Goethe's Theory of Colours · Johann Wolfgang von Goethe
223.
When, namely, the reflecting body is transparent, and has two parallel surfaces, one behind the other: in such a case, an image may be reflected to the eye from both surfaces, and thus arise double images, inasmuch as the upper image does not quite cover the under one: this may take place in various ways. Let a playing-card be held before a mirror. We shall at first see the distinct image of the card, but the edge of the whole card, as well as that of every spot upon it, will be bounded on one side with a border, which is the beginning of the second reflection. This effect varies in different mirrors, according to the different thickness of the glass, and the accidents of polishing. If a person wearing a white waistcoat, with the remaining part of his dress dark, stands before certain mirrors, the border appears very distinctly, and in like manner the metal buttons on dark cloth exhibit the double reflection very evidently. The reader who has made himself acquainted with our former descriptions of experiments (80) will the more readily follow the present statement. The window-bars reflected by plates of glass appear double, and by increased thickness of the glass, and a due adaptation of the angle of reflection, the two reflections may be entirely separated from each other. So a vase full of water, with a plane mirror-like bottom, reflects any object twice, the two reflections being more or less separated under the same conditions. In these cases it is to be observed that, where the two reflections cover each other, the perfect vivid image is reflected, but where they are separated they exhibit only weak, transparent, and shadowy images.
If we wish to know which is the under and which the upper image, we have only to take a coloured medium, for then a light object reflected from the under surface is of the colour of the medium, while that reflected from the upper surface presents the complemental colour. With dark objects it is the reverse; hence black and white surfaces may be here also conveniently employed. How easily the double images assume and evoke colours will here again be striking. Thirdly, the primary images may be considered as _principal_ images, while the secondary can be, as it were, annexed to these as _accessory_ images. Such an accessory image produces a sort of double form; except that it does not separate itself from the principal object, although it may be said to be always endeavouring to do so. It is with secondary images of this last description that we have to do in prismatic appearances. A surface without a boundary exhibits no appearance of colour when refracted (195). Whatever is seen must be circumscribed by an outline to produce this effect. In other words a figure, an object, is required; this object undergoes an apparent change of place by refraction: the change is however not complete, not clean, not sharp; but incomplete, inasmuch as an accessory image only is produced.
In examining every appearance of nature, but especially in examining an important and striking one, we should not remain in one spot, we should not confine ourselves to the insulated fact, nor dwell on it exclusively, but look round through all nature to see where something similar, something that has affinity to it, appears: for it is only by combining analogies that we gradually arrive at a whole which speaks for itself, and requires no further explanation. Thus we here call to mind that in certain cases refraction unquestionably produces double images, as is the case in Iceland spar: similar double images are also apparent in cases of refraction through large rock crystals, and in other instances; phenomena which have not hitherto been sufficiently observed.[1] But since in the case under consideration (227) the question relates not to double but to accessory images, we refer to a phenomenon already adverted to, but not yet thoroughly investigated. We allude to an earlier experiment, in which it appeared that a sort of conflict took place in regard to the retina between a light object and its dark ground, and between a dark object and its light ground (16). The light object in this case appeared larger, the dark one smaller. By a more exact observation of this phenomenon we may remark that the forms are not sharply distinguished from the ground, but that they appear with a kind of grey, in some degree, coloured edge; in short, with an accessory image. If, then, objects seen only with the naked eye produce such effects, what may not take place when a dense medium is interposed? It is not that alone which presents itself to us in obvious operation which produces and suffers effects, but likewise all principles that have a mutual relation only of some sort are efficient accordingly, and indeed often in a very high degree.
Thus when refraction produces its effect on an object there appears an accessory image next the object itself: the real form thus refracted seems even to linger behind, as if resisting the change of place; but the accessory image seems to advance, and extends itself more or less in the mode already shown (212-216). We also remarked (224) that in double images the fainter appear only half substantial, having a kind of transparent, evanescent character, just as the fainter shades of double shadows must always appear as half-shadows. These latter assume colours easily, and produce them readily (69), the former also (80); and the same takes place in the instance of accessory images, which, it is true, do not altogether quit the real object, but still advance or extend from it as half-substantial images, and hence can appear coloured so quickly and so powerfully. That the prismatic appearance is in fact an accessory image we may convince ourselves in more than one mode. It corresponds exactly with the form of the object itself. Whether the object be bounded by a straight line or a curve, indented or waving, the form of the accessory image corresponds throughout exactly with the form of the object.[2] Again, not only the form but other qualities of the object are communicated to the accessory image. If the object is sharply relieved from its ground, like white on black, the coloured accessory image in like manner appears in its greatest force. It is vivid, distinct, and powerful; but it is most especially powerful when a luminous object is shown on a dark ground, which may be contrived in various ways.
But if the object is but faintly distinguished from the ground, like grey objects on black or white, or even on each other, the accessory image is also faint, and, when the original difference of tint or force is slight, becomes hardly discernible. The appearances which are observable when coloured objects are relieved on light, dark, or coloured grounds are, moreover, well worthy of attention. In this case a union takes place between the apparent colour of the accessory image and the real colour of the object; a compound colour is the result, which is either assisted and enhanced by the accordance, or neutralised by the opposition of its ingredients. But the common and general characteristic both of the double and accessory image is semi-transparence. The tendency of a transparent medium to become only half transparent, or merely light-transmitting, has been before adverted to (147, 148). Let the reader assume that he sees within or through such a medium a visionary image, and he will at once pronounce this latter to be a semi-transparent image. Thus the colours produced by refraction may be fitly explained by the doctrine of the semi-transparent mediums. For where dark passes over light, as the border of the semi-transparent accessory image advances, yellow appears; and, on the other hand, where a light outline passes over the dark background, blue appears (150, 151).
The advancing foremost colour is always the broader. Thus the yellow spreads over the light with a broad border, but the yellow-red appears as a narrower stripe and is next the dark, according to the doctrine of augmentation, as an effect of shade.[3] On the opposite side the condensed blue is next the edge, while the advancing border, spreading as a thinner veil over the black, produces the violet colour, precisely on the principles before explained in treating of semi-transparent mediums, principles which will hereafter be found equally efficient in many other cases.
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