflects.</p> - -<p>The retina is so admirably constructed that it is susceptible of -different impressions of colour by these different vibrations, except in -the case of a few individuals, who are either blind to all colour, and -therefore see everything black or white, and their intermediate shades, -or who are blind to only one or two colours.</p> - -<p>When we look steadily at a red object for a few seconds, that part of -the retina on which the image impinges begins to get less sensitive to -vibrations producing red, but more sensitive to<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> those producing blue -and yellow; so that on turning the eye away from the red object, and -permitting a little white light to enter it, that part of the retina -which received the red image will, in consequence of its diminished -sensibility to that colour, and its exalted sensibility to blue and -yellow, be able to perceive the two latter colours best, and by their -mixture will give rise to a green image of the red object. The same -thing will be observed with all the other colours; the secondary image -or spectre always appearing of the complementary colour to the object -from which the impression is obtained.</p> - -<p>The duration and vividness of these impressions on the retina vary -greatly in different individuals, and can be procured from almost any -object. A person may, after looking steadily, and as often happens, -unconsciously, for a short time at printed or painted figures, on paper, -porcelain, &c., see, on turning the head in some other direction, a -life-sized or colossal spectre (the spectre appears larger the greater -the distance of the surface against which it is seen), and there can be -little doubt but that many of the reputed ghosts originate in this -manner.</p> - -<p><span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> </p> - -<p><span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> </p> - -<div class="figcenter" style="width: 346px;"> -<a name="plt_II" id="plt_II"></a> -<img src="images/i_II.jpg" width="346" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>II</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> </p> - -<p><span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> </p> - -<div class="figcenter" style="width: 456px;"> -<a name="plt_III" id="plt_III"></a> -<img src="images/i_III.jpg" width="456" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>III</p></div> -</div> - -<p><span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> </p> - -<p><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> </p> - -<div class="figcenter" style="width: 246px;"> -<a name="plt_IV" id="plt_IV"></a> -<img src="images/i_IV.jpg" width="246" height="576" alt="[Image unavailable.]" /> -<div class="caption"><p>IV</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> </p> - -<p><span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> </p> - -<div class="figcenter" style="width: 396px;"> -<a name="plt_V" id="plt_V"></a> -<img src="images/i_V.jpg" width="396" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>V</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> </p> - -<p><span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> </p> - -<div class="figcenter" style="width: 531px;"> -<a name="plt_VI" id="plt_VI"></a> -<img src="images/i_VI.jpg" width="531" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>VI</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> </p> - -<p><span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> </p> - -<div class="figcenter" style="width: 280px;"> -<a name="plt_VII" id="plt_VII"></a> -<img src="images/i_VII.jpg" width="280" height="552" alt="[Image unavailable.]" /> -<div class="caption"><p>VII</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> </p> - -<p><span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> </p> - -<div class="figcenter" style="width: 474px;"> -<a name="plt_VIII" id="plt_VIII"></a> -<img src="images/i_VIII.jpg" width="474" height="498" alt="[Image unavailable.]" /> -<div class="caption"><p>VIII</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> </p> - -<p><span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> </p> - -<div class="figcenter" style="width: 600px;"> -<a name="plt_IX" id="plt_IX"></a> -<img src="images/i_IX.jpg" width="600" height="483" alt="[Image unavailable.]" /> -<div class="caption"><p>IX</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> </p> - -<p><span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> </p> - -<div class="figcenter" style="width: 541px;"> -<a name="plt_X" id="plt_X"></a> -<img src="images/i_X.jpg" width="541" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>X</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> </p> - -<p><span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> </p> - -<div class="figcenter" style="width: 600px;"> -<a name="plt_XI" id="plt_XI"></a> -<img src="images/i_XI.jpg" width="600" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>XI</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> </p> - -<p><span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> </p> - -<div class="figcenter" style="width: 542px;"> -<a name="plt_XII" id="plt_XII"></a> -<img src="images/i_XII.jpg" width="542" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>XII</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> </p> - -<p><span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> </p> - -<div class="figcenter" style="width: 448px;"> -<a name="plt_XIII" id="plt_XIII"></a> -<img src="images/i_XIII.jpg" width="448" height="516" alt="[Image unavailable.]" /> -<div class="caption"><p>XIII</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> </p> - -<p><span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> </p> - -<div class="figcenter" style="width: 475px;"> -<a name="plt_XIV" id="plt_XIV"></a> -<img src="images/i_XIV.jpg" width="475" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>XIV</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> </p> - -<p><span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> </p> - -<div class="figcenter" style="width: 438px;"> -<a name="plt_XV" id="plt_XV"></a> -<img src="images/i_XV.jpg" width="438" height="300" alt="[Image unavailable.]" /> -<div class="caption"><p>XV</p> - -<p><i>Designed by J. H. Brown, Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> </p> - -<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> </p> - -<div class="figcenter" style="width: 230px;"> -<a name="plt_XVI" id="plt_XVI"></a> -<img src="images/i_XVI.jpg" width="230" height="600" alt="[Image unavailable.]" /> -<div class="caption"><p>XVI</p> - -<p><i>Designed by J. H. Brown, and Published Decʳ. 19ᵗʰ. 1863, by Griffith & -Farran, Sᵗ. Paul’s Church Yard, London.</i></p></div> -</div> - -<hr class="full" /> -<pre style='margin-top:6em'> -*** END OF THE PROJECT GUTENBERG EBOOK SPECTROPIA; OR, SURPRISING SPECTRAL -ILLUSIONS *** - -This file should be named 63842-h.htm or 63842-h.zip - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/6/3/8/4/63842/ - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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