distances the same. The consequence is that when the rays emerge from the drop they are in a condition either to support or to destroy each other. By such alternate re-enforcement and destruction, the colored zones are produced within the primary bow. They are called "supernumerary bows," and are seen not only within the primary but sometimes also outside the secondary bow. The condition requisite for their production is, that the drops which constitute the shower shall all be of nearly the same size. When the drops are of different sizes, we have a confused superposition of the different colors, an approximation to white light being the consequence. This second step in the explanation of the rainbow was taken by a man the quality of whose genius resembled that of Descartes or Newton, and who eighty-two years ago was appointed Professor of Natural Philosophy in the Royal Institution of Great Britain. I refer, of course, to the illustrious Thomas Young.[1]
But our task is not, even now, complete. The finishing touch to the explanation of the rainbow was given by our last, eminent, Astronomer Royal, Sir George Airy. Bringing the knowledge possessed by the founders of the undulatory theory, and that gained by subsequent workers to bear upon the question, Sir George Airy showed that, though Young's general principles were unassailable, his calculations were sometimes wide of the mark. It was proved by Airy that the curve of maximum illumination in the rainbow does not quite coincide with the geometric curve of Descartes and Newton. He also extended our knowledge of the supernumerary bows, and corrected the positions which Young had assigned to them. Finally, Professor Miller, of Cambridge, and Dr. Galle, of Berlin, illustrated by careful measurements with the theodolite the agreement which exists between the theory of Airy and the facts of observation. Thus, from Descartes to Airy, the intellectual force expended in the elucidation of the rainbow, though broken up into distinct personalities, might be regarded as that of an individual artist engaged throughout this time in lovingly contemplating, revising, and perfecting his work.
We have thus cleared the ground for the series of experiments which constitute the subject of this discourse. During our brief residence in the Alps this year, we were favored with some weather of matchless perfection; but we had also our share of foggy and drizzly weather. On the night of the 22d of September, the atmosphere was especially dark and thick. At 9 p. m. I opened a door at the end of a passage and looked out into the gloom. Behind me hung a small lamp, by which the shadow of my body was cast upon the fog. Such a shadow I had often seen, but in the present case it was accompanied by an appearance which I had not previously seen. Swept through the darkness round the shadow, and far beyond, not only its boundary,
- ↑ Young's works, edited by Peacock, vol. i, pp. 185, 293, 357.
