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1831.] inspection, that the heaps were not stationary, but rose and fell; and also that there were two sets regularly and alternately arranged, the one set rising as the other descended.

99. Sand gave no indications of arrangement with these large heaps (86); but when some coarse sawdust was soaked, so as to sink in water, and then distributed in the fluid, its motions were beautifully illustrative of the whole philosophy of the phenomena. It was immediately washed away from under the rising and falling heaps, and collected in the places equidistant between these spots, as the sand did in the former experiments (86), and by its vibratory motion to and fro, it showed distinctly how the water oscillated from one heap towards another, as the heaps sunk and rose.

100. When milk (75) was used instead of water for these large arrangements in a dark room, and a candle was placed beneath, the appearances also were very beautiful, resembling in character those described (97).

101. Each heap (identified by its locality) recurs or is reformed in two complete vibrations of the sustaining surface ; but as there are two sets of heaps, a set occurs for each vibration. The maximum and minimum of height for the heaps appears to be alternately, almost immediately after the supporting plate has begun to descend in one complete vibration.

102. Many of these results are beautifully confirmed by the appearances produced, when regular crispations have been sustained for a short time with mercury, on which a certain degree of film has been allowed to form (77). On examining the film afterwards in one light, lines could be seen on it, coinciding with the intervals of the heaps in one direction; in another light, lines coinciding with the other direction came into sight, whilst the first disappeared; and in a third light, both sets of lines could be seen cutting out the square places where the heaps had existed: in these spaces the film was minutely wrinkled and bagged, as if it had there been distended; at the lines it was only a little wrinkled, giving the appearance of texture; and at the crossing of the lines themselves, it was