but constant for any particular position and velocity of vibration. Upon placing the light and the eye in positions nearly perpendicular to the general surface of the fluid, so as to avoid the direct influence of the motion of vibration, still the luminous, linear, endless figure was produced, extending more or less in different directions, according to the relation of the light and eye to the crispated surface, and occasionally corresponding in its extent one way to the width of the heap, i. e. to the distance between the summit of one heap and its neighbours, but never exceeding it. The figure produced by one heap was accurately repeated by all the heaps when the vibrating force of the plate was equal (70) and the arrangement regular.
95. The view which I had been led to anticipate of the nature of the heaps, from the effects described in the former paper, were, that each heap was a permanent elevation, like the cones of lycopodium powder (53. 58), the fluid rising at the centre, but descending down the inclined sides, the whole system being influenced, regulated, and connected by the cohesive force of the fluid. But these characters of the reflected image, with others of the effects already described, led to the conclusion, that notwithstanding the apparent permanency of the crispated surface, especially when produced on a small scale, as by the usual method, the heaps were not constant, but were raised and destroyed with each vibration of the plate; and also that the heaps did not all exist at once, but (referring to locality) formed two sets of equal number and arrangement,
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fig.23, never existing together, but alternating with, and being resolved into each other, and by their rapidity of recurrence giving the appearance of simultaneous and even permanent existence. Provided this view were confirmed, it seemed as if it would be easy to explain the production of the heaps, their regular arrangement, &c., and to deduce their recurrence, dimensions, and many other points relative to their condition.
96. On producing a water crispation, having four or five heaps in a linear inch, placing a candle beneath, and a screen of French tracing-paper above it, the phenomena were very beautiful, and such as supported the view taken. By placing the screen at different distances, it could be adapted to the
