Delphi collected works o.., p.678
Delphi Collected Works of Grant Allen, page 678
G. A.
CHAPTER I.
INTRODUCTORY.
There is no element of our sensuous nature which yields us greater or more varied pleasure than the perception of colour. Whether we look at the larger physical wholes, the azure heaven above us, the purple sea beneath us, and the green meadows by our side; — or at the smaller organic bodies, the brilliant flowers, the crimson foliage of autumn, the gaudily painted butterflies, the beetles clad in burnished gold, the peacock adorned with all the hues of the rainbow, and the humming-birds decked out in ruby, sapphire, and amethyst; — or again at the transient effects of light in the spectrum, the soap-bubble, the iridescent surface of the opal, the tints of eventide mirrored in the glassy lake; — in each and every case we feel a thrill of pure and unselfish enjoyment, which no other mere sensuous stimulation is capable of arousing in our breasts. The pleasure of colour is one which raises itself above the common level of monopolist gratification, and attains to the higher plane of æsthetic delight.
Nor is man the only creature who can appreciate and enjoy the lavish store of beauty which nature pours forth for his pleasure in the fields and the forest. We shall see reason to conclude, from the facts collected in this volume, that many of our dumb relations can fully enter into the love for exquisite colour, at least in its simplest and earliest forms. We shall find good ground for believing that the bird of paradise does not display its gorgeous plumage to the careless eyes of an unobservant mate; that the gaily painted butterfly is not insensible to the lovely tracery upon the wings of its fellow; and even that the tropical lizards or batrachians can duly admire the glistening coats, crimson crests, or golden pouches of their lissome helpmates. We shall further note certain habits which may lead us to suspect that birds and insects are pleasurably affected, not only by the colour of their own kind, but also by the delicate or brilliant tints of the fruits and flowers upon which they feed. In short, our object must be to trace back the pleasure which man experiences from the deft combination of red and green and violet, in painting or in decorative art, to a long line of ante-human ancestry, stretching back indefinitely through geological ages to the first progenitors of vertebrate life.
More than this we must attempt to show. If we would learn fully the whole history of the colour-sense, we must track it backward through the generations of the earlier earth, till we discover what were the circumstances by which it was first produced. We must find out how the various modes of æther-waves, which we now know as colours, came originally to be distinguished from one another by the nascent eyes of half-developed reptiles and insects. We must see by what steps the hues of flowers, and seeds, and fruits, and small animal prey caused the growth of a distinctive colour-perception in the creatures which fed upon them. And we shall probably conclude at the same time that the sense thus developed became in turn a source of new pleasure to its possessors, and a groundwork for more marvellous developments in future. The taste which was formed by the lilies and roses, the golden oranges and purple grapes, ended by producing the metallic lustre of the sun-birds and the daintily shaded ornamentation of the argus-pheasant.
We may hope to show, furthermore, that the existence of bright colouring in the world at large is almost entirely due to the influence of the colour-sense in the animal kingdom. I do not mean, of course, that animals have anything to do with the objective existence of those different æther-waves in the pencil of light which, when decomposed or separated, we perceive as colours; nor do I mean to include in this category the shades of earth, sea, sky, and other great inorganic masses. Obviously the human or animal eye could have no influence upon their origin or colouring. Even the green leaves of the trees and grasses seem quite independent of man or beast. But I still think that a vast mass of the coloured objects with which we are most familiar owe their hues to the perceptions of some insect, bird, or animal. If we look briefly at a few of the best-known cases, the reader will more clearly comprehend the line of argument which this book proposes to itself.
In the drawing-room where we sit, every object has obtained its colour entirely with reference to the likes and fancies of humanity. Not only have the pictures and ornaments been painted so as to please our eyes, but the carpets, the wall-paper, the curtains, the table-covers, the embroidery, the damask on the chairs and sofas, the clothing of the women and children, have all been dyed on purpose to stimulate and gratify the sense of sight. Indeed, there is scarcely an article of human use and manufacture, from the vermilion-stained earthenware of the prehistoric savage and the woad adornment of the Cymric warrior, to the Lambeth and Vallauris pottery, or the cretonnes and crewel-work of modern æsthetic designers, which has not received some special manipulation to add pleasing colour by means of dyes or pigments. The universal effect of the colour-sense on human products is too obvious to need further illustration.
A step lower down, we reach the actual bodies of men and animals themselves. It would seem at first sight as though the colour-sense could have nothing to do with the production of these. Yet the theory of sexual selection, into which we shall enter more fully hereafter, shows us how the long-continued choice of beautiful mates may have had the effect of encouraging the growth of bright-hued individuals, and the obsolescence of their less favoured fellows. I shall try to point out, also, an adjunct to this theory, which seems to have escaped even the keen eyes of Mr. Darwin, Mr. Wallace, and their German allies. I shall endeavour to prove that only those animals display beautiful colours, due to sexual selection, in whom a taste for colour has already been aroused by the influence of flowers, fruits, or brilliant insects, their habitual food. As the liking cannot have grown up without some groundwork of advantage to be gained by it, we might gather, even a priori, that such would be the case; and I hope, in the sequel, to adduce a sufficiently large array of positive instances to justify an inductive conclusion to the same effect.
Taking still another step backward, we arrive at the brilliantly coloured fruits and flowers, upon which these tastes were formed. And here we shall have reason to believe that the agency of insects has been most powerful in developing the hues of blossoms; while the fruits, as we shall see, are rather due to the selective action of birds and mammals. Between them almost all the colours of vegetal life, except the uniform green of the foliage, are probably produced, being due to the colour-sense of one or other of the great seeing classes, the vertebrate and the articulate.
Many lesser cases may be alleged, where colours have been acquired for purposes of protection or deception, and of such an abundance will be forthcoming in their proper place. But enough has doubtless been said to show the immense importance of the colour-sense in man or animals, and the conspicuous part which (as I believe) it has played in the moulding of organic forms. If I put in two antithetical paragraphs the various great classes of coloured objects which we do or do not owe to its operation, the reader will be able to see at a glance just how much influence I claim for it.
We do not owe to the colour-sense the existence in nature of the rainbow, the sunset, or the other effects of iridescent light; the blue sky, the green or purple sea, the red rocks, or the other great inanimate masses; the foliage of trees and shrubs, the hues of autumn, and the tints of precious stones or minerals generally.
But we do owe to the colour-sense the beautiful flowers of the meadow and the garden, — roses, lilies, carnations, lilacs, laburnums, violets, primroses, cowslips, and daisies; the exquisite pink of the apple, the peach, the mango, and the cherry, with all the diverse artistic wealth of oranges, strawberries, plums, melons, brambleberries, and pomegranates; the yellow, blue, and melting green of tropical butterflies; the magnificent plumage of the toucan, the macaw, the cardinal-bird, the lory, and the honeysucker; the red breast of our homely robin; the silver or ruddy fur of the ermine, the wolverine, the fox, the squirrel, and the chinchilla; the rosy cheeks and pink lips of English maidens; the whole catalogue of dyes, paints, and pigments; and, last of all, the colours of art in every age and nation, from the red cloth of the South Seas, the lively frescoes of the Egyptian, and the subdued tones of Hellenic painters, to the stained windows of Poitiers and the Madonna of the Sistine Chapel.
The origin and rise of this powerful sense, and the means by which it has effected all these marvellous reactions on the external world, form the text upon which we must string our discourse in the present volume. We shall begin with the nature of colour, viewed as an external and objective fact; we shall next look at the steps by which the various eyes of insects and animals became sensible to its diverse stimulations; we shall then proceed to ask what secondary effects the newly acquired sense produced upon the surrounding existences; and we shall finally examine its remote æsthetic results in the sphere of human activity. We shall thus have traced the perception of colour from its first faint beginnings in palæozoic seas or carboniferous forests down to its latest developments in the palaces or galleries of civilised man.
CHAPTER II.
ÆTHER-WAVES AND THEIR VARIETIES.
Before we can investigate any sensation in men or animals, we must find out what is the external agency to which it corresponds. Every feeling answers to some outer fact, and in the development of life the fact must necessarily have preceded the feeling. Unless there had been matter there could never have been mind. Without resistance we could not experience touch; without air we could not possess hearing; without æther we could not have developed the wonderful faculty of sight. Organic substances, acted upon by peculiar agencies in the inorganic world, give rise to the phenomena of sensation; but we cannot understand the existence of sensation unless we previously grant the existence of an influence capable of developing it. Idealism, which looks fallaciously plausible when applied to the fully evolved intelligence, becomes meaningless and self-contradictory when applied to the problem of its evolution.
We must begin, then, by allowing that, previous to all perception of colour by men or animals, colour itself existed as an agency in the external universe. The development of the colour-sense is equivalent to the growth of a mechanism by which this agency became capable of affecting organic matter. In the present chapter we will consider the nature of the objective agency, while in the next we shall have to look at the first and rudest form of the percipient mechanism.
Throughout the whole vast ocean of space in which suns, stars, and planets float like inconspicuous islets of light, modern science has taught us that an all-pervading element, known as æther, fills every available interstice. From constellation to constellation of sidereal bodies the æther spreads in wide expanses, which stretch uninterrupted over countless millions of miles. Between atom and atom of terrestrial substances the æther penetrates into tiny intervals whose minuteness the boldest mathematicians have only lately ventured to measure. Where-ever matter is not, æther is. Every sun and every molecule floats in a circumambient matrix of this unknown agent. If we could view the most solid body with a microscopic eye, magnifying some thousands of millions of diameters, we should see that it was composed of innumerable little masses, none of them in actual contact with its neighbours, but all bound to one another, as the earth is to the sun, by their mutual attractions extending over an intervening space. This space would be filled, in the one case as in the other, by the ubiquitous æther. And though we can never succeed in knowing its existence directly, yet we are every moment experiencing its effects in the most obvious and unmistakable manner. Just as we believe in air, which we never see, because we can feel it, so we believe in æther, which we can never handle, because we perpetually see by it and through it.
Æther, though infinitely light and elastic, is naturally a solid, or something very like one. But it shares the common property of other solids in its ability to transmit undulations from a centre of disturbance. We all know that if we set any body in motion, it imparts a portion of its motion to all other bodies with which it comes in contact. So, too, if we set up vibratory movements in a bell, we know that its particles knock up against the air-particles in their neighbourhood, and thereby send off into surrounding space a series of concentric air-waves, which, when they strike the appropriate human organ, are known to us in consciousness as sounds or tones. And inexactly the same way, when disturbances of a peculiar kind affect material particles of any sort, they set up a like series of concentric waves in the circumambient æther, which, falling in turn on their appropriate organs, are recognised in consciousness as heat, light, or colour. What is the exact nature of these waves and their differences we have next to inquire.
Apparently every movement of a material body or particle sets up more or less motion in the surrounding æther. We know now that every sound, every moving energy, every activity of any sort, as it dies away, is transferred by minute friction to the ætherial medium which bathes us on every side. But the stronger class of æther-waves, with which we have now to deal, is originated only in a single way. They all arise from the vibrations of a material body in that state of rapid molecular or atomic motion which we commonly know as red or white heat. The waves thus set up may be reflected, refracted, twisted about, and returned in varying proportions by other surrounding objects, but they all owe their original existence to a heated material mass, whether that mass be the sun, the dog-star, the drawing-room fire, or the flame of a candle. So we must look for a moment at the source of such æther-waves before we can comprehend the nature of the waves themselves.
Directly or indirectly, in every case, the vibration of the original heated body is due to the rushing together of masses, molecules, or atoms which were previously in a state of separation. In the heavenly bodies, the sun and the fixed stars, the attraction of gravitation (which affects masses) is drawing together their skirts; and under its influence the outlying matter of their systems is clashing with the central sphere and producing a terrific degree of heat; just as the continued clashing of hammers on an anvil will heat a piece of iron red-hot here on our little earth. In the grate and the candle, again, the attraction of chemical affinity (which affects atoms) is drawing together tiny particles of carbon and oxygen; and as the atoms clash against one another in the embers or the flame, they are put into a similar state of rapid vibration or heat. In physical language, the potential energy of their previous separation has become kinetic in the act of union, and is now being radiated off to surrounding objects. As the quickly vibrating little bodies, either in the sun or the flame, fly from side to side, they impart each second a portion of their moving energy to the æther about them; and each ætherial molecule continues to impart the communicated impulse to adjacent molecules, so that a series of spherical waves is set up in every direction from the central disturbance. If nothing intervenes to prevent them, these waves go on widening and weakening through all space ad infinitum, at least as far as human science or conjecture can follow them.
But all the æther-waves are not of exactly the same size, nor do they follow one another with exactly the same rapidity. When a material body vibrates with a comparatively slight motion (or, as we say in other words, is only slightly heated), the waves to which it gives rise are comparatively slow and voluminous: as the rate of vibration increases, more rapid waves succeed in the surrounding æther; and when the rapidity of vibration becomes very great, the resulting waves follow one another with an almost incredible speed. Three principal varieties of slower or quicker æther-waves are commonly distinguished, according to the effects which they produce upon the human organs.
The slowest undulations are known as heat-waves; those of intermediate rapidity as light-waves; and the quickest of all as chemical waves.
All three classes of waves are produced together by a body in a state of high molecular energy, such as the sun. Fortunately, we are able to separate the various kinds from one another, and to demonstrate their several properties, by means of a simple piece of triangular glass, known as a prism.
If we make a small slit in the shutter of a darkened room, and allow a few of the æther-waves, generated by the sun, to enter through this aperture, we can interpose the prism across their path, and project them sideways on to a screen. When we do so we find that the various waves are all bent upward, but not all equally. They occupy a broad space on the screen, the slowest waves striking the lowest portion, and the quickest falling at the top, while those of intermediate speed hit the middle space. If we put a thermometer of very delicate construction (known as a thermopile) at the lowest point where the waves surge against the screen, we shall find that, in this portion of the wave-bundle, the undulations possess great heating power. If we put a piece of specially prepared paper at the highest point where the weaves alight, we shall similarly find that the undulations of that region possess high chemical power. And if we look at the intermediate space, we shall see for ourselves that the waves of that part produce the greatest amount of light and colour. So here we learn that in every bundle of solar æther-waves these three classes of undulations are closely combined; but by the interposition of a proper medium they can be sifted and separated each into a place of its own.
Fundamentally, then, light and radiant heat are identical. And not only so, but a third order of rays — the chemical — is always bound up with them in the waves which come to us from the sun. Yet though in their objective nature these various agencies are so similar — differing not at all in kind, but only in degree — there is a very strange diversity in our subjective perception of their effects. The slowest æther-waves we perceive with every portion of our bodies, and know as heat; the intermediate æther-waves we perceive through a pair of small and special organs — the eyes — and know as light; while the fastest æther-waves we do not perceive at all, except by very roundabout and indirect means.
