Full Download Test Bank For Essentials of Meteorology An Invitation To The Atmosphere 7th Edition by C Donald Ahrens Test Bank PDF Full Chapter
Full Download Test Bank For Essentials of Meteorology An Invitation To The Atmosphere 7th Edition by C Donald Ahrens Test Bank PDF Full Chapter
Full Download Test Bank For Essentials of Meteorology An Invitation To The Atmosphere 7th Edition by C Donald Ahrens Test Bank PDF Full Chapter
Do
;A weak trough of low pressure found in the tropics and along which hurricanes occasionally form is called a(n) __
a. tropical wave (or easterly wave)
c. isobar
d. streamline
ANSWER:
a. evaporation
b. condensation
c. fusion
d. melt
ANSWER:
;The skies in the center of a hurricane are often cloud free. This is because the air in the eye is ____.
a. sinking
b. very cold
c. dry
d. expanding
ANSWER:
;Pressure at the center of a hurricane is ____ than the surroundings at the surface and ____ than the surroundings
a. higher; lower
b. lower; higher
c. lower; lower
d. higher; higher
ANSWER:
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After endeavouring in vain to induce opticians, both in London
and Birmingham, (where the instrument was exhibited in 1849 to the
British Association,) to construct the lenticular stereoscope, and
photographers to execute binocular pictures for it, I took with me to
Paris, in 1850, a very fine instrument, made by Mr. Loudon in
Dundee, with the binocular drawings and portraits already
mentioned. I shewed the instrument to the Abbé Moigno, the
distinguished author of L’Optique Moderne, to M. Soleil and his son-
in-law, M. Duboscq, the eminent Parisian opticians, and to some
members of the Institute of France. These gentlemen saw at once
the value of the instrument, not merely as one of amusement, but as
an important auxiliary in the arts of portraiture and sculpture. M.
Duboscq immediately began to make the lenticular stereoscope for
sale, and executed a series of the most beautiful binocular
Daguerreotypes of living individuals, statues, bouquets of flowers,
and objects of natural history, which thousands of individuals flocked
to examine and admire. In an interesting article in La Presse,[23] the
Abbé Moigno gave the following account of the introduction of the
instrument into Paris:—
“In his last visit to Paris, Sir David Brewster intrusted the models
of his stereoscope to M. Jules Duboscq, son-in-law and successor of
M. Soleil, and whose intelligence, activity, and affability will extend
the reputation of the distinguished artists of the Rue de l’Odeon, 35.
M. Jules Duboscq has set himself to work with indefatigable ardour.
Without requiring to have recourse to the binocular camera, he has,
with the ordinary Daguerreotype apparatus, procured a great number
of dissimilar pictures of statues, bas-reliefs, and portraits of
celebrated individuals, &c. His stereoscopes are constructed with
more elegance, and even with more perfection, than the original
English (Scotch) instruments, and while he is shewing their
wonderful effects to natural philosophers and amateurs who have
flocked to him in crowds, there is a spontaneous and unanimous cry
of admiration.”
While the lenticular stereoscope was thus exciting much interest
in Paris, not a single instrument had been made in London, and it
was not till a year after its introduction into France that it was
exhibited in England. In the fine collection of philosophical
instruments which M. Duboscq contributed to the Great Exhibition of
1851, and for which he was honoured with a Council medal, he
placed a lenticular stereoscope, with a beautiful set of binocular
Daguerreotypes. This instrument attracted the particular attention of
the Queen, and before the closing of the Crystal Palace, M. Duboscq
executed a beautiful stereoscope, which I presented to Her Majesty
in his name. In consequence of this public exhibition of the
instrument, M. Duboscq received several orders from England, and a
large number of stereoscopes were thus introduced into this country.
The demand, however, became so great, that opticians of all kinds
devoted themselves to the manufacture of the instrument, and
photographers, both in Daguerreotype and Talbotype, found it a most
lucrative branch of their profession, to take binocular portraits of
views to be thrown into relief by the stereoscope. Its application to
sculpture, which I had pointed out, was first made in France, and an
artist in Paris actually copied a statue from the relievo produced by
the stereoscope.
Three years after I had published a description of the lenticular
stereoscope, and after it had been in general use in France and
England, and the reflecting stereoscope forgotten,[24] Mr.
Wheatstone printed, in the Philosophical Transactions for 1852, a
paper on Vision, in which he says that he had previously used “an
apparatus in which prisms were employed to deflect the rays of light
proceeding from the pictures, so as to make them appear to occupy
the same place;” and he adds, “I have called it the refracting
stereoscope.”[25] Now, whatever Mr. Wheatstone may have done
with prisms, and at whatever time he may have done it, I was the
first person who published a description of stereoscopes both with
refracting and reflecting prisms; and during the three years that
elapsed after he had read my paper, he made no claim to the
suggestion of prisms till after the great success of the lenticular
stereoscope. The reason why he then made the claim, and the only
reason why we do not make him a present of the suggestion, will
appear from the following history:—
In the paper above referred to, Mr. Wheatstone says,—“I
recommend, as a convenient arrangement of the refracting
stereoscope for viewing Daguerreotypes of small dimensions, the
instrument represented, (Fig. 4,) shortened in its length from 8
inches to 5, and lenses 5 inches focal distance, placed before and
close to the prisms.”[26] Although this refracting apparatus, which is
simply a deterioration of the lenticular stereoscope, is recommended
by Mr. Wheatstone, nobody either makes it or uses it. The semi-
lenses or quarter-lenses of the lenticular stereoscope include a
virtual and absolutely perfect prism, and, what is of far more
consequence, each lens is a variable lenticular prism, so that, when
the eye-tubes are placed at different distances, the lenses have
different powers of displacing the pictures. They can thus unite
pictures placed at different distances, which cannot be done by any
combination of whole lenses and prisms.
In the autumn of 1854, after all the facts about the stereoscope
were before the public, and Mr. Wheatstone in full possession of all
the merit of having anticipated Mr. Elliot in the publication of his
stereoscopic apparatus, and of his explanation of the theory of
stereoscopic relief, such as it was, he thought it proper to revive the
controversy by transmitting to the Abbé Moigno, for publication in
Cosmos, an extract of a letter of mine dated 27th September 1838.
This extract was published in the Cosmos of the 15th August 1854,
[27] with the following illogical commentary by the editor.
“Andrew Ross.
“To Sir David Brewster.”
Fig. 4.
As the hole h is supposed to be so small as to receive only one
ray from every point of the object, the images of the object, viz., br,
b′r′, b″r″, will be very faint. By widening the hole h, so as to admit
more rays from each luminous point of rb, the images would
become brighter, but they would become at the same time indistinct,
as the rays from one point of the object would mix with those from
adjacent points, and at the boundaries of the colours r, y, and b, the
one colour would obliterate the other. In order, therefore, to obtain
sufficiently bright images of visible objects we must use lenses,
which have the property of forming distinct images behind them, at a
point called their focus. If we widen the hole h, and place in it a lens
whose focus is at y, for an object at the same distance, hy, it will
form a bright and distinct image, br, of the same size as the object
rb. If we remove the lens, and place another in h, whose focus is at
y′, for a distance hy, an image, b′r′, half of the size of rb, will be
formed at that point; and if we substitute for this lens another, whose
focus is at y″, a distinct image, b″r″, twice the size of the object, will
be formed, the size of the image being always to that of the object as
their respective distances from the hole or lens at h.
With the aid of these results, which any person may confirm by
making the experiments, we shall easily understand how we see
external objects by means of the images formed in the eye. The
human eye, a section and a front view of which is shewn in Fig. 5, a,
is almost a sphere. Its outer membrane, abcde, or mno, Fig. 5, b,
consists of a tough substance, and is called the sclerotic coat, which
forms the white of the eye, a, seen in the front view. The front part of
the eyeball, cxd, which resembles a small watch-glass, is perfectly
transparent, and is called the cornea. Behind it is the iris, cabe, or c
in the front view, which is a circular disc, with a hole, ab, in its centre,
called the pupil, or black of the eye. It is, as it were, the window of
the eye, through which all the light from visible objects must pass.
The iris has different colours in different persons, black, blue, or
grey; and the pupil, ab, or h, has the power of contracting or
enlarging its size according as the light which enters it is more or
less bright. In sunlight it is very small, and in twilight its size is
considerable. Behind the iris, and close to it, is a doubly convex lens,
df, or ll in Fig. 5, b, called the crystalline lens. It is more convex or
round on the inner side, and it is suspended by the ciliary processes
at lc, lc′, by which it is supposed to be moved towards and from h,
in order to accommodate the eye to different distances, or obtain
distinct vision at these distances. At the back of the eye is a thin
pulpy transparent membrane, rr o rr, or vvv, called the retina, which,
like the ground-glass of a camera obscura, receives the images of
visible objects. This membrane is an expansion of the optic nerve o,
or a in Fig. 5, a, which passes to the brain, and, by a process of
which we are ignorant, gives us vision of the objects whose images
are formed on its expanded surface. The globular form of the eye is
maintained by two fluids which fill it,—the aqueous humour, which
lies between the crystalline lens and the cornea, and the vitreous
humour, zz, which fills the back of the eye.
Fig. 5, A.
Fig. 5, B.
But though we are ignorant of the manner in which the mind
takes cognizance through the brain of the images on the retina, and
may probably never know it, we can determine experimentally the
laws by which we obtain, through their images on the retina, a
knowledge of the direction, the position, and the form of external
objects.
If the eye mn consisted only of a hollow ball with a small aperture
h, an inverted image, ab, of any external object ab would be formed
on the retina ror, exactly as in Fig. 4. A ray of light from a passing
through h would strike the retina at a, and one from b would strike
the retina at b. If the hole h is very small the inverted image ab would
be very distinct, but very obscure. If the hole were the size of the
pupil the image would be sufficiently luminous, but very indistinct. To
remedy this the crystalline lens is placed behind the pupil, and gives
distinctness to the image ab formed in its focus. The image,
however, still remains inverted, a ray from the upper part a of the
object necessarily falling on the lower part a of the retina, and a ray
from the lower part b of the object upon the upper part b of the
retina. Now, it has been proved by accurate experiments that in
whatever direction a ray aha falls upon the retina, it gives us the
vision of the point a from which it proceeds, or causes us to see that
point, in a direction perpendicular to the retina at a, the point on
which it falls. It has also been proved that the human eye is nearly
spherical, and that a line drawn perpendicular to the retina from any
point a of the image ab will very nearly pass through the
corresponding point a of the object ab,[31] so that the point a is, in
virtue of this law, which is called the Law of visible direction, seen in
nearly its true direction.
When we look at any object, ab, for example, we see only one
point of it distinctly. In Fig. 5 the point d only is seen distinctly, and
every point from d to a, and from d to b, less distinctly. The point of
distinct vision on the retina is at d, corresponding with the point d of
the object which is seen distinctly. This point d is the centre of the
retina at the extremity of the line aha, called the optical axis of the
eye, passing through the centre of the lens lh, and the centre of the
pupil. The point of distinct vision d corresponds with a small hole in
the retina called the Foramen centrale, or central hole, from its being
in the centre of the membrane. When we wish to see the points a
and b, or any other point of the object, we turn the eye upon them,
so that their image may fall upon the central point d. This is done so
easily and quickly that every point of an object is seen distinctly in an
instant, and we obtain the most perfect knowledge of its form, colour,
and direction. The law of distinct vision may be thus expressed.
Vision is most distinct when it is performed by the central point of the
retina, and the distinctness decreases with the distance from the
central point. It is a curious fact, however, that the most distinct point
d is the least sensitive to light, and that the sensitiveness increases
with the distance from that point. This is proved by the remarkable
fact, that when an astronomer cannot see a very minute star by
looking at it directly along the optical axis dd, he can see it by
looking away from it, and bringing its image upon a more sensitive
part of the retina.
But though we see with one eye the direction in which any object
or point of an object is situated, we do not see its position, or the
distance from the eye at which it is placed. If a small luminous point
or flame is put into a dark room by another person, we cannot with
one eye form anything like a correct estimate of its distance. Even in
good light we cannot with one eye snuff a candle, or pour wine into a
small glass at arm’s length. In monocular vision, we learn from
experience to estimate all distances, but particularly great ones, by
various means, which are called the criteria of distance; but it is only
with both eyes that we can estimate with anything like accuracy the
distance of objects not far from us.
The criteria of distance, by which we are enabled with one eye to
form an approximate estimate of the distance of objects are five in
number.
1. The interposition of numerous objects between the eye and the
object whose distance we are appreciating. A distance at sea
appears much shorter than the same distance on land, marked with
houses, trees, and other objects; and for the same reason, the sun
and moon appear more distant when rising or setting on the horizon
of a flat country, than when in the zenith, or at great altitudes.
2. The variation in the apparent magnitude of known objects,
such as man, animals, trees, doors and windows of houses. If one of
two men, placed at different distances from us, appears only half the
size of the other, we cannot be far wrong in believing that the
smallest in appearance is at twice the distance of the other. It is
possible that the one may be a dwarf, and the other of gigantic
stature, in which case our judgment would be erroneous, but even in
this case other criteria might enable us to correct it.
3. The degree of vivacity in the colours and tints of objects.
4. The degree of distinctness in the outline and minute parts of
objects.
5. To these criteria we may add the sensation of muscular action,
or rather effort, by which we close the pupil in accommodating the
eye to near distances, and produce the accommodation.
With all these means of estimating distances, it is only by
binocular vision, in which we converge the optical axes upon the
object, that we have the power of seeing distance within a limited
range.
But this is the only point in which Monocular is inferior to
Binocular vision. In the following respects it is superior to it.
1. When we look at oil paintings, the varnish on their surface
reflects to each eye the light which falls upon it from certain parts of
the room. By closing one eye we shut out the quantity of reflected
light which enters it. Pictures should always be viewed by the eye
farthest from windows or lights in the apartment, as light diminishes
the sensibility of the eye to the red rays.
2. When we view a picture with both eyes, we discover, from the
convergency of the optic axes, that the picture is on a plane surface,
every part of which is nearly equidistant from us. But when we shut
one eye, we do not make this discovery; and therefore the effect with
which the artist gives relief to the painting exercises its whole effect
in deceiving us, and hence, in monocular vision, the relievo of the
painting is much more complete.
This influence over our judgment is beautifully shewn in viewing,
with one eye, photographs either of persons, or landscapes, or solid
objects. After a little practice, the illusion is very perfect, and is aided
by the correct geometrical perspective and chiaroscuro of the
Daguerreotype or Talbotype. To this effect we may give the name of
Monocular Relief, which, as we shall see, is necessarily inferior to
Binocular Relief, when produced by the stereoscope.
3. As it very frequently happens that one eye has not exactly the
same focal length as the other, and that, when it has, the vision by
one eye is less perfect than that by the other, the picture formed by
uniting a perfect with a less perfect picture, or with one of a different
size, must be more imperfect than the single picture formed by one
eye.
CHAPTER III.
ON BINOCULAR VISION, OR
VISION WITH TWO EYES.
Fig. 8.
Description of the Ocular Stereoscope.
A stereoscope upon the principle already described, in which the
eyes alone are the agent, was contrived, in 1834, by Mr. Elliot, as we
have already had occasion to state. He placed the binocular
pictures, described in Chapter I., at one end of a box, and without
the aid either of lenses or mirrors, he obtained a landscape in perfect
relief. I have examined this stereoscope, and have given, in Fig. 8,
an accurate though reduced drawing of the binocular pictures
executed and used by Mr. Elliot. I have also united the two original
pictures by the convergency of the optic axes beyond them, and
have thus seen the landscape in true relief. To delineate these
binocular pictures upon stereoscopic principles was a bold
undertaking, and establishes, beyond all controversy, Mr. Elliot’s
claim to the invention of the ocular stereoscope.
If we unite the two pictures in Fig. 8, by converging the optic axes
to a point nearer the eye than the pictures, we shall see distinctly the
stereoscopic relief, the moon being in the remote distance, the cross
in the middle distance, and the stump of a tree in the foreground.
If we place the two pictures as in Fig. 9, which is the position they
had in Mr. Elliot’s box, and unite them, by looking at a point beyond
them we shall also observe the stereoscopic relief. In this position
Mr. Elliot saw the relief without any effort, and even without being
conscious that he was not viewing the pictures under ordinary vision.
This tendency of the optic axes to a distant convergency is so rare
that I have met with it only in one person.
Fig. 9.
As the relief produced by the union of such imperfect pictures
was sufficient only to shew the correctness of the principle, the
friends to whom Mr. Elliot shewed the instrument thought it of little
interest, and he therefore neither prosecuted the subject, nor
published any account of his contrivance.
Mr. Wheatstone suggested a similar contrivance, without either
mirrors or lenses. In order to unite the pictures by converging the
optic axes to a point between them and the eye, he proposed to
place them in a box to hide the lateral image and assist in making
them unite with the naked eyes. In order to produce the union by
looking at a point beyond the picture, he suggested the use of “a pair
of tubes capable of being inclined to each other at various angles,”
the pictures being placed on a stand in front of the tubes. These
contrivances, however, though auxiliary to the use of the naked
eyes, were superseded by the Reflecting Stereoscope, which we
shall now describe.
Fig. 10.
“If the pictures are all drawn to be seen with the same inclination
of the optic axes the apparatus may be simplified by omitting the
screw rl, and fixing the upright boards d, d′ at the proper distance.
The sliding pannels may also be dispensed with, and the drawings
themselves be made to slide in the grooves.”
The figures to which Mr. Wheatstone applied this instrument were
pairs of outline representations of objects of three dimensions, such
as a cube, a cone, the frustum of a square pyramid, which is shewn
on one side of e, e′ in Fig. 10, and in other figures; and he employed
them, as he observes, “for the purpose of illustration, for had either
shading or colouring been introduced it might be supposed that the
effect was wholly or in part due to these circumstances, whereas, by
leaving them out of consideration, no room is left to doubt that the
entire effect of relief is owing to the simultaneous perception of the
two monocular projections, one on each retina.”
“Careful attention,” he adds, “would enable an artist to draw and
paint the two component pictures, so as to present to the mind of the
observer, in the resultant perception, perfect identity with the object
represented. Flowers, crystals, busts, vases, instruments of various
kinds, &c., might thus be represented, so as not to be distinguished
by sight from the real objects themselves.”
This expectation has never been realized, for it is obviously
beyond the reach of the highest art to draw two copies of a flower or
a bust with such accuracy of outline or colour as to produce “perfect
identity,” or anything approaching to it, “with the object represented.”
Photography alone can furnish us with such representations of
natural and artificial objects; and it is singular that neither Mr. Elliot
nor Mr. Wheatstone should have availed themselves of the well-
known photographic process of Mr. Wedgewood and Sir Humphry
Davy, which, as Mr. Wedgewood remarks, wanted only “a method of
preventing the unshaded parts of the delineation from being coloured
by exposure to the day, to render the process as useful as it is
elegant.” When the two dissimilar photographs were taken they
could have been used in the stereoscope in candle-light, or in faint
daylight, till they disappeared, or permanent outlines of them might
have been taken and coloured after nature.
Mr. Fox Talbot’s beautiful process of producing permanent
photographs was communicated to the Royal Society in January
1839, but no attempt was made till some years later to make it
available for the stereoscope.
In a chapter on binocular pictures, and the method of executing
them in order to reproduce, with perfect accuracy, the objects which
they represent, we shall recur to this branch of the subject.
Upon obtaining one of these reflecting stereoscopes as made by
the celebrated optician, Mr. Andrew Ross, I found it to be very ill
adapted for the purpose of uniting dissimilar pictures, and to be
imperfect in various respects. Its imperfections may be thus
enumerated:—
1. It is a clumsy and unmanageable apparatus, rather than an
instrument for general use. The one constructed for me was 16½
inches long, 6 inches broad, and 8½ inches high.
2. The loss of light occasioned by reflection from the mirrors is
very great. In all optical instruments where images are to be formed,
and light is valuable, mirrors and specula have been discontinued.
Reflecting microscopes have ceased to be used, but large
telescopes, such as those of Sir W. and Sir John Herschel, Lord
Rosse, and Mr. Lassel, were necessarily made on the reflecting
principle, from the impossibility of obtaining plates of glass of
sufficient size.
3. In using glass mirrors, of which the reflecting stereoscope is
always made, we not only lose much more than half the light by the
reflections from the glass and the metallic surface, and the absorbing
power of the glass, but the images produced by reflection are made
indistinct by the oblique incidence of the rays, which separates the
image produced by the glass surface from the more brilliant image
produced by the metallic surface.
4. In all reflections, as Sir Isaac Newton states, the errors are
greater than in refraction. With glass mirrors in the stereoscope, we
have four refractions in each mirror, and the light transmitted through
twice the thickness of the glass, which lead to two sources of error.
5. Owing to the exposure of the eye and every part of the
apparatus to light, the eye itself is unfitted for distinct vision, and the
binocular pictures become indistinct, especially if they are
Daguerreotypes,[34] by reflecting the light incident from every part of
the room upon their glass or metallic surface.
6. The reflecting stereoscope is inapplicable to the beautiful
binocular slides which are now being taken for the lenticular
stereoscope in every part of the world, and even if we cut in two
those on paper and silver-plate, they would give, in the reflecting
instrument, converse pictures, the right-hand part of the picture
being placed on the left-hand side, and vice versa.
7. With transparent binocular slides cut in two, we could obtain
pictures by reflection that are not converse; but in using them, we
would require to have two lights, one opposite each of the pictures,
which can seldom be obtained in daylight, and which it is
inconvenient to have at night.
Owing to these and other causes, the reflecting stereoscope
never came into use, even after photography was capable of
supplying binocular pictures.
As a set-off against these disadvantages, it has been averred
that in the reflecting stereoscope we can use larger pictures, but this,
as we shall shew in a future chapter, is altogether an erroneous
assertion.