91. The crispations are much influenced by various circumstances. They tend to commence at the place of greatest vibration; but if the quantity of fluid is too little there, and more abundant elsewhere, they will often commence at the latter place first. Their final arrangement is also much affected by the form of the plate, or of the pool of water on which they occur. When the plates or pools are rectangular, and all parts vibrate with equal velocity, the lines of heaps are at angles of 45° to the edges. But when semicircular and other plates were used, the arrangement, though quadrangular, was unsteady, often breaking up and starting by pieces into different and changing positions.
92. When mercury was used (77), the film formed on it after a few moments had great power, according to the manner in which it was puckered, of modifying the general arrangement of new crispations.
93. When a circular plate, supported by cork feet attached where a single nodal line would occur, was covered with water and vibrated by a rod resting upon the middle, the crispations extended from the middle towards the nodal line; these were sometimes arranged rectangularly, but had no steadiness of position, and changed continually. At other times the heaps appeared as if hexagonal, and were arranged hexagon ally, but these also shifted continually. These and many other experiments (83) showed that the direction and nature of the vibration of the plate (i. e. of the lines of equal or varying vibrating force) had a powerful influence over the regularity and final arrangement of the crispations.
94. The beautiful appearance exhibited when the crispations are produced in sunshine, or examined by a strong concentrated artificial light, has been already referred to (78, 79). When the reflected image from any one heap is examined (for which purpose ink (75) or mercury (77) is very convenient), it will be found not to he stationary, as would happen if the heap was permanent and at rest; nor yet to form a vertical line as would occur if the heap were permanent but travelled to and fro with the vibrating plate; but it moves so as to re-enter upon its course, forming an endless figure, like those produced by Dr. Young's piano-forte wires, or Wheatstone's kaleidophone, varying with the position of the light and the observer,
