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Incapacity of Distinguishing Colours

never imagined white to be a dark colour, nor dark to be a white colour. He was an intelligent man, and very desirous of understanding the nature of light and colours, for which end he had attended a course of lectures in natural philosophy. He had two brothers in the same circumstances as to sight; and two others (brothers and sisters) who, as well as their parents, had nothing of this defect. One of the first mentioned brothers, who is now living, I met with at Dublin, and wished to try his capacity to distinguish the colours in a prism; but not having one by me, I asked him, whether he had ever seen a rainbow? he replied, he had often; and could distinguish the different colours; meaning only, that it was composed of different colours, for he could not tell what they were. I then procured, and shewed him a piece of ribbon. he immediately, and without any difficulty, pronounced it a striped, and not a plain, ribbon. He then attempted to name the different stripes: the several stripes of white he uniformly, and without hesitation, called white: the four black stripes he was deceived in; for three of them he thought brown, though they were exactly of the same shade with the other, which he properly called black. He spoke, however, with diffidence, as to all those stripes; and it must be owned, that the black was not very distinct: the light green he called follow; but he was not very positive: he said, "I think this what you call yellow." The middle stripe, which had a slight tinge of red, he called a sort of blue. But he was most of all deceived by the orange colour: of this he spoke very confidently, saying, "This is the colour of grass, this is green." I also shewed him a great variety of ribbons, the colour of which he sometimes named rightly, and sometimes as differently as possible from the true colour. I asked him, whether he imagined it possible for all the various colours he saw to be mere difference of light and shade; and that all colours could be composed of these two mixtures only? With some hesitation he replied, No, he did imagine there was some other difference. It is proper to add, that the experiment of the striped ribbon was made in the day-time, and in a good tight."

Incredible as the above phenomena may appear, we can add the following fact in confirmation of them, from personal knowledge. There is a gentleman now living in Edinburgh, whose optical nerves have laboured under a defect perfectly similar, since his infancy; but whose powers of vision are in other respects so much superior to those of most other people, that he draws the most striking likeness s, being a limner by profession, and requires for this purpose only once to see the person whose portrait is intended to be drawn, scarcely desiring a single sitting, much less repeated visiting. And what H is still more extraordinary, he can, from such a momentary glance, retain the idea of the features, and even the gait and manner of the person, for years afterwards, so exactly as to be able to finish either a miniature head, or full portrait, at that distant period, as well as if the person were present. His friends, incredulous of this phenomenon, have, by placing his colours out of the order in which he keeps them, sometimes made him give a gentleman a green beard, and paint a beautiful young lady with a pair of blue cheeks.

We now proceed to the consideration of a very remarkable acquirement of man, called VENTRILOQUISM.

This is an art of speaking, by means of which the human voice and other sounds are rendered audible, as if they proceeded from several different places; though the utterer does not change his place, and in many instances does not appear to speak. It has been supposed to be a natural peculiarity; because few, if any persons, have learned it by being taught, and we have had no rules laid down for acquiring it. It seems to have been in consequence of this notion, that the name 'Ventriloquism' has been applied to it, from a supposition that the voice proceeds from the thorax or chest. It has seldom been practised but by persons of the lower classes of society; and as it does not seem to present any advantages beyond that of causing surprise and entertainment, and cannot be exhibited on an extended theatre, the probability is, that it will continue amongst them.

Mr. Gough, in his Manchester Memoirs, and in various parts of Nicholson's Journal, has entertained the opinion that the voice of ventriloquists is made to proceed, in appearance, from different parts of a room, by the management of an echo. But the facts themselves do not support this hypothesis, as a great and sudden variety and change of echoes would be required; and his own judicious remarks, in the same work, on the facility with which we are deceived as to the direction of sound, are adverse to his theory. From numerous attentive observations, it appears manifest that the art is not peculiar to certain individuals, but may with facility be acquired by any person of accurate observation. It consists merely in an imitation of sounds, as they occur in nature, accompanied with appropriate action, of such a description as may best concur in leading the minds of the observers to favour the deception.

Any one who shall try, will be a little surprised to find how easy it is to imitate the noise made by a saw, or by a snuffbox when opened and shut, or by a large hand-bell, or corkcutter's knife, a watch while going, and numberless other inanimate objects; or the voices of animals, in their various VENTRILOQUISM situations and necessities, such as a cat, a dog, or an hen enraged, intimidated, confined, &c.; or to vary the character of the human voice by shrillness or depth of tone, rapidity or drawling of execution, and distinctness or imperfection of articulation, which may be instantly changed by holding the mouth a little more opened or more closed than usual, altering the position of the jaw, keeping the tongue in any determinate situation , &c. And every one of the imitations of the ventriloquist will be rendered more perfect by practising them at the very time the sounds are heard, instead of depending on the memory. The leading condition of performance is, that the voices and sounds of the dramatic dialogue to be exhibited, should succeed each other so rapidly that the audience should lose sight of the probability that one actor gives effect to the whole, and that where the business is simple, the aid of scenery or local circumstance should be called in. aid of scenery or local circumstance should be called in. ading We have seen an eminent philosopher of our own time, who had no previous practice of this art, but when speaking on the subject in a mixed company, took up a hat, and folding the flaps together, said, by way of example, "Suppose I had a small monkey in this hat;" and then cautiously putting his hand in, as if to catch it, he imitated the chatter of the sup posed struggling animal, at the same time that his own efforts to secure it had a momentary impression on the spectators, which left no time to question whether there was a monkey in it or not: this impression was completed when, the instant afterwards, he pulled out his hand as if hurt, and exclaimed, "He has bit me!" It was not till then that the impression of the reality gave way to the diversion arising from the mimic art; and one of the company, even then, cried out, "Is there really a monkey in the hat?"

In this manner it was that, at the beginning of the last century, the famous Tom King, who is said to have been the first man who delivered public lectures on experimental philosophy in the country, was attended by the whole fashionable world, for a succession of many nights, to hear him "kill a calf." This performance was done in a separated part of the place of exhibition, into which the exhibiter retired tired alone; and the imagination of his polite hearers was to supply the calf and three butchers, besides a dog who sometimes raised his voice, and was checked for his unnecessary exertions. It appears, from traditional narrative, that the calf was heard to be dragged in, not without some efforts and conversation on the part of the butchers, and noisy resistance from the calf; that they conversed on the qualities of the animal, and the profits to be expected from the veal; and that, as they proceeded, all the noises of knife and steel, of suspending the creature, and of the last fatal T