128 files changed, 6437 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/27125-8.txt b/27125-8.txt
new file mode 100644
index 0000000..2da07d8
--- /dev/null
+++ b/27125-8.txt
@@ -0,0 +1,2151 @@
+The Project Gutenberg EBook of The Splash of a Drop, by A. M. Worthington
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Splash of a Drop
+
+Author: A. M. Worthington
+
+Release Date: November 2, 2008 [EBook #27125]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SPLASH OF A DROP ***
+
+
+
+
+Produced by Chris Curnow, Greg Bergquist and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+  _THE ROMANCE OF SCIENCE_
+
+  THE SPLASH OF A DROP
+
+
+  BY
+  PROF. A.M. WORTHINGTON, M.A., F.R.S.
+
+
+  _Being the reprint of a Discourse delivered at the Royal Institution
+  of Great Britain, May 18, 1894._
+
+  PUBLISHED UNDER THE DIRECTION OF THE GENERAL
+  LITERATURE COMMITTEE.
+
+
+  LONDON:
+  SOCIETY FOR PROMOTING CHRISTIAN KNOWLEDGE,
+  NORTHUMBERLAND AVENUE, CHARING CROSS, W.C.;
+  43, QUEEN VICTORIA STREET, E.C.
+  BRIGHTON: 129, NORTH STREET.
+  NEW YORK: E. & J.B. YOUNG & CO.
+  1895.
+
+
+
+
+THE SPLASH OF A DROP
+
+
+
+
+INSTANTANEOUS PHOTOGRAPHS OF THE SPLASH OF A WATER-DROP FALLING ABOUT 16
+INCHES INTO MILK.
+
+[Illustration: Time after contact = ·0262 sec.]
+
+[Illustration: Time after contact = ·0391 sec.]
+
+[Illustration: Time after contact = ·101 sec.]
+
+
+
+
+THE SPLASH OF A DROP
+
+
+The splash of a drop is a transaction which is accomplished in the
+twinkling of an eye, and it may seem to some that a man who proposes to
+discourse on the matter for an hour must have lost all sense of
+proportion. If that opinion exists, I hope this evening to be able to
+remove it, and to convince you that we have to deal with an exquisitely
+regulated phenomenon, and one which very happily illustrates some of the
+fundamental properties of fluids. It may be mentioned also that the
+recent researches of Lenard in Germany and J.J. Thomson at Cambridge, on
+the curious development of electrical charges that accompanies certain
+kinds of splashes, have invested with a new interest any examination of
+the mechanics of the phenomenon. It is to the mechanical and not to the
+electrical side of the question that I shall call your attention this
+evening.
+
+The first well-directed and deliberate observations on the subject that
+I am acquainted with were made by a school-boy at Rugby some twenty
+years ago, and were reported by him to the Rugby Natural History
+Society. He had observed that the marks of accidental splashes of
+ink-drops that had fallen on some smoked glasses with which he was
+experimenting, presented an appearance not easy to account for. Drops of
+the same size falling from the same height had made always the same
+kind of mark, which, when carefully examined with a lens, showed that
+the smoke had been swept away in a system of minute concentric rings and
+fine striæ. Specimens of such patterns, obtained by letting drops of
+mercury, alcohol, and water fall on to smoked glass, are thrown on the
+screen, and the main characteristics are easily recognized. Such a
+pattern corresponds to the footprints of the dance that has been
+performed on the surface, and though the drop may be lying unbroken on
+the plate, it has evidently been taking violent exercise, and were our
+vision acute enough we might observe that it was still palpitating after
+its exertions.
+
+A careful examination of a large number of such footprints showed that
+any opinion that could be formed therefrom of the nature of the motion
+of the drop must be largely conjectural, and it occurred to me about
+eighteen years ago to endeavour by means of the illumination of a
+suitably-timed electric spark to watch a drop through its various
+changes on impact.
+
+The reason that with ordinary continuous light nothing can be
+satisfactorily seen of the splash, is not that the phenomenon is of such
+short duration, but because the changes are so rapid that before the
+image of one stage has faded from the eye the image of a later and quite
+different stage is superposed upon it. Thus the resulting impression is
+a confused assemblage of all the stages, as in the photograph of a
+person who has not sat still while the camera was looking at him. The
+problem to be solved experimentally was therefore this: to let a drop of
+definite size fall from a definite height in comparative darkness on to
+a surface, and to illuminate it by a flash of exceedingly short duration
+at any desired stage, so as to exclude all the stages previous and
+subsequent to the one thus picked out. The flash must be bright enough
+for the image of what is seen to remain long enough on the eye for the
+observer to be able to attend to it, and even to shift his attention
+from one part to another, and thus to make a drawing of what is seen. If
+necessary the experiment must be capable of repetition, with an exactly
+similar drop falling from exactly the same height, and illuminated at
+exactly the same stage. Then, when this stage has been sufficiently
+studied, we must be able to arrange with another similar drop to
+illuminate it at a rather later stage, say 1/1000 second later, and in
+this way to follow step by step the whole course of the phenomenon.
+
+The apparatus by which this has been accomplished is on the table before
+you. Time will not suffice to explain how it grew out of earlier
+arrangements very different in appearance, but its action is very simple
+and easy to follow by reference to the diagram (Fig. 1).
+
+AA´ is a light wooden rod rather longer and thicker than an ordinary
+lead pencil, and pivoted on a horizontal axle O. The rod bears at the
+end A a small deep watch-glass, or segment of a watch-glass, whose
+surface has been smoked, so that a drop even of water will lie on it
+without adhesion. The end A´ carries a small strip of tinned iron, which
+can be pressed against and held down by an electro-magnet CC´. When the
+current of the electro-magnet is cut off the iron is released, and the
+end A´ of the rod is tossed up by the action of a piece of india-rubber
+stretched catapult-wise across two pegs at E, and by this means the drop
+resting on the watch-glass is left in mid-air free to fall from rest.
+
+[Illustration: FIG. 1.]
+
+BB´ is a precisely similar rod worked in just the same way, but carrying
+at B a small horizontal metal ring, on which an ivory timing sphere of
+the size of a child's marble can be supported. On cutting off the
+current of the electro-magnet the ends A´ and B´ of the two levers are
+simultaneously tossed up by the catapults, and thus drop and sphere
+begin to fall at the same moment. Before, however, the drop reaches the
+surface on which it is to impinge, the timing sphere strikes a plate D
+attached to one end of a third lever pivoted at Q, and thus breaks the
+contact between a platinum wire bound to the underside of this lever and
+another wire crossing the first at right angles. This action breaks an
+electric current which has traversed a second electro-magnet F (Fig. 2),
+and releases the iron armature N of the lever NP, pivoted at P, thus
+enabling a strong spiral spring G to lift a stout brass wire L out of
+mercury, and to break at the surface of the mercury a strong current
+that has circulated round the primary circuit of a Ruhmkorff's induction
+coil; this produces at the surface of the mercury a bright
+self-induction spark in the neighbourhood of the splash, and it is by
+this flash that the splash is viewed. The illumination is greatly helped
+by surrounding the place where the splash and flash are produced by a
+white cardboard enclosure, seen in Fig. 2, from whose walls the light is
+diffused.
+
+[Illustration: FIG. 2.]
+
+It will be observed that the time at which the spark is made will depend
+upon the distance that the sphere has to fall before striking the plate
+D, for the subsequent action of demagnetizing F and pulling the wire L
+out of the mercury in the cup H is the same on each occasion. The modus
+operandi is consequently as follows:--The observer, sitting in
+comparative but by no means complete darkness, faces the apparatus as it
+appears in Fig. 2, presses down the ends A´B´ of the levers first
+described, so that they are held by the electro-magnet C (Fig. 1); then
+he presses the lever NP down on the electro-magnet F, sets the timing
+sphere and drop in place, and then by means of a bridge between two
+mercury cups, short-circuits and thus cuts off the current of the
+electro-magnet C. This lets off drop and sphere, and produces the flash.
+The stage of the phenomenon that is thus revealed having been
+sufficiently studied by repetition of the experiment as often as may be
+necessary, he lowers the plate D a fraction of an inch and thus obtains
+a later stage. Not only is any desired stage of the phenomenon thus
+easily brought under examination, but the apparatus also affords the
+means of measuring the time interval between any two stages. All that
+is necessary is to know the distance that the timing sphere falls in the
+two cases. Elementary dynamics then give us the interval required. Thus,
+if the sphere falls one foot and we then lower D 1/4 inch, the interval
+between the corresponding stages will be about ·0026 second.
+
+Having thus described the apparatus, which I hope shortly to show you in
+action, I pass to the information that has been obtained by it.
+
+This is contained in a long series of drawings, of which a selection
+will be presented on the screen. The First Series that I have to show
+represents the splash of a drop of mercury 0·15 inch in diameter that
+has fallen 3 inches on to a smooth glass plate. It will be noticed that
+very soon after the first moment of impact, minute rays are shot out in
+all directions on the surface. These are afterwards overflowed or
+united, until, as in Fig. 8, the outline is only slightly rippled. Then
+(Fig. 9) main rays shoot out, from the ends of which in some cases
+minute droplets of liquid would split off, to be left lying in a circle
+on the plate, and visible in all subsequent stages. By counting these
+droplets when they were thus left, the number of rays was ascertained to
+have been generally about 24. This exquisite shell-like configuration,
+shown in Fig. 9, marks about the maximum spread of the liquid, which,
+subsiding in the middle, afterwards flows into an annulus or rim with a
+very thin central film, so thin, in fact, as often to tear more or less
+irregularly. This annular rim then divides or segments (Figs. 14, 15,
+16) in such a manner as to join up the rays in pairs, and thus passes
+into the 12-lobed annulus of Fig. 16. Then the whole contracts, but
+contracts most rapidly between the lobes, the liquid then being driven
+into and feeding the arms, which follow more slowly. In Fig. 21 the end
+of this stage is reached, and now the arms continuing to come in, the
+liquid rises in the centre; this is, in fact, the beginning of the
+rebound of the drop from the plate. In the case before us the drops at
+the ends of the arms now break off (Fig. 25), while the central mass
+rises in a column which just fails itself to break up into drops, and
+falls back into the middle of the circle of satellites which, it will be
+understood, may in some cases again be surrounded by a second circle of
+the still smaller and more numerous droplets that split off the ends of
+the rays in Fig. 9. The whole of the 30 stages described are
+accomplished in about 1/20 second, so that the average interval between
+them is about 1/600 second.
+
+
+FIRST SERIES.
+
+[Illustration: 1]
+
+[Illustration: 2]
+
+[Illustration: 3]
+
+[Illustration: 4]
+
+[Illustration: 5]
+
+[Illustration: 6]
+
+[Illustration: 7]
+
+[Illustration: 8]
+
+[Illustration: 9]
+
+[Illustration: 10]
+
+[Illustration: 11]
+
+[Illustration: 12]
+
+[Illustration: 13]
+
+[Illustration: 14]
+
+[Illustration: 15]
+
+[Illustration: 16]
+
+[Illustration: 17]
+
+[Illustration: 18]
+
+[Illustration: 19]
+
+[Illustration: 20]
+
+[Illustration: 21]
+
+[Illustration: 22]
+
+[Illustration: 23]
+
+[Illustration: 24]
+
+[Illustration: 25]
+
+[Illustration: 26]
+
+[Illustration: 27]
+
+[Illustration: 28]
+
+[Illustration: 29]
+
+[Illustration: 30]
+
+It should be mentioned that it is only in rare cases that the
+subordinate drops seen in the last six figures, are found lying in a
+very complete circle after all is over, for there is generally some
+slight disturbing lateral velocity which causes many to mingle again
+with the central drop, or with each other. But even if only half or a
+quarter of the circle is left, it is easy to estimate how many drops,
+and therefore how many arms there have been. It may be mentioned that
+sometimes the surface of the central lake of liquid (Figs. 14, 15, 16,
+17) was seen to be covered with beautiful concentric ripples, not shown
+in the figures.
+
+The question now naturally presents itself, Why should the drop behave
+in this manner? In seeking the answer it will be useful to ask ourselves
+another question. What should we have expected the drop to do? Well, to
+this I suppose most people would be inclined, arguing from analogy with
+a solid, to reply that it would be reasonable to expect the drop to
+flatten itself, and even very considerably flatten itself, and then,
+collecting itself together again, to rebound, perhaps as a column such
+as we have seen, but not to form this regular system of rays and arms
+and subordinate drops.
+
+Now this argument from analogy with a solid is rather misleading, for
+the forces that operate in the case of a solid sphere that flattens
+itself and rebounds, are due to the bodily elasticity which enables it
+not only to resist, but also to recover from any distortion of shape or
+shearing of its internal parts past each other. But a liquid has no
+power of recovering from such internal shear, and the only force that
+checks the spread, and ultimately causes the recovery of shape, is the
+_surface tension_, which arises from the fact that the surface layers
+are always in a state of extension and always endeavouring to contract.
+Thus we are at liberty when dealing with the motions of the drop to
+think of the interior liquid as not coherent, provided we furnish it
+with a suitable elastic skin. Where the surface skin is sharply curved
+outwards, as it is at the sharp edge of the flattened disc, there the
+interior liquid will be strongly pressed back. In fact the process of
+flattening and recoil is one in which energy of motion is first expended
+in creating fresh liquid surface, and subsequently recovered as the
+surface contracts. The transformation is, however, at all moments
+accompanied by a great loss of energy as heat. Moreover, it must be
+remembered that the energy expended in creating the surface of the
+satellite drops is not restored if these remain permanently separate.
+Thus the surface tension explains the recoil, and it is also closely
+connected with the formation of the subordinate rays and arms. To
+explain this it is only necessary to remind you that a liquid cylinder
+is an unstable configuration. As you know, any fine jet becomes beaded
+and breaks into drops, but it is not necessary that there should be any
+flow of liquid along the jet; if, for example, we could realize a rod of
+liquid of the shape and size of this cylindrical ruler that I hold in my
+hand, and liberate it in the air, it would not retain its cylindrical
+shape, but would segment or divide itself up into a row of drops
+regularly disposed according to a definite and very simple numerical
+law, viz. that the distances between the centres of contiguous drops
+would be equal to the circumference of the cylinder. This can be shown
+by calculation to be a consequence of the surface tension, and the
+calculation has been closely verified by experiment. If the liquid
+cylinder were liberated on a plate, it would still topple into a regular
+row of drops, but they would be further apart; this was shown by
+Plateau. Now imagine the cylinder bent into an annulus. It will still
+follow the same law,[1] _i.e._ it will topple into drops just as if it
+were straight. This I can show you by a direct experiment. I have here a
+small thick disc of iron, with an accurately planed face and a handle at
+the back. In the face is cut a circular groove, whose cross section is a
+semi-circle. I now lay this disc face downwards on the horizontal face
+of the lantern condenser, and through one of two small holes bored
+through to the back of the disc I fill the groove with quicksilver. Now,
+suddenly lifting the disc from the plate, I release an annulus of
+liquid, which splits into the circle of very equal drops which you see
+projected on the screen. You will notice that the main drops have
+between them still smaller ones, which have come from the splitting up
+of the thin cylindrical necks of liquid which connected the larger drops
+at the last moment.
+
+Now this tendency to segment or topple into drops, whether of a straight
+cylinder or of an annulus, is the key to the formation of the arms and
+satellites, and indeed to much that happens in all the splashes that we
+shall examine. Thus in Fig. 12 we have an annular rim, which in Figs. 13
+and 14 is seen to topple into lobes by which the rays are united in
+pairs, and even the special rays that are seen in Fig. 9 owe their
+origin to the segmentation of the rim of the thin disc into which the
+liquid has spread. The proceeding is probably exactly analogous to what
+takes place in a sea wave that curls over in calm weather on a slightly
+sloping shore. Any one may notice how, as it curls over, the wave
+presents a long smooth edge, from which at a given instant a multitude
+of jets suddenly shoot out, and at once the back of the wave, hitherto
+smooth, is seen to be furrowed or "combed." There can be no doubt that
+the cylindrical edge topples into alternate convexities and concavities;
+at the former the flow is helped, at the latter hindered, and thus the
+jets begin, and special lines of flow are determined. In precisely the
+same way the previously smooth circular edge of Fig. 8 topples, and
+determines the rays and lines of flow of Fig. 9.
+
+Before going on to other splashes I will now endeavour to reproduce a
+mercury splash of the kind I have described, in a manner that shall be
+visible to all. For this purpose I have reduplicated the apparatus which
+you have seen, and have it here so arranged that I can let the drop fall
+on to the horizontal condenser plate of the lantern, through which the
+light passes upwards, to be afterwards thrown upon this screen. The
+illuminating flash will be made inside the lantern, where the arc light
+would ordinarily be placed. I have now set a drop of mercury in
+readiness and put the timing sphere in place, and now if you will look
+intently at the middle of the screen I will darken the room and let off
+the splash. (The experiment was repeated four or five times, and the
+figures seen were like those of Series X.) Of course all that can be
+shown in this way is the outline, or rather a horizontal section of the
+splash; but you are able to recognize some of the configurations already
+described, and will be the more willing to believe that a momentary view
+is after all sufficient to give much information if one is on the alert
+and has acquired skill by practice.
+
+The general features of the splash that we have examined are not merely
+characteristic of the liquid mercury, but belong to all splashes of a
+liquid falling on to a surface which it does not wet, provided the
+height of fall or size of the drop are not so great as to cause complete
+disruption,[2] in which case there is no recovery and rebound. Thus a
+drop of milk falling on to smoked glass will, if the height of fall and
+size of drop are properly adjusted, give forms very similar to those
+presented by a drop of mercury. The whole course of the phenomenon
+depends, in fact, mainly on four quantities only: (1) the size of the
+drop; (2) the height of fall; (3) the value of the surface tension; (4)
+the viscosity of the liquid.
+
+The next series of drawings illustrates the splash of a drop of water
+falling into water.
+
+In order the better to distinguish the liquid of the original drop from
+that into which it falls, the latter was coloured with ink or with an
+aniline dye, and the drop itself was of water rendered turbid with
+finely-divided matter in suspension. Finally drops of milk were found to
+be very suitable for the purpose, the substitution of milk for water not
+producing any observable change in the phenomenon.
+
+In Series II. the drop fell 3 inches, and was 1/5 inch in diameter.
+
+[In most of the figures of this and of succeeding series the central
+white patch represents the original drop, and the white parts round it
+represent those raised portions of the liquid which catch the light. The
+numbers under each figure give the time interval in seconds from the
+occurrence of the first figure, or of the figure marked [Tau] = 0.]
+
+
+SERIES II.
+
+_The Splash of a Drop, followed in detail by Instantaneous
+Illumination._
+
+Diameter of Drop, 1/5 inch. Height of Fall, 3-1/5 inches.
+
+[Illustration: 1
+
+[Tau] = 0 sec.]
+
+[Illustration: 2
+
+[Tau] = 0 sec.]
+
+[Illustration: 3
+
+[Tau] = ·0097 sec.]
+
+[Illustration: 4
+
+[Tau] = ·0392 sec.]
+
+[Illustration: 5
+
+[Tau] = ·0392 sec.]
+
+[Illustration: 6]
+
+[Illustration: 7
+
+[Tau] = ·0979 sec.]
+
+[Illustration: 8
+
+[Tau] = ·1095 sec.]
+
+[Illustration: 9
+
+[Tau] = ·167 sec.]
+
+It will be observed that the drop flattens itself out somewhat, and
+descends at the bottom of a hollow with a raised beaded edge (Fig. 2).
+This edge would be smooth and circular but for the instability which
+causes it to topple into drops. As the drop descends the hollow becomes
+wider and deeper, and finally closes over the drop (Fig. 3), which,
+however, soon again emerges as the hollow flattens out, appearing first
+near, but still below the surface (Fig. 4), in a flattened, lobed form,
+afterwards rising as a column somewhat mixed with adherent water, in
+which traces of the lobes are at first very visible.
+
+The rising column, which is nearly cylindrical, breaks up into drops
+before or during its subsequent descent into the liquid. As it
+disappears below the surface the outward and downward flow causes a
+hollow to be again formed, up the sides of which an annulus of milk is
+carried, while the remainder descends to be torn again a second time
+into a vortex ring, which, however, is liable to disturbance from the
+falling in of the drops which once formed the upper part of the
+rebounding column.
+
+It is not difficult to recognize some features of this splash without
+any apparatus beyond a cup of tea and a spoonful of milk. Any drinker of
+afternoon tea, after the tea is poured out and before the milk is put
+in, may let the milk fall into it drop by drop from one or two inches
+above it. The rebounding column will be seen to consist almost entirely
+of milk, and to break up into drops in the manner described, while the
+vortex ring, whose core is of milk, may be seen to shoot down into the
+liquid. But this is better observed by dropping ink into a tumbler of
+clear water.
+
+Let us now increase the height of fall to 17 inches. Series III.
+exhibits the result. All the characteristics of the last splash are
+more strongly marked. In Fig. 1 we have caught sight of the little
+raised rim of the hollow before it was headed, but in Fig. 2 special
+channels of easiest flow have been already determined. The number of
+ribs and rays in this basket-shaped hollow seemed to vary a good deal
+with different drops, as also did the number of arms and lobes seen in
+later figures, in a somewhat puzzling manner, and I made no attempt to
+select drawings which are in agreement in this respect. It will be
+understood that these rays contain little or none of the liquid of the
+drop, which remains collected together in the middle. Drops from these
+rays or from the larger arms and lobes of subsequent figures are often
+thrown off high into the air. In Figs. 3 and 4 the drop is clean gone
+below the surface of the hollow, which is now deeper and larger than
+before. The beautiful beaded annular edge then subsides, and in Fig. 5
+we see the drop again, and in Fig. 6 it begins to emerge. But although
+the drop has fallen from a greater height than in the previous splash,
+the energy of the impact, instead of being expended in raising the same
+amount of liquid to a greater height, is now spent in lifting a much
+thicker adherent column to about the same height as in the last splash.
+There was sometimes noticed, as seen in Fig. 9, a tendency in the water
+to flow up past the milk, which, still comparatively unmixed with water,
+rides triumphant on the top of the emergent column. The greater relative
+thickness of this column prevents it splitting into drops, and Figs. 10
+and 11 show it descending below the surface to form the hollow of Fig.
+12, up the sides of which an annular film of milk is carried (Figs. 12
+and 13), having been detached from the central mass, which descends to
+be torn again, this time centrally into a well-marked vortex ring.
+
+
+SERIES III.
+
+_The Splash of a Drop, followed in detail by Instantaneous
+Illumination._
+
+Diameter of Drop, 1/5 inch. Height of Fall, 1 ft. 5 in.
+
+[Illustration: 1
+
+[Tau] = 0 sec.]
+
+[Illustration: 2
+
+[Tau] = ·0314 sec.]
+
+[Illustration: 3
+
+[Tau] = ·0317 sec.]
+
+[Illustration: 4
+
+[Tau] = ·0389 sec.]
+
+[Illustration: 5
+
+[Tau] = ·0498 sec.]
+
+[Illustration: 6
+
+[Tau] = ·0551 sec.]
+
+[Illustration: 7
+
+[Tau] = ·0759 sec.]
+
+[Illustration: 8
+
+[Tau] = ·0901 sec.]
+
+[Illustration: 9]
+
+[Illustration: 10]
+
+[Illustration: 11]
+
+[Illustration: 12
+
+[Tau] = ·295 sec.]
+
+[Illustration: 13]
+
+[Illustration: 14]
+
+If we keep to the same size of drop and increase the fall to something
+over a yard, no great change occurs in the nature of the splash, but the
+emergent column is rather higher and thinner and shows a tendency to
+split into drops.
+
+When, however, we double the volume of the drop and raise the height of
+fall to 52 inches, the splash of Series IV. is obtained, which is
+beginning to assume quite a different character. The raised rim of the
+previous series is now developed into a hollow shell of considerable
+height, which tends to close over the drop. This shell or dome is a
+characteristic feature of all splashes made by large drops falling from
+a considerable height, and is extremely beautiful. In the splash at
+present under consideration it does not always succeed in closing
+permanently, but opens out as it subsides, and is followed by the
+emergence of the drop (Fig. 8). In Fig. 9 the return wave overwhelms the
+drop for an instant, but it is again seen at the summit of the column in
+Fig. 10.
+
+
+SERIES IV.
+
+_The Splash of a Drop, followed in detail by Instantaneous
+Illumination._
+
+Diameter of Drop, 1/4 inch. Height of Fall, 4 ft. 4 in.
+
+[Illustration: 1
+
+[Tau] = 0 sec.]
+
+[Illustration: 2
+
+[Tau] = ·0021 sec.]
+
+[Illustration: 3
+
+[Tau] = ·0042 sec.]
+
+[Illustration: 4
+
+[Tau] = ·0165 sec.]
+
+[Illustration: 5
+
+[Tau] = ·0206 sec.]
+
+[Illustration: 6
+
+[Tau] = ·0443 sec.]
+
+[Illustration: 7
+
+[Tau] = ·0482 sec.]
+
+[Illustration: 8
+
+[Tau] = ·0595 sec.]
+
+[Illustration: 9
+
+[Tau] = ·0707 sec.]
+
+[Illustration: 10]
+
+[Illustration: 11]
+
+But on other occasions the shell or dome of Figs. 4 and 5 closes
+permanently over the imprisoned air, the liquid then flowing down the
+sides, which become thinner and thinner, till at length we are left with
+a large bubble floating on the water (see Series V.). It will be
+observed that the flow of liquid down the sides is chiefly along
+definite channels, which are probably determined by the arms thrown up
+at an earlier stage. The bubble is generally creased by the weight of
+the liquid along these channels. It must be remembered that the base of
+the bubble is in a state of oscillation, and that the whole is liable to
+burst at any moment, when such figures as 6 and 7 of the previous series
+will be seen.
+
+[Illustration: SERIES V.
+
+_The Splash of a Drop, followed in detail by Instantaneous
+Illumination._
+
+The Size of Drop and Height of Fall are the same as before, but the
+hollow shell (see figs. 4 and 5 of the previous Series) does not succeed
+in opening, but is left as a bubble on the surface. This explains the
+formation of bubbles when _big_ rain-drops fall into a pool of water.]
+
+Such is the history of the building of the bubbles which big rain-drops
+leave on the smooth water of a lake, or pond, or puddle. Only the bigger
+drops can do it, and reference to the number at the side of Fig. 5 of
+Series IV. shows that the dome is raised in about two-hundredths of a
+second. Should the domes fail to close, or should they open again, we
+have the emergent columns which any attentive observer will readily
+recognize, and which have never been better described than by Mr. R.L.
+Stevenson, who, in his delightful _Inland Voyage_, speaks of the surface
+of the Belgian canals along which he was canoeing, as thrown up by the
+rain into "an infinity of little crystal fountains."
+
+Very beautiful forms of the same type indeed, but different in detail,
+are those produced by a drop of water falling into the lighter and more
+mobile liquid, petroleum.
+
+It will now be interesting to turn to the splash that is produced when a
+solid sphere, such as a child's marble, falls into water.
+
+I found to my great surprise that the character of the splash, at any
+rate up to a height of 4 or 5 feet, depends entirely on the state of the
+surface of the sphere. A polished sphere of marble about 0·6 of an inch
+in diameter, rubbed very dry with a cloth just beforehand and dropped
+from a height of 2 feet into water, gave the figures of Series VI., in
+which it is seen that the water spreads over the sphere so rapidly, that
+it is sheathed with the liquid even before it has passed below the
+general level of the surface. The splash is insignificantly small and of
+very short duration.[3] If the drying and polishing be not so perfect,
+the configurations of Series VII. are produced; while if the sphere be
+roughened with sandpaper, or _left wet_, Series VIII. is obtained, in
+which it will be perceived that, as was the case with the liquid drop,
+the water is driven away laterally, forming the ribbed basket-shaped
+hollow, which, however, is now prolonged to a great depth, the drop
+being followed by a cone of air, while the water seems to find great
+difficulty in wetting the surface completely. Part of this column of air
+was carried down at least 16 inches, and then only detached when the
+sphere struck the bottom of the vessel.
+
+
+SERIES VI., VII.
+
+_Splash of a Solid Sphere (a marble 1/2 inch in diameter falling 2 feet
+into water)._
+
+[Illustration: SERIES VI.
+
+When the sphere is _dry_ and _polished_.]
+
+[Illustration: SERIES VII.
+
+When the sphere is _not_ well _dried_ and _polished_.]
+
+[Illustration: SERIES VIII.
+
+_The Splash of a Solid Sphere_--(continued.)
+
+When the sphere is _rough_ or _wet_.]
+
+[Illustration: SERIES IX.
+
+_The Splash of a Solid Sphere_--(continued.)
+
+When the sphere is rough or wet, and falls above 5 feet.]
+
+Figs. 6 and 7 show the crater falling in, but this did not always
+happen, for the walls often closed over the hollow exactly as in Figs. 4
+and 5 of Series IV. Meanwhile the long and nearly cylindrical portion
+below breaks up into bubbles which rise quickly to the surface.
+
+By increasing the fall to 5 feet we obtain the figures of Series IX. The
+tube of Fig. 1 corresponds to the dome of Series IV. and V., and is not
+only elevated to a surprising height, but is also in the act of cleaving
+(the outline being approximately that of the unduloid of M. Plateau).
+Figs. 2 and 3 show the bubble formed by the closing up of this tube,
+weighed down in the centre as in Figs. 5 and 6 of Series V. Similar
+results were obtained with other liquids, such as petroleum and alcohol.
+
+It is easy to show in a very striking manner the paramount influence of
+the condition of the solid surface. I have here a number of similar
+marbles; this set has been well polished by rubbing with wash leather. I
+drop them one by one through a space of about 1 foot into this deep,
+wide, cylindrical glass vessel, lighted up by a lamp placed behind it.
+You see each marble enters noiselessly and with hardly a visible trace
+of splash. Now I pick them out and drop them in again (or to save
+trouble, I drop in the place of these other wet ones), everything is
+changed. You see how the air is carried to the very bottom of the
+vessel, and you hear the "phloisbos" of the bubbles as they
+rise to the surface and burst. These dry but rough marbles behave in
+much the same way.
+
+Such are the main features of the Natural History of Splashes, as I made
+it out between thirteen and eighteen years ago. Before passing on to the
+photographs that I have since obtained, I desire to add a few words of
+comment. I have not till now alluded to any imperfections in the timing
+apparatus. But no apparatus of the kind can be absolutely perfect, and,
+as a matter of fact, when everything is adjusted so as to display a
+particular stage, it will happen that in a succession of observations
+there is a certain variation in what is seen. Thus the configuration
+viewed may be said to oscillate slightly about the mean for which the
+apparatus is adjusted. Now this is due both to small imperfections in
+the timing apparatus and to the fact that the splashes themselves do
+actually vary within certain limits. The reasons are not very far to
+seek. In the first place the rate of demagnetization of the
+electro-magnets varies slightly, being partly dependent on the varying
+resistance of the contacts of crossed wires, partly on the temperature
+of the magnet, which is affected by the length of time for which the
+current has been running. But a much more important reason is the
+variation of the slight adhesion of the drop to the smoked watch-glass
+that has supported it, and consequently of the oscillations to which, as
+we shall see, the drop is subjected as it descends. Thus the drop will
+sometimes strike the surface in a flattened form, at others in an
+elongated form, and there will be a difference, not only in the time of
+impact, but in the nature of the ensuing splash; consequently some
+judgment is required in selecting a consecutive series of drawings. The
+only way is to make a considerable number of drawings of each stage, and
+then to pick out a consecutive series. Now, whenever judgment has to be
+used, there is room for error of judgment, and moreover, it is
+impossible to put together the drawings so as to tell a consecutive
+story, without being guided by some theory, such as I have already
+sketched, as to the nature of the motion and the conditions that govern
+it. You will therefore be good enough to remember that this chronicle of
+the events of a tenth of a second is not a mechanical record but is
+presented by a fallible human historian, whose account, like that of
+any other contemporary observer, will be none the worse for independent
+confirmation. That confirmation is fortunately obtainable. In an attempt
+made eighteen years ago to photograph the splash of a drop of mercury, I
+was unable to procure plates sufficiently sensitive to respond to the
+very short exposures that were required, and consequently abandoned the
+endeavour. But in recent years plates of exquisite sensitiveness have
+been produced, and such photographs as those taken by Mr. Boys of a
+flying rifle bullet have shown that difficulties on the score of
+sensitiveness have been practically overcome. Within the last few weeks,
+with the valuable assistance of my colleague at Devonport, Mr. R.S.
+Cole, I have succeeded in obtaining photographs of various splashes.
+Following Prof. Boys' suggestion, we employed Thomas's cyclist plates,
+or occasionally the less sensitive "extra-rapid" plates of the same
+makers, and as a developer, Eikonogen solution of triple strength, in
+which the plates were kept for about 40 minutes, the development being
+conducted in complete darkness.
+
+A few preliminary trials with the self-induction spark produced at the
+surface of mercury by the apparatus that you have seen at work, showed
+that the illumination, though ample for direct vision, was not
+sufficient for photography. When the current strength was increased, so
+as to make the illumination bright enough for the camera, then the spark
+became of too great duration, for it lasted for between 4 and 5
+thousandths of a second, within which time there was very perceptible
+motion of the drop and consequent blurring. It was therefore necessary
+to modify the apparatus so as to employ a Leyden-jar spark whose
+duration was probably less than 10-millionths of a second. A very
+slight change in the apparatus rendered it suitable for the new
+conditions, but time does not permit me to describe the arrangements in
+detail. It is, however, less necessary to do so as the method is in all
+essentials the same as that described in this room two years ago by Lord
+Rayleigh in connection with the photography of a breaking soap-film.[4]
+I therefore pass at once to the photographs themselves.
+
+The first two series (X. and XI.) may be described as shadow
+photographs; they were obtained by allowing a drop of mercury to fall on
+to the naked photographic plate itself, the illuminating spark being
+produced vertically above it, and they give only a horizontal section of
+the drop in various stages, revealing the form of the outline of the
+part in contact with the plate, but of course telling nothing about the
+shape of the parts above. The first series corresponds to a mercury
+splash very similar to that first described, and the second to the
+splash of a larger drop such as was not described. In each series, the
+tearing of the thin central film to which allusion was made is well
+illustrated. I think the first comment that any one would make is that
+the photographs, while they bear out the drawings in many details, show
+greater irregularity than the drawings would have led one to expect. On
+this point I shall presently have something to say.
+
+
+SERIES X.
+
+(1) _Instantaneous Shadow Photographs (life size) of the Splash of a
+Drop of Mercury falling 8 cm. on to the Photographic Plate._
+
+[Illustration: 1
+
+Actual size of the Drop, 4·83 mm.]
+
+[Illustration: 2
+
+[Tau] = 0]
+
+[Illustration: 3]
+
+[Illustration: 4]
+
+[Illustration: 5]
+
+[Illustration: 6]
+
+[Illustration: 7
+
+[Tau] = ·048 sec.]
+
+
+SERIES XI.
+
+(2) _Instantaneous Shadow Photographs (life size) of the Splash of a
+Drop of Mercury falling 15 cm. on to Glass._
+
+[Illustration: 1
+
+Actual size, 4·83 mm. in diameter.]
+
+[Illustration: 2
+
+[Tau] = 0 sec.]
+
+[Illustration: 3]
+
+[Illustration: 4
+
+4A
+
+[Tau] = ·0032 sec.]
+
+[Illustration: 5
+
+[Tau] = ·0063 sec.]
+
+[Illustration: 5A
+
+[Tau] = ·0094 sec.]
+
+[Illustration: 6
+
+[Tau] = ·0134 sec.]
+
+Comparing the first set of drawings (pp. 20-24) with the photographs of
+Series X., it will be seen that
+
+  Photograph 2 corresponds to drawing 4 or 5
+      "      3     "             "    9
+      "      4     "             "   18
+      "      6     "             "   20
+      "      7     "             "   24
+
+but the irregularity of the last photograph almost masks the
+resemblance.
+
+
+SERIES XII.
+
+_Engravings from Instantaneous Photographs (16/17 of the real size) of
+the Splash of a Drop of Mercury, 4·83 mm. in diameter, falling 8·9 cm.
+on to a hard polished surface._
+
+[Illustration: 1]
+
+[Illustration: 2
+
+[Tau] = 0 sec.]
+
+[Illustration: 3]
+
+[Illustration: 4]
+
+[Illustration: 5]
+
+[Illustration: 6
+
+[Tau] = ·0195 sec.]
+
+Series XII. gives an objective view of a mercury splash as taken by the
+camera. Only the first of this series shows any detail in the interior.
+The polished surface of the mercury is, in fact, very troublesome to
+illuminate, and this splash proved the most difficult of all to
+photograph.
+
+Series XIII. shows the splash of a drop of milk falling on to a smoked
+glass plate, on which it runs about without adhesion just as mercury
+would. Here there is more of detail. In Fig. 4 the central film is so
+thin in the middle that the black plate beneath it is seen through the
+liquid. In Fig. 8 this film has been torn.
+
+Series XIV. exhibits the splash of a water drop falling into milk. The
+first four photographs show the oscillations of the drop about a mean
+spherical figure as it approaches the surface.
+
+In the subsequent figures it will be noticed that the arms which are
+thrown up at first, afterwards segment into drops which fly off and
+subside (see Fig. 8), to be followed by a second series which again
+subside (Fig. 11), to be again succeeded by a third set. In fact, so
+long as there is any downward momentum the drop and the air behind it
+are penetrating the liquid, and so long must there be an upward flow of
+displaced liquid. Much of this flow is seen to be directed into the arms
+along the channels determined by the segmentation of the annular rim.
+This reproduction of the lobes and arms time after time on a varying
+scale goes far to explain the puzzling variations in their number which
+I mentioned in connection with the drawings. I had not, indeed,
+suspected this, which is one of the few new points that the photographs
+have so far revealed.[5]
+
+
+SERIES XIII.
+
+_Engravings of Instantaneous Photographs (16/17 of the real size) of the
+Splash of a Drop of Milk falling 20 cm. on to smoked glass._
+
+[Illustration: 1]
+
+[Illustration: 2
+
+[Tau] = 0 sec.]
+
+[Illustration: 3
+
+[Tau] = ·0025 sec.]
+
+(It was not found possible to reproduce satisfactorily the missing
+figures of this series.)
+
+[Illustration: 7
+
+[Tau] = ·0128 sec.]
+
+[Illustration: 8
+
+[Tau] = ·0149 sec.]
+
+[Illustration: 9
+
+[Tau] = ·0149 sec.]
+
+
+SERIES XIV.
+
+_Engravings of Instantaneous Photographs of the Splash of a Drop of
+Water falling 40 cm. into Milk._
+
+Scale about 6/10 of actual size.
+
+[Illustration: 1]
+
+[Illustration: 2]
+
+[Illustration: 3]
+
+[Illustration: 4
+
+[Tau] = 0 sec.]
+
+[Illustration: 5]
+
+[Illustration: 6
+
+[Tau] = ·0056 sec.]
+
+[Illustration: 7
+
+[Tau] = ·0163 sec.]
+
+[Illustration: 8]
+
+[Illustration: 9
+
+[Tau] = ·0182 sec.]
+
+[Illustration: 10
+
+[Tau] = ·0197 sec.]
+
+[Illustration: 11
+
+[Tau] = ·0262 sec.]
+
+[Illustration: 12
+
+[Tau] = ·0391 sec.]
+
+[Illustration: 13
+
+[Tau] = ·0514 sec.]
+
+[Illustration: 14
+
+[Tau] = ·0601 sec.]
+
+[Illustration: 15]
+
+[Illustration: 16
+
+[Tau] = ·080 sec.]
+
+[Illustration: 17]
+
+[Illustration: 18
+
+[Tau] = ·101 sec.]
+
+With respect to these photographs,[6] the credit of which I hope you
+will attribute firstly to the inventors of the sensitive plates, and
+secondly to the skill and experience of Mr. Cole, I desire to add that
+they are, as far as we know, the first really detailed objective views
+that have been obtained with anything approaching so short an exposure.
+
+Even Mr. Boys' wonderful photographs of flying bullets were after all
+but shadow-photographs, and did not so strikingly illustrate the
+extreme sensitiveness of the plates, and I want you to distinguish
+between such and what (to borrow Mr. F.J. Smith's phrase) I call an
+"objective view."
+
+It remains only to speak of the greater irregularity in the arms and
+rays as shown by the photographs. The point is a curious and interesting
+one. In the first place I have to confess that in looking over my
+original drawings I find records of many irregular or unsymmetrical
+figures, yet in compiling the history it has been inevitable that these
+should be rejected, if only because identical irregularities never
+recur. Thus the mind of the observer is filled with an ideal splash--an
+"Auto-Splash"--whose perfection may never be actually realized.
+
+But in the second place, when the splash is nearly regular it is very
+difficult to detect irregularity. This is easily proved by projecting
+on the screen with instantaneous illumination such a photograph as that
+of Series X., Fig. 6. My experience is that most persons pronounce what
+they have seen to be a regular and symmetrical star-shaped figure, and
+they are surprised when they come to examine it by detail in continuous
+light to find how far this is from the truth. Especially is this the
+case if no irregularity is suspected beforehand. I believe that the
+observer, usually finding himself unable to attend to more than a
+portion of the rays in the system, is liable instinctively to pick out
+for attention a part of the circumference where they are regularly
+spaced, and to fill up the rest in imagination, and that where a ray may
+be really absent he prefers to consider that it has been imperfectly
+viewed.
+
+This opinion is confirmed by the fact that in several cases, I have
+been able to observe with the naked eye a splash that was also
+simultaneously photographed, and have made the memorandum "quite
+regular," though the photograph subsequently showed irregularity. It
+must, however, be observed that the absolute darkness and other
+conditions necessary for photography are not very favourable for direct
+vision.
+
+And now my tale is told, or rather as much of it as the limits of the
+time allowed me will permit. I think you will agree that the phenomena
+are very beautiful, and that the subject, commonplace and familiar
+though it is, has yet proved worthy of an hour's attention.
+
+
+THE END.
+
+
+_Richard Clay & Sons, Limited, London & Bungay._
+
+
+FOOTNOTES:
+
+[1] See Worthington on the "Spontaneous Segmentation of a Liquid
+Annulus," _Proceedings Royal Society_, No. 200, p. 49 (1879).
+
+[2] Readers who wish a more detailed account of a greater variety of
+splashes are referred to papers by the author. _Proceedings Royal
+Society_, vol. xxv. pp. 261 and 498 (1877); and vol. xxxiv. p. 217
+(1882).
+
+[3] Photographs obtained since this was written show that much may
+happen after the stages here traced.
+
+[4] A detailed account of the optical, mechanical, and electrical
+arrangements employed, written by Mr. Cole, will be found in _Nature_,
+vol. i., p. 222 (July 5, 1894).
+
+[5] The black streaks, seen especially in Figs. 11, 15, and 16, are due
+to particles of lamp-black carried down by the drop from the surface of
+the smoked watch-glass on which it rested.
+
+[6] Three of these photographs, viz. Nos. 11, 12, and 17, are reproduced
+full size, as a frontispiece, by a _photographic_ process, to enable the
+reader to form a more correct idea than can be gathered from the
+engravings, of the amount of detail actually obtained, though even in
+these reproductions much is inevitably lost.
+
+
+
+
+THE ROMANCE OF SCIENCE.
+
+_Small post 8vo. Illustrated. Cloth boards._
+
+                                                         _s. d._
+
+  Coal; and What We get from It.
+    By Professor RAPHAEL MELDOLA, F.R.S., F.I.C.          2    6
+
+  Colour Measurement and Mixture.
+    By Captain W. DE W. ABNEY, C.B., R.E., F.R.S.         2    6
+
+  Diseases of Plants.
+    By H. MARSHALL WARD, M.A., F.R.S., F.L.S.             2    6
+
+  Our Secret Friends and Foes.
+    By PERCY FARADAY FRANKLAND, Ph.D., B.Sc. (Lond.),
+    F.R.S. Second Edition, revised and enlarged           3    0
+
+  Soap Bubbles and the Forces which Mould Them.
+    By C.V. BOYS, A.R.S.M., F.R.S.                        2    6
+
+  Spinning Tops.
+    By Professor J. PERRY, M.E., D.Sc, F.R.S.             2    6
+
+  The Birth and Growth of Worlds.
+    By Professor GREEN, M.A., F.R.S.                      2    6
+
+  The Making of Flowers.
+    By the Rev. Professor GEORGE HENSLOW, M.A.,
+    F.L.S., F.G.S.                                        2    6
+
+  The Story of a Tinder-Box.
+    By the late C. MEYMOTT TIDY, M.B., M.S., F.C.S.       2    0
+
+  Time and Tide: a Romance of the Moon.
+    By Sir ROBERT S. BALL, F.R.S. Third Edition revised   2    6
+
+
+
+
+PUBLICATIONS
+OF THE
+Society for Promoting Christian Knowledge.
+
+
+
+
+Publications
+
+of
+
+The Society for Promoting Christian Knowledge.
+
+
+Early Britain.
+
+_This is a Series of books which has for its aim the presentation of
+Early Britain at great Historic Periods._
+
+
+_Anglo-Saxon Britain._
+
+     By the late GRANT ALLEN. With Map. Fcap. 8vo. _Cloth boards_, 2_s._
+     6_d._
+
+
+_Celtic Britain._
+
+     By Professor RHYS. With two Maps. Fcap. 8vo. _Cloth boards_, 3_s._
+
+
+_Norman Britain._
+
+     By the Rev. W. HUNT. With Map. Fcap. 8vo. _Cloth boards_, 2_s._
+     6_d._
+
+
+_Post-Norman Britain._
+
+     By HENRY G. HEWLETT. Fcap. 8vo. _Cloth boards_, 3_s._
+
+
+_Roman Britain._
+
+     By the Rev. EDWARD CONYBEARE. With Map. Fcap. 8vo. 3_s._ 6_d._
+
+
+_Roman Roads in Britain._
+
+     By THOMAS CODRINGTON, M.Inst.C.E., F.G.S. With several Maps. Fcap.
+     8vo. _Cloth boards_, 5_s._
+
+
+
+
+THE HEATHEN WORLD AND ST. PAUL.
+
+_This Series is intended to throw light upon the Writings and Labours of
+the Apostle of the Gentiles._
+
+Fcap. 8vo, cloth boards, 2s. each.
+
+
+_St. Paul in Damascus and Arabia._
+
+     By the late Rev. GEORGE RAWLINSON, M.A., Canon of Canterbury. With
+     Map.
+
+
+_St. Paul at Rome._
+
+     By the Very Rev. CHARLES MERIVALE, D.D., D.C.L., Dean of Ely. With
+     Map.
+
+
+_St. Paul in Asia Minor and at the Syrian Antioch._
+
+     By the late Rev. E.H. PLUMPTRE, D.D. With Map.
+
+
+
+
+ANCIENT HISTORY FROM THE MONUMENTS
+
+_This Series of Books is chiefly intended to illustrate the Sacred
+Scriptures by the results of recent Monumental Researches in the East._
+
+Fcap. 8vo, cloth boards, 2s. each.
+
+
+_Assyria, from the Earliest Times to the Fall of Nineveh._
+
+     By the late GEORGE SMITH, of the British Museum. New and Revised
+     Edition by the Rev. Professor A.H. SAYCE.
+
+
+_Sinai, from the Fourth Egyptian Dynasty to the Present Day._
+
+     By the late HENRY S. PALMER, Major R.E., F.R.A.S. With Map. A New
+     Edition, revised throughout. By the Rev. Professor A.H. SAYCE.
+
+
+_Babylonia (The History of)._
+
+     By the late GEORGE SMITH. Edited by the Rev. Professor A.H. SAYCE.
+
+
+_Persia, from the Earliest Period to the Arab Conquest._
+
+     By the late W.S.W. VAUX, M.A., F.R.S. A New Edition. Revised by the
+     Rev. Professor A.H. SAYCE.
+
+
+
+
+BOOKS BY THE AUTHOR OF
+
+"The Chronicles of the Schönberg-Cotta Family."
+
+"_By the Mystery of Thy Holy Incarnation._"
+
+     Post 8vo. _Cloth boards_, 1_s._
+
+
+"_By Thy Cross and Passion._"
+
+     Thoughts on the words spoken around and on the Cross. Post 8vo.
+     _Cloth boards_, 1_s._
+
+
+"_By Thy Glorious Resurrection and Ascension._"
+
+     Easter Thoughts. Post 8vo. _Cloth boards_, 1_s._
+
+
+"_By the Coming of the Holy Ghost._"
+
+     Thoughts for Whitsuntide. Post 8vo. _Cloth boards_, 1_s._
+
+
+_The True Vine._
+
+     Post 8vo. _Cloth boards_, 1_s._
+
+
+_The Great Prayer of Christendom._
+
+     Post 8vo. _Cloth boards_, 1_s._
+
+
+_An Old Story of Bethlehem._
+
+     One link in the great Pedigree. Fcap. 4to, with six plates
+     beautifully printed in colours. _Cloth boards_, 2_s._
+
+
+_Three Martyrs of the Nineteenth Century._
+
+     Studies from the Lives of Livingstone, Gordon, and Patteson. Crown
+     8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Martyrs and Saints of the First Twelve Centuries._
+
+     Studies from the Lives of the Black-letter Saints of the English
+     Calendar. Crown 8vo. _Cloth boards_, 3_s._ 6_d._
+
+
+_Against the Stream._
+
+     The Story of an Heroic Age in England. With eight page woodcuts.
+     Crown 8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Conquering and to Conquer._
+
+     A Story of Rome in the days of St. Jerome. With four page woodcuts.
+     Crown 8vo. _Cloth boards_, 2_s._
+
+
+_Lapsed not Lost._
+
+     A Story of Roman Carthage. Crown 8vo. _Cloth boards_, 2_s._
+
+
+_Sketches of the Women of Christendom._
+
+     Crown 8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Thoughts and Characters._
+
+     Being Selections from the Writings of the Author of "The
+     Schönberg-Cotta Family." Crown 8vo. _Cloth bds._, 2_s._ 6_d._
+
+
+
+
+The Fathers for English Readers.
+
+Fcap. 8vo, cloth boards, 2s. each.
+
+
+_Boniface._
+
+     By the Rev. Canon GREGORY SMITH, M.A. (1_s._ 6_d._)
+
+
+_Clement of Alexandria._
+
+     By the Rev. F.R. MONTGOMERY HITCHCOCK. (3_s._)
+
+
+_Gregory the Great._
+
+     By the late Rev. J. BARMBY, B.D.
+
+
+_Leo the Great._
+
+     By the Right Rev. C. GORE, D.D.
+
+
+_Saint Ambrose_: his Life, Times, and Teaching.
+
+     By the Ven. ARCHDEACON THORNTON, D.D.
+
+
+_Saint Athanasius_: his Life and Times.
+
+     By the Rev. R. WHELER BUSH. (2_s._ 6_d._)
+
+
+_Saint Augustine._
+
+     By the late Rev. E.L. CUTTS, D.D.
+
+
+_Saint Basil the Great._
+
+     By the Rev. RICHARD T. SMITH, B.D.
+
+
+_Saint Bernard_: Abbot of Clairvaux, A.D. 1091-1153.
+
+     By the Rev. S.J. EALES, M.A., D.C.L. (2_s._ 6_d._)
+
+
+_Saint Hilary of Poitiers, and Saint Martin of Tours._
+
+     By the Rev. J. GIBSON CAZENOVE, D.D.
+
+
+_Saint Jerome._
+
+     By the late Rev. EDWARD L. CUTTS, D.D.
+
+
+_Saint John of Damascus._
+
+     By the Rev. J.H. LUPTON, M.A.
+
+
+_Saint Patrick_: his Life and Teaching.
+
+     By the Rev. E.J. NEWELL, M.A. (2_s._ 6_d._)
+
+
+_Synesius of Cyrene_, Philosopher and Bishop.
+
+     By ALICE GARDNER.
+
+
+_The Apostolic Fathers._
+
+     By the Rev. Canon H.S. HOLLAND.
+
+
+_The Defenders of the Faith_; or, The Christian Apologists of the Second
+and Third Centuries.
+
+     By the Rev. F. WATSON, D.D.
+
+
+_The Venerable Bede._
+
+     By the Right Rev. G.F. BROWNE, D.D.
+
+
+
+
+Diocesan Histories.
+
+
+_Bath and Wells._
+
+     By the Rev. W. HUNT. With Map, 2_s._ 6_d._
+
+
+_Canterbury._
+
+     By the late Rev. R.C. JENKINS. With Map, 2_s._ 6_d._
+
+
+_Carlisle._
+
+     By the late RICHARD S. FERGUSON. With Map, 2_s._ 6_d._
+
+
+_Chester._
+
+     By the Rev. RUPERT H. MORRIS, D.D. With Map, 3_s._
+
+
+_Chichester._
+
+     By the late Very Rev. W.R.W. STEPHENS. With Map and Plan, 2_s._
+     6_d._
+
+
+_Durham._
+
+     By the Rev. J.L. LOW. With Map and Plan, 2_s._ 6_d._
+
+
+_Hereford._
+
+     By the Rev. Canon PHILLOTT. With Map, 3_s._
+
+
+_Lichfield._
+
+     By the late Rev. W. BERESFORD. With Map, 2_s._ 6_d._
+
+
+_Lincoln._
+
+     By the late Canon E. VENABLES, and the late Ven. Archdeacon PERRY.
+     With Map, 4_s._
+
+
+_Llandaff._
+
+     By the Rev. E.J. NEWELL, M.A. With Map, 3_s._ 6_d._
+
+
+_Norwich._
+
+     By the Rev. A. JESSOP, D.D. With Map, 2_s._ 6_d._
+
+
+_Oxford._
+
+     By the Rev. E. MARSHALL. With Map, 2_s._ 6_d._
+
+
+_Peterborough._
+
+By the Rev. G.A. POOLEM, M.A. With Map, 2_s._ 6_d._
+
+
+_Rochester._
+
+     By the Rev. A.J. PEARMAN, M.A. With Map, 4_s._
+
+
+_Salisbury._
+
+     By the Rev. W.H. JONES. With Map and Plan, 2_s._ 6_d._
+
+
+_Sodor and Man._
+
+     By A.W. MOORE, M.A. With Map, 3_s._
+
+
+_St. Asaph._
+
+     By the Ven. Archdeacon THOMAS. With Map, 2_s._
+
+
+_St. Davids._
+
+     By the Rev. Canon BEVAN. With Map, 2_s._ 6_d._
+
+
+_Winchester._
+
+     By the Rev. W. BENHAM, B.D. With Map, 3_s._
+
+
+_Worcester._
+
+     By the Rev. J. GREGORY SMITH, M.A., and the Rev. PHIPPS ONSLOW,
+     M.A. With Map, 3_s._ 6_d._
+
+
+_York._
+
+     By Rev. Canon ORNSBY, M.A., F.S.A. With Map, 3_s._ 6_d._
+
+
+
+
+Miscellaneous Publications.
+
+
+_A Dictionary of the Church of England._
+
+     By the late Rev. EDWARD L. CUTTSM, D.D. With numerous Woodcuts.
+     Crown 8vo. 5_s._ Third Edition, revised.
+
+
+_Aids to Prayer._
+
+     By the Rev. DANIEL MOORE. Printed in red and black. Post 8vo. 1_s._
+     6_d._
+
+
+_Being of God (Six Addresses on the)._
+
+     By C.J. ELLICOTT, D.D., Bishop of Gloucester. Post 8vo. 1_s._ 6_d._
+
+
+_Bible Places_; or, The Topography of the Holy Land.
+
+     By the Rev. Canon TRISTRAM. With Map and numerous Woodcuts. New
+     Edition. Crown 8vo. 5_s._
+
+
+_Called to be Saints._
+
+     The Minor Festivals Devotionally Studied. By the late CHRISTINA G.
+     ROSSETTI, Author of "Seek and Find." Post 8vo. 3_s._ 6_d._
+
+
+_Case for "Establishment" stated (The)._
+
+     By the Rev. T. MOORE, M.A. Post 8vo. _Paper boards_, 6_d._
+
+
+_Christians under the Crescent in Asia._
+
+     By the late Rev. E.L. CUTTS, D.D. With numerous Illustrations.
+     Crown 8vo. 5_d._
+
+
+_Daily Readings for a Year._
+
+     By ELIZABETH SPOONER. Crown 8vo. 3_s._ 6_d._
+
+
+_Devotional (A) Life of Our Lord._
+
+     By the late Rev. EDWARD L. CUTTS, D.D., Author of "Pastoral
+     Counsels," &c. Post 8vo. 5_s._
+
+
+_Golden Year, The._
+
+     Thoughts for every month. Original and Selected. By EMILY C. ORR,
+     Author of "Thoughts for Working Days." Printed in red and black.
+     Post 8vo. 1_s._
+
+
+_Gospels (The Four)._
+
+     Arranged in the Form of an English Harmony, from the Text of the
+     Authorized Version. By the late Rev. J.M. FULLER. With Analytical
+     Table of Contents and Four Maps. 1_s._
+
+
+_Holy Eucharist, The Evidential Value of the._
+
+     Being the Boyle Lectures for 1879 and 1880. By the late Rev. G.F.
+     MACLEAR, D.D. Crown 8vo. _Cloth boards_, 4_s._
+
+
+_Land of Israel (The)_.
+
+     A Journal of Travel in Palestine, undertaken with special reference
+     to its Physical Character. By the Rev. Canon TRISTRAM. With Two
+     Maps and numerous Illustrations. Large Post 8vo. _Cloth boards_,
+     10_s._ 6_d._
+
+
+_Lectures on the Historical and Dogmatical Position of the Church of
+England._
+
+     By the Rev. W. BAKER, D.D. Post 8vo. _Cloth boards_, 1_s._ 6_d._
+
+
+_Paley's Evidences._
+
+     A New Edition, with Notes, Appendix, and Preface. By the Rev. E.A.
+     LITTON. Post 8vo. _Cloth boards_, 4_s._
+
+
+_Paley's Horæ Paulinæ._
+
+     A New Edition, with Notes, Appendix, and Preface. By the late Rev.
+     J.S. HOWSON, D.D. Post 8vo. _Cloth boards_, 3_s._
+
+
+_Peace with God._
+
+     A Manual for the Sick. By the Rev. E. BURBIDGE, M.A. Post 8vo.
+     _Cloth boards_, 1_s._ 6_d._
+
+
+_Plain Words for Christ._
+
+     Being a Series of Readings for Working Men. By the late Rev. R.G.
+     DUTTON. Post 8vo. _Cloth boards_, 1_s._
+
+
+_Readings on the First Lessons for Sundays and Chief Holy Days._
+
+     According to the New Table. By the late Rev. PETER YOUNG. Crown
+     8vo. _In two volumes_, 5_s._
+
+
+_Reflected Lights._
+
+     From CHRISTINA ROSSETTI'S "The Face of the Deep." Selected and
+     arranged by W.M.L. JAY. Small post 8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Some Chief Truths of Religion._
+
+     By the late Rev. EDWARD L. CUTTS, D.D., Author of "St. Cedd's
+     Cross," &c. Crown 8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Thoughts for Men and Women._
+
+     THE LORD'S PRAYER. By EMILY C. ORR. Post 8vo. _Limp cloth_, 1_s._
+
+
+_Thoughts for Working Days._
+
+     Original and Selected. By EMILY C. ORR. Post 8vo. _Limp cloth_,
+     1_s._
+
+
+_Time Flies; a Reading Diary._
+
+     By the late CHRISTINA G. ROSSETTI. Post 8vo. _Cloth boards_, 3_s._
+     6_d._
+
+
+_Turning Points of English Church History._
+
+     By the late Rev. EDWARD L. CUTTS, D.D. Crown 8vo. _Cloth boards_,
+     3_s._ 6_d._
+
+
+_Turning Points of General Church History._
+
+     By the late Rev. E.L. CUTTS, D.D., Author of "Pastoral Counsels."
+     Crown 8vo. _Cloth boards_, 4_s._
+
+
+_Verses._
+
+     By the late CHRISTINA G. ROSSETTI. Printed on hand-made paper.
+     Small Post 8vo. _Cloth_, 3_s._ 6_d._
+
+
+  LONDON:
+  NORTHUMBERLAND AVENUE, CHARING CROSS, W.C.;
+  48, QUEEN VICTORIA STREET, E.C.
+  BRIGHTON: 129, NORTH STREET.
+
+
+
+
+
+End of Project Gutenberg's The Splash of a Drop, by A. M. Worthington
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE SPLASH OF A DROP ***
+
+***** This file should be named 27125-8.txt or 27125-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/7/1/2/27125/
+
+Produced by Chris Curnow, Greg Bergquist and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/27125-8.zip b/27125-8.zip
new file mode 100644
index 0000000..2068ac2
--- /dev/null
+++ b/27125-8.zip
diff --git a/27125-h.zip b/27125-h.zip
new file mode 100644
index 0000000..bfe4f0a
--- /dev/null
+++ b/27125-h.zip
diff --git a/27125-h/27125-h.htm b/27125-h/27125-h.htm
new file mode 100644
index 0000000..31a2411
--- /dev/null
+++ b/27125-h/27125-h.htm
@@ -0,0 +1,2119 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of The Splash of a Drop, by A.M. Worthington.
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         text-indent: 1.25em;
+         line-height: 130%;
+         }
+
+    p.t1 {text-align: center; text-indent: 0em; font-size: 180%;}
+    p.t2 {text-align: center; text-indent: 0em; font-size: 140%;}
+    p.oldeng {text-align: center; font-family: "Old English Text MT", serif;
+              font-size: 150%; text-indent: 0em;}
+
+
+    h1,h2 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+    hr.short {width: 10%;}
+
+    table {margin-left: auto; margin-right: auto;}
+    .td1 {text-align: left; padding-left: 2em;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+
+
+    .above, .below { font-size: 70%;}
+    .above { vertical-align: 0.7ex; }
+    .below { vertical-align: -0.3ex; }
+    .greek {text-decoration: none; border-bottom: 0;}
+
+
+    .center   {text-align: center; text-indent: 0em;}
+
+    .smcap    {font-variant: small-caps;}
+
+    .caption  {text-indent: 0em; font-size: 85%;}
+
+    .figcenter   {margin: auto; text-align: center;}
+
+    .footnotes        {border: dashed 1px;}
+    .footnote         {margin-left: 10%; margin-right: 10%; font-size: 0.9em;}
+    .footnote .label  {position: absolute; right: 84%; text-align: right;}
+    .fnanchor         {vertical-align: super; font-size: 70%; text-decoration: none; line-height: 70%;}
+
+
+    // -->
+    /* XML end  ]]>*/
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Splash of a Drop, by A. M. Worthington
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Splash of a Drop
+
+Author: A. M. Worthington
+
+Release Date: November 2, 2008 [EBook #27125]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SPLASH OF A DROP ***
+
+
+
+
+Produced by Chris Curnow, Greg Bergquist and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+</pre>
+
+
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i_cover.jpg" width="600" height="863" alt="" title="" />
+</div>
+<hr />
+<p class="center"><i><big>THE ROMANCE OF SCIENCE</big></i></p>
+
+<h1>THE SPLASH OF A DROP<br /><br /></h1>
+
+
+<p class="center">BY<br />
+<span class="smcap">Prof</span>. A.M. WORTHINGTON, M.A., F.R.S.<br /><br /></p>
+
+
+<p class="center"><i>Being the reprint of a Discourse delivered at the Royal Institution<br />
+of Great Britain, May 18, 1894.</i><br /><br /></p>
+
+<p class="center"><small>PUBLISHED UNDER THE DIRECTION OF THE GENERAL<br />
+LITERATURE COMMITTEE.</small><br /><br /></p>
+
+
+<p class="center">LONDON:<br />
+SOCIETY FOR PROMOTING CHRISTIAN KNOWLEDGE,<br />
+<small>NORTHUMBERLAND AVENUE, CHARING CROSS, W.C.;<br />
+43, QUEEN VICTORIA STREET, E.C.<br />
+<span class="smcap">Brighton:</span> 129, NORTH STREET.<br /></small>
+<span class="smcap">New York:</span> E. &amp; J.B. YOUNG &amp; CO.<br />
+1895.</p>
+
+
+
+<hr />
+<h2><br />THE SPLASH OF A DROP<br /><br /></h2>
+
+
+
+<hr />
+<p class="center">INSTANTANEOUS PHOTOGRAPHS OF THE SPLASH OF A WATER-DROP FALLING ABOUT 16
+INCHES INTO MILK.</p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image1.jpg" width="400" height="289" alt="Time after contact = &middot;0262 sec." title="" />
+<span class="caption">Time after contact = &middot;0262 sec.</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image2.jpg" width="400" height="282" alt="Time after contact = &middot;0391 sec." title="" />
+<span class="caption">Time after contact = &middot;0391 sec.</span>
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image3.jpg" width="400" height="267" alt="Time after contact = &middot;101 sec." title="" />
+<span class="caption">Time after contact = &middot;101 sec.</span>
+</div>
+
+
+
+<hr  />
+<h2>THE SPLASH OF A DROP</h2>
+
+
+<p><span class="smcap">The</span> splash of a drop is a transaction which is accomplished in the
+twinkling of an eye, and it may seem to some that a man who proposes to
+discourse on the matter for an hour must have lost all sense of
+proportion. If that opinion exists, I hope this evening to be able to
+remove it, and to convince you that we have to deal with an exquisitely
+regulated phenomenon, and one which very happily illustrates some of the
+fundamental properties of fluids. It may be mentioned also that the
+recent researches of Lenard in Germany and J.J. Thomson at Cambridge, on
+the curious development of electrical charges that accompanies certain
+kinds of splashes, have invested with a new interest any examination of
+the mechanics of the phenomenon. It is to the mechanical and not to the
+electrical side of the question that I shall call your attention this
+evening.</p>
+
+<p>The first well-directed and deliberate observations on the subject that
+I am acquainted with were made by a school-boy at Rugby some twenty
+years ago, and were reported by him to the Rugby Natural History
+Society. He had observed that the marks of accidental splashes of
+ink-drops that had fallen on some smoked glasses with which he was
+experimenting, presented an appearance not easy to account for. Drops of
+the same size falling from the same height had made always the same
+kind of mark, which, when carefully examined with a lens, showed that
+the smoke had been swept away in a system of minute concentric rings and
+fine stri&aelig;. Specimens of such patterns, obtained by letting drops of
+mercury, alcohol, and water fall on to smoked glass, are thrown on the
+screen, and the main characteristics are easily recognized. Such a
+pattern corresponds to the footprints of the dance that has been
+performed on the surface, and though the drop may be lying unbroken on
+the plate, it has evidently been taking violent exercise, and were our
+vision acute enough we might observe that it was still palpitating after
+its exertions.</p>
+
+<p>A careful examination of a large number of such footprints showed that
+any opinion that could be formed therefrom of the nature of the motion
+of the drop must be largely conjectural, and it occurred to me about
+eighteen years ago to endeavour by means of the illumination of a
+suitably-timed electric spark to watch a drop through its various
+changes on impact.</p>
+
+<p>The reason that with ordinary continuous light nothing can be
+satisfactorily seen of the splash, is not that the phenomenon is of such
+short duration, but because the changes are so rapid that before the
+image of one stage has faded from the eye the image of a later and quite
+different stage is superposed upon it. Thus the resulting impression is
+a confused assemblage of all the stages, as in the photograph of a
+person who has not sat still while the camera was looking at him. The
+problem to be solved experimentally was therefore this: to let a drop of
+definite size fall from a definite height in comparative darkness on to
+a surface, and to illuminate it by a flash of exceedingly short duration
+at any desired stage, so as to exclude all the stages previous and
+subsequent to the one thus picked out. The flash must be bright enough
+for the image of what is seen to remain long enough on the eye for the
+observer to be able to attend to it, and even to shift his attention
+from one part to another, and thus to make a drawing of what is seen. If
+necessary the experiment must be capable of repetition, with an exactly
+similar drop falling from exactly the same height, and illuminated at
+exactly the same stage. Then, when this stage has been sufficiently
+studied, we must be able to arrange with another similar drop to
+illuminate it at a rather later stage, say <span class="above">1</span>&#8260;<span class="below">1000</span> second later, and in
+this way to follow step by step the whole course of the phenomenon.</p>
+
+<p>The apparatus by which this has been accomplished is on the table before
+you. Time will not suffice to explain how it grew out of earlier
+arrangements very different in appearance, but its action is very simple
+and easy to follow by reference to the diagram (Fig. 1).</p>
+
+<p>AA&acute; is a light wooden rod rather longer and thicker than an ordinary
+lead pencil, and pivoted on a horizontal axle O. The rod bears at the
+end A a small deep watch-glass, or segment of a watch-glass, whose
+surface has been smoked, so that a drop even of water will lie on it
+without adhesion. The end A&acute; carries a small strip of tinned iron, which
+can be pressed against and held down by an electro-magnet CC&acute;. When the
+current of the electro-magnet is cut off the iron is released, and the
+end A&acute; of the rod is tossed up by the action of a piece of india-rubber
+stretched catapult-wise across two pegs at E, and by this means the drop
+resting on the watch-glass is left in mid-air free to fall from rest.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image4.jpg" width="500" height="812" alt="Fig. 1." title="" />
+<span class="caption"><span class="smcap">Fig. 1</span></span>
+</div>
+
+<p>BB&acute; is a precisely similar rod worked in just the same way, but carrying
+at B a small horizontal metal ring, on which an ivory timing sphere of
+the size of a child's marble can be supported. On cutting off the
+current of the electro-magnet the ends A&acute; and B&acute; of the two levers are
+simultaneously tossed up by the catapults, and thus drop and sphere
+begin to fall at the same moment. Before, however, the drop reaches the
+surface on which it is to impinge, the timing sphere strikes a plate D
+attached to one end of a third lever pivoted at Q, and thus breaks the
+contact between a platinum wire bound to the underside of this lever and
+another wire crossing the first at right angles. This action breaks an
+electric current which has traversed a second electro-magnet F (Fig. 2),
+and releases the iron armature N of the lever NP, pivoted at P, thus
+enabling a strong spiral spring G to lift a stout brass wire L out of
+mercury, and to break at the surface of the mercury a strong current
+that has circulated round the primary circuit of a Ruhmkorff's induction
+coil; this produces at the surface of the mercury a bright
+self-induction spark in the neighbourhood of the splash, and it is by
+this flash that the splash is viewed. The illumination is greatly helped
+by surrounding the place where the splash and flash are produced by a
+white cardboard enclosure, seen in Fig. 2, from whose walls the light is
+diffused.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image5.jpg" width="500" height="551" alt="Fig. 2." title="" />
+<span class="caption"><span class="smcap">Fig. 2.</span></span>
+</div>
+
+<p>It will be observed that the time at which the spark is made will depend
+upon the distance that the sphere has to fall before striking the plate
+D, for the subsequent action of demagnetizing F and pulling the wire L
+out of the mercury in the cup H is the same on each occasion. The modus
+operandi is consequently as follows:&mdash;The observer, sitting in
+comparative but by no means complete darkness, faces the apparatus as it
+appears in Fig. 2, presses down the ends A&acute;B&acute; of the levers first
+described, so that they are held by the electro-magnet C (Fig. 1); then
+he presses the lever NP down on the electro-magnet F, sets the timing
+sphere and drop in place, and then by means of a bridge between two
+mercury cups, short-circuits and thus cuts off the current of the
+electro-magnet C. This lets off drop and sphere, and produces the flash.
+The stage of the phenomenon that is thus revealed having been
+sufficiently studied by repetition of the experiment as often as may be
+necessary, he lowers the plate D a fraction of an inch and thus obtains
+a later stage. Not only is any desired stage of the phenomenon thus
+easily brought under examination, but the apparatus also affords the
+means of measuring the time interval between any two stages. All that
+is necessary is to know the distance that the timing sphere falls in the
+two cases. Elementary dynamics then give us the interval required. Thus,
+if the sphere falls one foot and we then lower D <span class="above">1</span>&#8260;<span class="below">4</span> inch, the interval
+between the corresponding stages will be about &middot;0026 second.</p>
+
+<p>Having thus described the apparatus, which I hope shortly to show you in
+action, I pass to the information that has been obtained by it.</p>
+
+<p>This is contained in a long series of drawings, of which a selection
+will be presented on the screen. The First Series that I have to show
+represents the splash of a drop of mercury 0&middot;15 inch in diameter that
+has fallen 3 inches on to a smooth glass plate. It will be noticed that
+very soon after the first moment of impact, minute rays are shot out in
+all directions on the surface. These are afterwards overflowed or
+united, until, as in Fig. 8, the outline is only slightly rippled. Then
+(Fig. 9) main rays shoot out, from the ends of which in some cases
+minute droplets of liquid would split off, to be left lying in a circle
+on the plate, and visible in all subsequent stages. By counting these
+droplets when they were thus left, the number of rays was ascertained to
+have been generally about 24. This exquisite shell-like configuration,
+shown in Fig. 9, marks about the maximum spread of the liquid, which,
+subsiding in the middle, afterwards flows into an annulus or rim with a
+very thin central film, so thin, in fact, as often to tear more or less
+irregularly. This annular rim then divides or segments (Figs. 14, 15,
+16) in such a manner as to join up the rays in pairs, and thus passes
+into the 12-lobed annulus of Fig. 16. Then the whole contracts, but
+contracts most rapidly between the lobes, the liquid then being driven
+into and feeding the arms, which follow more slowly. In Fig. 21 the end
+of this stage is reached, and now the arms continuing to come in, the
+liquid rises in the centre; this is, in fact, the beginning of the
+rebound of the drop from the plate. In the case before us the drops at
+the ends of the arms now break off (Fig. 25), while the central mass
+rises in a column which just fails itself to break up into drops, and
+falls back into the middle of the circle of satellites which, it will be
+understood, may in some cases again be surrounded by a second circle of
+the still smaller and more numerous droplets that split off the ends of
+the rays in Fig. 9. The whole of the 30 stages described are
+accomplished in about <span class="above">1</span>&#8260;<span class="below">20</span> second, so that the average interval between
+them is about <span class="above">1</span>&#8260;<span class="below">600</span> second.</p>
+
+
+<p class="center">FIRST SERIES.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image6.jpg" width="500" height="649" alt="" title="First Series 1 through 6" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image7.jpg" width="500" height="648" alt="" title="First Series 7 through 12" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image8.jpg" width="500" height="647" alt="" title="First Series 13 through 18" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image9.jpg" width="500" height="634" alt="" title="First Series 19 through 24" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image10.jpg" width="500" height="649" alt="" title="First Series 25 through 30" />
+</div>
+
+<p>It should be mentioned that it is only in rare cases that the
+subordinate drops seen in the last six figures, are found lying in a
+very complete circle after all is over, for there is generally some
+slight disturbing lateral velocity which causes many to mingle again
+with the central drop, or with each other. But even if only half or a
+quarter of the circle is left, it is easy to estimate how many drops,
+and therefore how many arms there have been. It may be mentioned that
+sometimes the surface of the central lake of liquid (Figs. 14, 15, 16,
+17) was seen to be covered with beautiful concentric ripples, not shown
+in the figures.</p>
+
+<p>The question now naturally presents itself, Why should the drop behave
+in this manner? In seeking the answer it will be useful to ask ourselves
+another question. What should we have expected the drop to do? Well, to
+this I suppose most people would be inclined, arguing from analogy with
+a solid, to reply that it would be reasonable to expect the drop to
+flatten itself, and even very considerably flatten itself, and then,
+collecting itself together again, to rebound, perhaps as a column such
+as we have seen, but not to form this regular system of rays and arms
+and subordinate drops.</p>
+
+<p>Now this argument from analogy with a solid is rather misleading, for
+the forces that operate in the case of a solid sphere that flattens
+itself and rebounds, are due to the bodily elasticity which enables it
+not only to resist, but also to recover from any distortion of shape or
+shearing of its internal parts past each other. But a liquid has no
+power of recovering from such internal shear, and the only force that
+checks the spread, and ultimately causes the recovery of shape, is the
+<i>surface tension</i>, which arises from the fact that the surface layers
+are always in a state of extension and always endeavouring to contract.
+Thus we are at liberty when dealing with the motions of the drop to
+think of the interior liquid as not coherent, provided we furnish it
+with a suitable elastic skin. Where the surface skin is sharply curved
+outwards, as it is at the sharp edge of the flattened disc, there the
+interior liquid will be strongly pressed back. In fact the process of
+flattening and recoil is one in which energy of motion is first expended
+in creating fresh liquid surface, and subsequently recovered as the
+surface contracts. The transformation is, however, at all moments
+accompanied by a great loss of energy as heat. Moreover, it must be
+remembered that the energy expended in creating the surface of the
+satellite drops is not restored if these remain permanently separate.
+Thus the surface tension explains the recoil, and it is also closely
+connected with the formation of the subordinate rays and arms. To
+explain this it is only necessary to remind you that a liquid cylinder
+is an unstable configuration. As you know, any fine jet becomes beaded
+and breaks into drops, but it is not necessary that there should be any
+flow of liquid along the jet; if, for example, we could realize a rod of
+liquid of the shape and size of this cylindrical ruler that I hold in my
+hand, and liberate it in the air, it would not retain its cylindrical
+shape, but would segment or divide itself up into a row of drops
+regularly disposed according to a definite and very simple numerical
+law, viz. that the distances between the centres of contiguous drops
+would be equal to the circumference of the cylinder. This can be shown
+by calculation to be a consequence of the surface tension, and the
+calculation has been closely verified by experiment. If the liquid
+cylinder were liberated on a plate, it would still topple into a regular
+row of drops, but they would be further apart; this was shown by
+Plateau. Now imagine the cylinder bent into an annulus. It will still
+follow the same law,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> <i>i.e.</i> it will topple into drops just as if it
+were straight. This I can show you by a direct experiment. I have here a
+small thick disc of iron, with an accurately planed face and a handle at
+the back. In the face is cut a circular groove, whose cross section is a
+semi-circle. I now lay this disc face downwards on the horizontal face
+of the lantern condenser, and through one of two small holes bored
+through to the back of the disc I fill the groove with quicksilver. Now,
+suddenly lifting the disc from the plate, I release an annulus of
+liquid, which splits into the circle of very equal drops which you see
+projected on the screen. You will notice that the main drops have
+between them still smaller ones, which have come from the splitting up
+of the thin cylindrical necks of liquid which connected the larger drops
+at the last moment.</p>
+
+<p>Now this tendency to segment or topple into drops, whether of a straight
+cylinder or of an annulus, is the key to the formation of the arms and
+satellites, and indeed to much that happens in all the splashes that we
+shall examine. Thus in Fig. 12 we have an annular rim, which in Figs. 13
+and 14 is seen to topple into lobes by which the rays are united in
+pairs, and even the special rays that are seen in Fig. 9 owe their
+origin to the segmentation of the rim of the thin disc into which the
+liquid has spread. The proceeding is probably exactly analogous to what
+takes place in a sea wave that curls over in calm weather on a slightly
+sloping shore. Any one may notice how, as it curls over, the wave
+presents a long smooth edge, from which at a given instant a multitude
+of jets suddenly shoot out, and at once the back of the wave, hitherto
+smooth, is seen to be furrowed or "combed." There can be no doubt that
+the cylindrical edge topples into alternate convexities and concavities;
+at the former the flow is helped, at the latter hindered, and thus the
+jets begin, and special lines of flow are determined. In precisely the
+same way the previously smooth circular edge of Fig. 8 topples, and
+determines the rays and lines of flow of Fig. 9.</p>
+
+<p>Before going on to other splashes I will now endeavour to reproduce a
+mercury splash of the kind I have described, in a manner that shall be
+visible to all. For this purpose I have reduplicated the apparatus which
+you have seen, and have it here so arranged that I can let the drop fall
+on to the horizontal condenser plate of the lantern, through which the
+light passes upwards, to be afterwards thrown upon this screen. The
+illuminating flash will be made inside the lantern, where the arc light
+would ordinarily be placed. I have now set a drop of mercury in
+readiness and put the timing sphere in place, and now if you will look
+intently at the middle of the screen I will darken the room and let off
+the splash. (The experiment was repeated four or five times, and the
+figures seen were like those of Series X.) Of course all that can be
+shown in this way is the outline, or rather a horizontal section of the
+splash; but you are able to recognize some of the configurations already
+described, and will be the more willing to believe that a momentary view
+is after all sufficient to give much information if one is on the alert
+and has acquired skill by practice.</p>
+
+<p>The general features of the splash that we have examined are not merely
+characteristic of the liquid mercury, but belong to all splashes of a
+liquid falling on to a surface which it does not wet, provided the
+height of fall or size of the drop are not so great as to cause complete
+disruption,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> in which case there is no recovery and rebound. Thus a
+drop of milk falling on to smoked glass will, if the height of fall and
+size of drop are properly adjusted, give forms very similar to those
+presented by a drop of mercury. The whole course of the phenomenon
+depends, in fact, mainly on four quantities only: (1) the size of the
+drop; (2) the height of fall; (3) the value of the surface tension; (4)
+the viscosity of the liquid.</p>
+
+<p>The next series of drawings illustrates the splash of a drop of water
+falling into water.</p>
+
+<p>In order the better to distinguish the liquid of the original drop from
+that into which it falls, the latter was coloured with ink or with an
+aniline dye, and the drop itself was of water rendered turbid with
+finely-divided matter in suspension. Finally drops of milk were found to
+be very suitable for the purpose, the substitution of milk for water not
+producing any observable change in the phenomenon.</p>
+
+<p>In Series II. the drop fell 3 inches, and was <span class="above">1</span>&#8260;<span class="below">5</span> inch in diameter.</p>
+
+<p>[In most of the figures of this and of succeeding series the central
+white patch represents the original drop, and the white parts round it
+represent those raised portions of the liquid which catch the light. The
+numbers under each figure give the time interval in seconds from the
+occurrence of the first figure, or of the figure marked &#964; = 0.]</p>
+
+
+<p class="center">SERIES II.</p>
+
+<p class="center"><i>The Splash of a Drop, followed in detail by Instantaneous
+Illumination.</i></p>
+
+<p class="center">Diameter of Drop, <span class="above">1</span>&#8260;<span class="below">5</span> inch. Height of Fall, 3-<span class="above">1</span>&#8260;<span class="below">5</span> inches.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image11.jpg" width="500" height="577" alt="" title="Second Series 1 through 9" />
+</div>
+
+<p>It will be observed that the drop flattens itself out somewhat, and
+descends at the bottom of a hollow with a raised beaded edge (Fig. 2).
+This edge would be smooth and circular but for the instability which
+causes it to topple into drops. As the drop descends the hollow becomes
+wider and deeper, and finally closes over the drop (Fig. 3), which,
+however, soon again emerges as the hollow flattens out, appearing first
+near, but still below the surface (Fig. 4), in a flattened, lobed form,
+afterwards rising as a column somewhat mixed with adherent water, in
+which traces of the lobes are at first very visible.</p>
+
+<p>The rising column, which is nearly cylindrical, breaks up into drops
+before or during its subsequent descent into the liquid. As it
+disappears below the surface the outward and downward flow causes a
+hollow to be again formed, up the sides of which an annulus of milk is
+carried, while the remainder descends to be torn again a second time
+into a vortex ring, which, however, is liable to disturbance from the
+falling in of the drops which once formed the upper part of the
+rebounding column.</p>
+
+<p>It is not difficult to recognize some features of this splash without
+any apparatus beyond a cup of tea and a spoonful of milk. Any drinker of
+afternoon tea, after the tea is poured out and before the milk is put
+in, may let the milk fall into it drop by drop from one or two inches
+above it. The rebounding column will be seen to consist almost entirely
+of milk, and to break up into drops in the manner described, while the
+vortex ring, whose core is of milk, may be seen to shoot down into the
+liquid. But this is better observed by dropping ink into a tumbler of
+clear water.</p>
+
+<p>Let us now increase the height of fall to 17 inches. Series III.
+exhibits the result. All the characteristics of the last splash are
+more strongly marked. In Fig. 1 we have caught sight of the little
+raised rim of the hollow before it was headed, but in Fig. 2 special
+channels of easiest flow have been already determined. The number of
+ribs and rays in this basket-shaped hollow seemed to vary a good deal
+with different drops, as also did the number of arms and lobes seen in
+later figures, in a somewhat puzzling manner, and I made no attempt to
+select drawings which are in agreement in this respect. It will be
+understood that these rays contain little or none of the liquid of the
+drop, which remains collected together in the middle. Drops from these
+rays or from the larger arms and lobes of subsequent figures are often
+thrown off high into the air. In Figs. 3 and 4 the drop is clean gone
+below the surface of the hollow, which is now deeper and larger than
+before. The beautiful beaded annular edge then subsides, and in Fig. 5
+we see the drop again, and in Fig. 6 it begins to emerge. But although
+the drop has fallen from a greater height than in the previous splash,
+the energy of the impact, instead of being expended in raising the same
+amount of liquid to a greater height, is now spent in lifting a much
+thicker adherent column to about the same height as in the last splash.
+There was sometimes noticed, as seen in Fig. 9, a tendency in the water
+to flow up past the milk, which, still comparatively unmixed with water,
+rides triumphant on the top of the emergent column. The greater relative
+thickness of this column prevents it splitting into drops, and Figs. 10
+and 11 show it descending below the surface to form the hollow of Fig.
+12, up the sides of which an annular film of milk is carried (Figs. 12
+and 13), having been detached from the central mass, which descends to
+be torn again, this time centrally into a well-marked vortex ring.</p>
+
+
+<p class="center">SERIES III.</p>
+
+<p class="center"><i>The Splash of a Drop, followed in detail by Instantaneous
+Illumination.</i></p>
+
+<p class="center">Diameter of Drop, <span class="above">1</span>&#8260;<span class="below">5</span> inch. Height of Fall, 1 ft. 5 in.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image12.jpg" width="500" height="495" alt="" title="Third Series 1 through 7" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image13.jpg" width="500" height="570" alt="" title="Third Series 8 through 14" />
+</div>
+
+<p>If we keep to the same size of drop and increase the fall to something
+over a yard, no great change occurs in the nature of the splash, but the
+emergent column is rather higher and thinner and shows a tendency to
+split into drops.</p>
+
+<p>When, however, we double the volume of the drop and raise the height of
+fall to 52 inches, the splash of Series IV. is obtained, which is
+beginning to assume quite a different character. The raised rim of the
+previous series is now developed into a hollow shell of considerable
+height, which tends to close over the drop. This shell or dome is a
+characteristic feature of all splashes made by large drops falling from
+a considerable height, and is extremely beautiful. In the splash at
+present under consideration it does not always succeed in closing
+permanently, but opens out as it subsides, and is followed by the
+emergence of the drop (Fig. 8). In Fig. 9 the return wave overwhelms the
+drop for an instant, but it is again seen at the summit of the column in
+Fig. 10.</p>
+
+
+<p class="center">SERIES IV.</p>
+
+<p class="center"><i>The Splash of a Drop, followed in detail by Instantaneous
+Illumination.</i></p>
+
+<p class="center">Diameter of Drop, <span class="above">1</span>&#8260;<span class="below">4</span> inch. Height of Fall, 4 ft. 4 in.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image14.jpg" width="500" height="478" alt="" title="Fourth Series 1 through 5" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image15.jpg" width="500" height="449" alt="" title="Fourth Series 6 through 11" />
+</div>
+
+<p>But on other occasions the shell or dome of Figs. 4 and 5 closes
+permanently over the imprisoned air, the liquid then flowing down the
+sides, which become thinner and thinner, till at length we are left with
+a large bubble floating on the water (see Series V.). It will be
+observed that the flow of liquid down the sides is chiefly along
+definite channels, which are probably determined by the arms thrown up
+at an earlier stage. The bubble is generally creased by the weight of
+the liquid along these channels. It must be remembered that the base of
+the bubble is in a state of oscillation, and that the whole is liable to
+burst at any moment, when such figures as 6 and 7 of the previous series
+will be seen.</p>
+
+<p class="center">SERIES V.</p>
+
+<p class="center"><i>The Splash of a Drop, followed in detail by Instantaneous
+Illumination.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image16.jpg" width="500" height="1088" alt="" title="Fifth Series 1 through 7" />
+</div>
+
+<p>The Size of Drop and Height of Fall are the same as before, but the
+hollow shell (see figs. 4 and 5 of the previous Series) does not succeed
+in opening, but is left as a bubble on the surface. This explains the
+formation of bubbles when <i>big</i> rain-drops fall into a pool of water.]</p>
+
+<p>Such is the history of the building of the bubbles which big rain-drops
+leave on the smooth water of a lake, or pond, or puddle. Only the bigger
+drops can do it, and reference to the number at the side of Fig. 5 of
+Series IV. shows that the dome is raised in about two-hundredths of a
+second. Should the domes fail to close, or should they open again, we
+have the emergent columns which any attentive observer will readily
+recognize, and which have never been better described than by Mr. R.L.
+Stevenson, who, in his delightful <i>Inland Voyage</i>, speaks of the surface
+of the Belgian canals along which he was canoeing, as thrown up by the
+rain into "an infinity of little crystal fountains."</p>
+
+<p>Very beautiful forms of the same type indeed, but different in detail,
+are those produced by a drop of water falling into the lighter and more
+mobile liquid, petroleum.</p>
+
+<p>It will now be interesting to turn to the splash that is produced when a
+solid sphere, such as a child's marble, falls into water.</p>
+
+<p>I found to my great surprise that the character of the splash, at any
+rate up to a height of 4 or 5 feet, depends entirely on the state of the
+surface of the sphere. A polished sphere of marble about 0&middot;6 of an inch
+in diameter, rubbed very dry with a cloth just beforehand and dropped
+from a height of 2 feet into water, gave the figures of Series VI., in
+which it is seen that the water spreads over the sphere so rapidly, that
+it is sheathed with the liquid even before it has passed below the
+general level of the surface. The splash is insignificantly small and of
+very short duration.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> If the drying and polishing be not so perfect,
+the configurations of Series VII. are produced; while if the sphere be
+roughened with sandpaper, or <i>left wet</i>, Series VIII. is obtained, in
+which it will be perceived that, as was the case with the liquid drop,
+the water is driven away laterally, forming the ribbed basket-shaped
+hollow, which, however, is now prolonged to a great depth, the drop
+being followed by a cone of air, while the water seems to find great
+difficulty in wetting the surface completely. Part of this column of air
+was carried down at least 16 inches, and then only detached when the
+sphere struck the bottom of the vessel.</p>
+
+
+<p class="center">SERIES VI., VII.</p>
+
+<p class="center"><i>Splash of a Solid Sphere (a marble <span class="above">1</span>&#8260;<span class="below">2</span> inch in diameter falling 2 feet
+into water).</i></p>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image17.jpg" width="400" height="843" alt="Series VI.
+When the sphere is dry and polished." title="" />
+<span class="caption"><span class="smcap">Series VI.</span>
+
+When the sphere is <i>dry</i> and <i>polished</i>.</span>
+</div>
+
+<div class="figcenter" style="width: 400px;"><br /><br />
+<img src="images/image18.jpg" width="400" height="929" alt="Series VII.
+When the sphere is not well dried and polished." title="" />
+<span class="caption"><span class="smcap">Series VII.</span>
+
+When the sphere is <i>not</i> well <i>dried</i> and <i> polished</i>.</span>
+</div>
+
+<p class="center"><br /><br />SERIES VIII.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image19.jpg" width="500" height="540" alt="The Splash of a Solid Sphere&mdash;(continued.)
+When the sphere is rough or wet." title="" />
+<span class="caption"><i>The Splash of a Solid Sphere</i>&mdash;(continued.)<br />
+
+When the sphere is <i>rough</i> or <i>wet</i>.</span>
+</div>
+
+<p class="center"><br /><br />SERIES IX.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image20.jpg" width="500" height="696" alt="The Splash of a Solid Sphere&mdash;(continued.)
+When the sphere is rough or wet, and falls above 5 feet." title="" />
+<span class="caption"><i>The Splash of a Solid Sphere</i>&mdash;(continued.)<br />
+
+When the sphere is rough or wet, and falls above 5 feet.</span>
+</div>
+
+<p>Figs. 6 and 7 show the crater falling in, but this did not always
+happen, for the walls often closed over the hollow exactly as in Figs. 4
+and 5 of Series IV. Meanwhile the long and nearly cylindrical portion
+below breaks up into bubbles which rise quickly to the surface.</p>
+
+<p>By increasing the fall to 5 feet we obtain the figures of Series IX. The
+tube of Fig. 1 corresponds to the dome of Series IV. and V., and is not
+only elevated to a surprising height, but is also in the act of cleaving
+(the outline being approximately that of the unduloid of M. Plateau).
+Figs. 2 and 3 show the bubble formed by the closing up of this tube,
+weighed down in the centre as in Figs. 5 and 6 of Series V. Similar
+results were obtained with other liquids, such as petroleum and alcohol.</p>
+
+<p>It is easy to show in a very striking manner the paramount influence of
+the condition of the solid surface. I have here a number of similar
+marbles; this set has been well polished by rubbing with wash leather. I
+drop them one by one through a space of about 1 foot into this deep,
+wide, cylindrical glass vessel, lighted up by a lamp placed behind it.
+You see each marble enters noiselessly and with hardly a visible trace
+of splash. Now I pick them out and drop them in again (or to save
+trouble, I drop in the place of these other wet ones), everything is
+changed. You see how the air is carried to the very bottom of the
+vessel, and you hear the "<ins class="greek" title="Greek: phloisbos">"&#966;&#955;&#959;&#8150;&#963;&#946;&#959;&#962;"</ins> of the bubbles as they
+rise to the surface and burst. These dry but rough marbles behave in
+much the same way.</p>
+
+<p>Such are the main features of the Natural History of Splashes, as I made
+it out between thirteen and eighteen years ago. Before passing on to the
+photographs that I have since obtained, I desire to add a few words of
+comment. I have not till now alluded to any imperfections in the timing
+apparatus. But no apparatus of the kind can be absolutely perfect, and,
+as a matter of fact, when everything is adjusted so as to display a
+particular stage, it will happen that in a succession of observations
+there is a certain variation in what is seen. Thus the configuration
+viewed may be said to oscillate slightly about the mean for which the
+apparatus is adjusted. Now this is due both to small imperfections in
+the timing apparatus and to the fact that the splashes themselves do
+actually vary within certain limits. The reasons are not very far to
+seek. In the first place the rate of demagnetization of the
+electro-magnets varies slightly, being partly dependent on the varying
+resistance of the contacts of crossed wires, partly on the temperature
+of the magnet, which is affected by the length of time for which the
+current has been running. But a much more important reason is the
+variation of the slight adhesion of the drop to the smoked watch-glass
+that has supported it, and consequently of the oscillations to which, as
+we shall see, the drop is subjected as it descends. Thus the drop will
+sometimes strike the surface in a flattened form, at others in an
+elongated form, and there will be a difference, not only in the time of
+impact, but in the nature of the ensuing splash; consequently some
+judgment is required in selecting a consecutive series of drawings. The
+only way is to make a considerable number of drawings of each stage, and
+then to pick out a consecutive series. Now, whenever judgment has to be
+used, there is room for error of judgment, and moreover, it is
+impossible to put together the drawings so as to tell a consecutive
+story, without being guided by some theory, such as I have already
+sketched, as to the nature of the motion and the conditions that govern
+it. You will therefore be good enough to remember that this chronicle of
+the events of a tenth of a second is not a mechanical record but is
+presented by a fallible human historian, whose account, like that of
+any other contemporary observer, will be none the worse for independent
+confirmation. That confirmation is fortunately obtainable. In an attempt
+made eighteen years ago to photograph the splash of a drop of mercury, I
+was unable to procure plates sufficiently sensitive to respond to the
+very short exposures that were required, and consequently abandoned the
+endeavour. But in recent years plates of exquisite sensitiveness have
+been produced, and such photographs as those taken by Mr. Boys of a
+flying rifle bullet have shown that difficulties on the score of
+sensitiveness have been practically overcome. Within the last few weeks,
+with the valuable assistance of my colleague at Devonport, Mr. R.S.
+Cole, I have succeeded in obtaining photographs of various splashes.
+Following Prof. Boys' suggestion, we employed Thomas's cyclist plates,
+or occasionally the less sensitive "extra-rapid" plates of the same
+makers, and as a developer, Eikonogen solution of triple strength, in
+which the plates were kept for about 40 minutes, the development being
+conducted in complete darkness.</p>
+
+<p>A few preliminary trials with the self-induction spark produced at the
+surface of mercury by the apparatus that you have seen at work, showed
+that the illumination, though ample for direct vision, was not
+sufficient for photography. When the current strength was increased, so
+as to make the illumination bright enough for the camera, then the spark
+became of too great duration, for it lasted for between 4 and 5
+thousandths of a second, within which time there was very perceptible
+motion of the drop and consequent blurring. It was therefore necessary
+to modify the apparatus so as to employ a Leyden-jar spark whose
+duration was probably less than 10-millionths of a second. A very
+slight change in the apparatus rendered it suitable for the new
+conditions, but time does not permit me to describe the arrangements in
+detail. It is, however, less necessary to do so as the method is in all
+essentials the same as that described in this room two years ago by Lord
+Rayleigh in connection with the photography of a breaking soap-film.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a>
+I therefore pass at once to the photographs themselves.</p>
+
+<p>The first two series (X. and XI.) may be described as shadow
+photographs; they were obtained by allowing a drop of mercury to fall on
+to the naked photographic plate itself, the illuminating spark being
+produced vertically above it, and they give only a horizontal section of
+the drop in various stages, revealing the form of the outline of the
+part in contact with the plate, but of course telling nothing about the
+shape of the parts above. The first series corresponds to a mercury
+splash very similar to that first described, and the second to the
+splash of a larger drop such as was not described. In each series, the
+tearing of the thin central film to which allusion was made is well
+illustrated. I think the first comment that any one would make is that
+the photographs, while they bear out the drawings in many details, show
+greater irregularity than the drawings would have led one to expect. On
+this point I shall presently have something to say.</p>
+
+
+<p class="center">SERIES X.</p>
+
+<p class="center">(1) <i>Instantaneous Shadow Photographs (life size) of the Splash of a
+Drop of Mercury falling 8 cm. on to the Photographic Plate.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image21.jpg" width="500" height="735" alt="" title="Tenth Series 1 through 7" />
+</div>
+
+
+<p class="center">SERIES XI.</p>
+
+<p class="center">(2) <i>Instantaneous Shadow Photographs (life size) of the Splash of a
+Drop of Mercury falling 15 cm. on to Glass.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image22.jpg" width="500" height="806" alt="" title="Eleventh Series 1 through 4A" />
+</div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/image23.jpg" width="400" height="1082" alt="" title="Eleventh Series 5 through 6" />
+</div>
+
+<p>Comparing the first set of drawings (pp. 20-24) with the photographs of
+Series X., it will be seen that</p>
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="Photograph Corresponds to Drawing">
+<tr><td align='center' colspan='5'>Photograph 2 corresponds to drawing 4 or 5</td></tr>
+<tr><td align='center'>"</td><td align='center'>3</td><td align='center'>"</td><td align='center'>"</td><td align='center'>&nbsp;9</td></tr>
+<tr><td align='center'>"</td><td align='center'>4</td><td align='center'>"</td><td align='center'>"</td><td align='center'>18</td></tr>
+<tr><td align='center'>"</td><td align='center'>6</td><td align='center'>"</td><td align='center'>"</td><td align='center'>20</td></tr>
+<tr><td align='center'>"</td><td align='center'>7</td><td align='center'>"</td><td align='center'>"</td><td align='center'>24</td></tr>
+</table></div>
+
+<p>but the irregularity of the last photograph almost masks the
+resemblance.</p>
+
+
+<p class="center">SERIES XII.</p>
+
+<p class="center"><i>Engravings from Instantaneous Photographs (<span class="above">16</span>&#8260;<span class="below">17</span> of the real size) of
+the Splash of a Drop of Mercury, 4&middot;83 mm. in diameter, falling 8&middot;9 cm.
+on to a hard polished surface.</i></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image24.jpg" width="500" height="549" alt="" title="Twelfth Series 1 through 6" />
+</div>
+
+<p>Series XII. gives an objective view of a mercury splash as taken by the
+camera. Only the first of this series shows any detail in the interior.
+The polished surface of the mercury is, in fact, very troublesome to
+illuminate, and this splash proved the most difficult of all to
+photograph.</p>
+
+<p>Series XIII. shows the splash of a drop of milk falling on to a smoked
+glass plate, on which it runs about without adhesion just as mercury
+would. Here there is more of detail. In Fig. 4 the central film is so
+thin in the middle that the black plate beneath it is seen through the
+liquid. In Fig. 8 this film has been torn.</p>
+
+<p>Series XIV. exhibits the splash of a water drop falling into milk. The
+first four photographs show the oscillations of the drop about a mean
+spherical figure as it approaches the surface.</p>
+
+<p>In the subsequent figures it will be noticed that the arms which are
+thrown up at first, afterwards segment into drops which fly off and
+subside (see Fig. 8), to be followed by a second series which again
+subside (Fig. 11), to be again succeeded by a third set. In fact, so
+long as there is any downward momentum the drop and the air behind it
+are penetrating the liquid, and so long must there be an upward flow of
+displaced liquid. Much of this flow is seen to be directed into the arms
+along the channels determined by the segmentation of the annular rim.
+This reproduction of the lobes and arms time after time on a varying
+scale goes far to explain the puzzling variations in their number which
+I mentioned in connection with the drawings. I had not, indeed,
+suspected this, which is one of the few new points that the photographs
+have so far revealed.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>
+
+
+<p class="center">SERIES XIII.</p>
+
+<p class="center"><i>Engravings of Instantaneous Photographs (<span class="above">16</span>&#8260;<span class="below">17</span> of the real size) of the
+Splash of a Drop of Milk falling 20 cm. on to smoked glass.</i></p>
+
+<p class="center">(It was not found possible to reproduce satisfactorily the missing
+figures of this series.)</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image25.jpg" width="500" height="816" alt="" title="Thirteenth Series 1 through 3" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image26.jpg" width="500" height="911" alt="" title="Thirteenth Series 7 through 9" />
+</div>
+
+<p class="center">SERIES XIV.</p>
+
+<p class="center"><i>Engravings of Instantaneous Photographs of the Splash of a Drop of
+Water falling 40 cm. into Milk.</i></p>
+
+<p class="center">Scale about <span class="above">6</span>&#8260;<span class="below">10</span> of actual size.</p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image27.jpg" width="500" height="571" alt="" title="Fourteenth Series 1 through 6" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image28.jpg" width="500" height="638" alt="" title="Fourteenth Series 7 through 12" />
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/image29.jpg" width="500" height="638" alt="" title="Fourteenth Series 13 through 18" />
+</div>
+
+<p>With respect to these photographs,<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> the credit of which I hope you
+will attribute firstly to the inventors of the sensitive plates, and
+secondly to the skill and experience of Mr. Cole, I desire to add that
+they are, as far as we know, the first really detailed objective views
+that have been obtained with anything approaching so short an exposure.</p>
+
+<p>Even Mr. Boys' wonderful photographs of flying bullets were after all
+but shadow-photographs, and did not so strikingly illustrate the
+extreme sensitiveness of the plates, and I want you to distinguish
+between such and what (to borrow Mr. F.J. Smith's phrase) I call an
+"objective view."</p>
+
+<p>It remains only to speak of the greater irregularity in the arms and
+rays as shown by the photographs. The point is a curious and interesting
+one. In the first place I have to confess that in looking over my
+original drawings I find records of many irregular or unsymmetrical
+figures, yet in compiling the history it has been inevitable that these
+should be rejected, if only because identical irregularities never
+recur. Thus the mind of the observer is filled with an ideal splash&mdash;an
+"Auto-Splash"&mdash;whose perfection may never be actually realized.</p>
+
+<p>But in the second place, when the splash is nearly regular it is very
+difficult to detect irregularity. This is easily proved by projecting
+on the screen with instantaneous illumination such a photograph as that
+of Series X., Fig. 6. My experience is that most persons pronounce what
+they have seen to be a regular and symmetrical star-shaped figure, and
+they are surprised when they come to examine it by detail in continuous
+light to find how far this is from the truth. Especially is this the
+case if no irregularity is suspected beforehand. I believe that the
+observer, usually finding himself unable to attend to more than a
+portion of the rays in the system, is liable instinctively to pick out
+for attention a part of the circumference where they are regularly
+spaced, and to fill up the rest in imagination, and that where a ray may
+be really absent he prefers to consider that it has been imperfectly
+viewed.</p>
+
+<p>This opinion is confirmed by the fact that in several cases, I have
+been able to observe with the naked eye a splash that was also
+simultaneously photographed, and have made the memorandum "quite
+regular," though the photograph subsequently showed irregularity. It
+must, however, be observed that the absolute darkness and other
+conditions necessary for photography are not very favourable for direct
+vision.</p>
+
+<p>And now my tale is told, or rather as much of it as the limits of the
+time allowed me will permit. I think you will agree that the phenomena
+are very beautiful, and that the subject, commonplace and familiar
+though it is, has yet proved worthy of an hour's attention.</p>
+
+
+<p class="center"><small>THE END.</small></p>
+
+
+<p class="center"><small><i>Richard Clay &amp; Sons, Limited, London &amp; Bungay.</i></small></p>
+
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> See Worthington on the "Spontaneous Segmentation of a
+Liquid Annulus," <i>Proceedings Royal Society</i>, No. 200, p. 49 (1879).</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Readers who wish a more detailed account of a greater
+variety of splashes are referred to papers by the author. <i>Proceedings
+Royal Society</i>, vol. xxv. pp. 261 and 498 (1877); and vol. xxxiv. p. 217
+(1882).</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Photographs obtained since this was written show that much
+may happen after the stages here traced.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> A detailed account of the optical, mechanical, and
+electrical arrangements employed, written by Mr. Cole, will be found in
+<i>Nature</i>, vol. i., p. 222 (July 5, 1894).</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> The black streaks, seen especially in Figs. 11, 15, and 16,
+are due to particles of lamp-black carried down by the drop from the
+surface of the smoked watch-glass on which it rested.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Three of these photographs, viz. Nos. 11, 12, and 17, are
+reproduced full size, as a frontispiece, by a <i>photographic</i> process, to
+enable the reader to form a more correct idea than can be gathered from
+the engravings, of the amount of detail actually obtained, though even
+in these reproductions much is inevitably lost.</p></div>
+</div>
+
+
+<hr />
+<p class="t1">THE ROMANCE OF SCIENCE.</p>
+
+<p class="center"><i>Small post 8vo. Illustrated. Cloth boards.</i></p>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="The Romance of Science">
+<tr>
+  <td align='left'>&nbsp;</td>
+  <td align='right'><i>s.</i></td>
+  <td align='right'><i>d.</i></td>
+</tr>
+<tr>
+  <td align='left'><b>Coal; and What We get from It.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By Professor <span class="smcap">Raphael Meldola</span>, F.R.S., F.I.C.</td>
+  <td align='right'>2</td>
+  <td align='right'>6</td>
+</tr>
+<tr>
+  <td align='left'><b>Colour Measurement and Mixture.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By Captain <span class="smcap">W. De W. Abney</span>, C.B., R.E., F.R.S.</td>
+  <td align='right'>2</td>
+  <td align='right'>6</td>
+</tr>
+<tr>
+<td align='left'><b>Diseases of Plants.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By <span class="smcap">H. Marshall Ward</span>, M.A., F.R.S., F.L.S.</td>
+  <td align='right'>2</td>
+  <td align='right'>6</td>
+</tr>
+<tr>
+<td align='left'><b>Our Secret Friends and Foes.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By <span class="smcap">Percy Faraday Frankland</span>, Ph.D., B.Sc. (Lond.), F.R.S. Second Edition, revised and enlarged</td>
+  <td align='right'>3</td>
+  <td align='right'>0</td>
+</tr>
+<tr>
+  <td align='left'><b>Soap Bubbles and the Forces which Mould Them.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By <span class="smcap">C.V. Boys</span>, A.R.S.M., F.R.S.</td>
+  <td align='right'>2</td>
+  <td align='right'>6</td>
+</tr>
+<tr>
+  <td align='left'><b>Spinning Tops.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By Professor <span class="smcap">J. Perry</span>, M.E., D.Sc, F.R.S.</td>
+  <td align='right'>2</td>
+  <td align='right'>6</td>
+</tr>
+<tr>
+  <td align='left'><b>The Birth and Growth of Worlds.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By Professor <span class="smcap">Green</span>, M.A., F.R.S.</td>
+  <td align='right'>2</td>
+  <td align='right'>6</td>
+</tr>
+<tr>
+  <td align='left'><b>The Making of Flowers.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By the Rev. Professor <span class="smcap">George Henslow</span>, M.A., F.L.S., F.G.S.</td>
+  <td align='right'>2</td>
+  <td align='right'>6</td>
+</tr>
+<tr>
+  <td align='left'><b>The Story of a Tinder-Box.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By the late <span class="smcap">C. Meymott Tidy</span>, M.B., M.S., F.C.S.</td>
+  <td align='right'>2</td>
+  <td align='right'>0</td>
+</tr>
+<tr>
+  <td align='left'><b>Time and Tide: a Romance of the Moon.</b></td>
+  <td align='right'>&nbsp;</td>
+  <td align='right'>&nbsp;</td>
+</tr>
+<tr>
+  <td class='td1'>By Sir <span class="smcap">Robert S. Ball</span>, F.R.S. Third Edition revised</td>
+  <td align='right'>2</td>
+  <td align='right'>6</td></tr>
+</table></div>
+
+
+
+
+<hr />
+<p class="t1">PUBLICATIONS<br /></p>
+
+<p class="center"><small>OF THE</small><br /></p>
+
+<p class="oldeng">Society for Promoting Christian Knowledge.</p>
+
+
+
+<hr />
+<p class="t1">PUBLICATIONS<br /></p>
+
+<p class="center"><small>OF</small><br /></p>
+
+<p class="oldeng">Society for Promoting Christian Knowledge.<br /></p>
+<hr class="short" />
+<p class="oldeng">Early Britain.</p>
+
+<p class="center"><i>This is a Series of books which has for its aim the presentation of<br />
+Early Britain at great Historic Periods.</i></p>
+
+
+<p><i>Anglo-Saxon Britain.</i></p>
+
+<div class="blockquot"><p>By the late <span class="smcap">Grant Allen</span>. With Map. Fcap. 8vo. <i>Cloth boards</i>, 2<i>s.</i>
+6<i>d.</i> </p></div>
+
+
+<p><i>Celtic Britain.</i></p>
+
+<div class="blockquot"><p>By Professor <span class="smcap">Rhys</span>. With two Maps. Fcap. 8vo. <i>Cloth boards</i>, 3<i>s.</i> </p></div>
+
+
+<p><i>Norman Britain.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">W. Hunt</span>. With Map. Fcap. 8vo. <i>Cloth boards</i>, 2<i>s.</i>
+6<i>d.</i> </p></div>
+
+
+<p><i>Post-Norman Britain.</i></p>
+
+<div class="blockquot"><p>By <span class="smcap">Henry G. Hewlett</span>. Fcap. 8vo. <i>Cloth boards</i>, 3<i>s.</i> </p></div>
+
+
+<p><i>Roman Britain.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">Edward Conybeare</span>. With Map. Fcap. 8vo. 3<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Roman Roads in Britain.</i></p>
+
+<div class="blockquot"><p>By <span class="smcap">Thomas Codrington</span>, M.Inst.C.E., F.G.S. With several Maps. Fcap.
+8vo. <i>Cloth boards</i>, 5<i>s.</i> </p></div>
+
+
+
+<hr />
+<p class="t2"><b>THE HEATHEN WORLD AND ST. PAUL.</b><br /></p>
+
+<p class="center"><i>This Series is intended to throw light upon the Writings and Labours of<br />
+the Apostle of the Gentiles.</i></p>
+
+<p class="center">Fcap. 8vo, cloth boards, 2s. each.</p>
+
+
+<p><i>St. Paul in Damascus and Arabia.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">George Rawlinson</span>, M.A., Canon of Canterbury. With
+Map. </p></div>
+
+
+<p><i>St. Paul at Rome.</i></p>
+
+<div class="blockquot"><p>By the Very Rev. <span class="smcap">Charles Merivale</span>, D.D., D.C.L., Dean of Ely. With
+Map. </p></div>
+
+
+<p><i>St. Paul in Asia Minor and at the Syrian Antioch.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">E.H. Plumptre</span>, D.D. With Map. </p></div>
+
+
+
+<hr class="short" />
+<p class="t2"><b>ANCIENT HISTORY FROM THE MONUMENTS</b><br /></p>
+
+<p class="center"><i>This Series of Books is chiefly intended to illustrate the Sacred<br />
+Scriptures by the results of recent Monumental Researches in the East.</i></p>
+
+<p class="center">Fcap. 8vo, cloth boards, 2s. each.</p>
+
+
+<p><i>Assyria, from the Earliest Times to the Fall of Nineveh.</i></p>
+
+<div class="blockquot"><p>By the late <span class="smcap">George Smith</span>, of the British Museum. New and Revised
+Edition by the Rev. Professor <span class="smcap">A.H. Sayce</span>. </p></div>
+
+
+<p><i>Sinai, from the Fourth Egyptian Dynasty to the Present Day.</i></p>
+
+<div class="blockquot"><p>By the late <span class="smcap">Henry S. Palmer</span>, Major R.E., F.R.A.S. With Map. A New
+Edition, revised throughout. By the Rev. Professor <span class="smcap">A.H. Sayce</span>. </p></div>
+
+
+<p><i>Babylonia (The History of).</i></p>
+
+<div class="blockquot"><p>By the late <span class="smcap">George Smith</span>. Edited by the Rev. Professor <span class="smcap">A.H. Sayce</span>. </p></div>
+
+
+<p><i>Persia, from the Earliest Period to the Arab Conquest.</i></p>
+
+<div class="blockquot"><p>By the late <span class="smcap">W.S.W. Vaux</span>, M.A., F.R.S. A New Edition. Revised by the
+Rev. Professor <span class="smcap">A.H. Sayce</span>. </p></div>
+
+
+
+<hr />
+<p class="center">BOOKS BY THE AUTHOR OF</p>
+
+<p class="oldeng">"The Chronicles of the Sch&ouml;nberg-Cotta Family."</p>
+
+<p>"<i>By the Mystery of Thy Holy Incarnation.</i>"</p>
+
+<div class="blockquot"><p>Post 8vo. <i>Cloth boards</i>, 1<i>s.</i> </p></div>
+
+
+<p>"<i>By Thy Cross and Passion.</i>"</p>
+
+<div class="blockquot"><p>Thoughts on the words spoken around and on the Cross. Post 8vo.
+<i>Cloth boards</i>, 1<i>s.</i> </p></div>
+
+
+<p>"<i>By Thy Glorious Resurrection and Ascension.</i>"</p>
+
+<div class="blockquot"><p>Easter Thoughts. Post 8vo. <i>Cloth boards</i>, 1<i>s.</i> </p></div>
+
+
+<p>"<i>By the Coming of the Holy Ghost.</i>"</p>
+
+<div class="blockquot"><p>Thoughts for Whitsuntide. Post 8vo. <i>Cloth boards</i>, 1<i>s.</i> </p></div>
+
+
+<p><i>The True Vine.</i></p>
+
+<div class="blockquot"><p>Post 8vo. <i>Cloth boards</i>, 1<i>s.</i> </p></div>
+
+
+<p><i>The Great Prayer of Christendom.</i></p>
+
+<div class="blockquot"><p>Post 8vo. <i>Cloth boards</i>, 1<i>s.</i> </p></div>
+
+
+<p><i>An Old Story of Bethlehem.</i></p>
+
+<div class="blockquot"><p>One link in the great Pedigree. Fcap. 4to, with six plates
+beautifully printed in colours. <i>Cloth boards</i>, 2<i>s.</i> </p></div>
+
+
+<p><i>Three Martyrs of the Nineteenth Century.</i></p>
+
+<div class="blockquot"><p>Studies from the Lives of Livingstone, Gordon, and Patteson. Crown
+8vo. <i>Cloth boards</i>, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Martyrs and Saints of the First Twelve Centuries.</i></p>
+
+<div class="blockquot"><p>Studies from the Lives of the Black-letter Saints of the English
+Calendar. Crown 8vo. <i>Cloth boards</i>, 3<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Against the Stream.</i></p>
+
+<div class="blockquot"><p>The Story of an Heroic Age in England. With eight page woodcuts.
+Crown 8vo. <i>Cloth boards</i>, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Conquering and to Conquer.</i></p>
+
+<div class="blockquot"><p>A Story of Rome in the days of St. Jerome. With four page woodcuts.
+Crown 8vo. <i>Cloth boards</i>, 2<i>s.</i> </p></div>
+
+
+<p><i>Lapsed not Lost.</i></p>
+
+<div class="blockquot"><p>A Story of Roman Carthage. Crown 8vo. <i>Cloth boards</i>, 2<i>s.</i> </p></div>
+
+
+<p><i>Sketches of the Women of Christendom.</i></p>
+
+<div class="blockquot"><p>Crown 8vo. <i>Cloth boards</i>, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Thoughts and Characters.</i></p>
+
+<div class="blockquot"><p>Being Selections from the Writings of the Author of "The
+Sch&ouml;nberg-Cotta Family." Crown 8vo. <i>Cloth bds.</i>, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+
+<hr />
+<p class="oldeng">The Fathers for English Readers.</p>
+
+<p class="center">Fcap. 8vo, cloth boards, 2s. each.</p>
+
+
+<p><i>Boniface.</i></p>
+
+<div class="blockquot"><p>By the Rev. Canon <span class="smcap">Gregory Smith</span>, M.A. (1<i>s.</i> 6<i>d.</i>) </p></div>
+
+
+<p><i>Clement of Alexandria.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">F.R. Montgomery Hitchcock</span>. (3<i>s.</i>) </p></div>
+
+
+<p><i>Gregory the Great.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">J. Barmby</span>, B.D. </p></div>
+
+
+<p><i>Leo the Great.</i></p>
+
+<div class="blockquot"><p>By the Right Rev. <span class="smcap">C. Gore</span>, D.D. </p></div>
+
+
+<p><i>Saint Ambrose</i>: his Life, Times, and Teaching.</p>
+
+<div class="blockquot"><p>By the Ven. <span class="smcap">Archdeacon Thornton</span>, D.D. </p></div>
+
+
+<p><i>Saint Athanasius</i>: his Life and Times.</p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">R. Wheler Bush</span>. (2<i>s.</i> 6<i>d.</i>) </p></div>
+
+
+<p><i>Saint Augustine.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">E.L. Cutts</span>, D.D. </p></div>
+
+
+<p><i>Saint Basil the Great.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">Richard T. Smith</span>, B.D. </p></div>
+
+
+<p><i>Saint Bernard</i>: Abbot of Clairvaux, <span class="smcap">A.D.</span> 1091-1153.</p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">S.J. Eales</span>, M.A., D.C.L. (2<i>s.</i> 6<i>d.</i>) </p></div>
+
+
+<p><i>Saint Hilary of Poitiers, and Saint Martin of Tours.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">J. Gibson Cazenove</span>, D.D. </p></div>
+
+
+<p><i>Saint Jerome.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">Edward L. Cutts</span>, D.D. </p></div>
+
+
+<p><i>Saint John of Damascus.</i></p>
+
+<div class="blockquot"><p>By the Rev.<span class="smcap"> J.H. Lupton</span>, M.A. </p></div>
+
+
+<p><i>Saint Patrick</i>: his Life and Teaching.</p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">E.J. Newell</span>, M.A. (2<i>s.</i> 6<i>d.</i>) </p></div>
+
+
+<p><i>Synesius of Cyrene</i>, Philosopher and Bishop.</p>
+
+<div class="blockquot"><p>By <span class="smcap">Alice Gardner</span>. </p></div>
+
+
+<p><i>The Apostolic Fathers.</i></p>
+
+<div class="blockquot"><p>By the Rev. Canon <span class="smcap">H.S. Holland</span>. </p></div>
+
+
+<p><i>The Defenders of the Faith</i>; or, The Christian Apologists of the Second
+and Third Centuries.</p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">F. Watson</span>, D.D. </p></div>
+
+
+<p><i>The Venerable Bede.</i></p>
+
+<div class="blockquot"><p>By the Right Rev. <span class="smcap">G.F. Browne</span>, D.D. </p></div>
+
+
+
+<hr />
+<p class="oldeng">Diocesan Histories.</p>
+
+
+<p><i>Bath and Wells.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">W. Hunt</span>. With Map, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Canterbury.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">R.C. Jenkins</span>. With Map, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Carlisle.</i></p>
+
+<div class="blockquot"><p>By the late <span class="smcap">Richard S. Ferguson</span>. With Map, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Chester.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">Rupert H. Morris</span>, D.D. With Map, 3<i>s.</i> </p></div>
+
+
+<p><i>Chichester.</i></p>
+
+<div class="blockquot"><p>By the late Very Rev. <span class="smcap">W.R.W. Stephens</span>. With Map and Plan, 2<i>s.</i>
+6<i>d.</i> </p></div>
+
+
+<p><i>Durham.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">J.L. Low</span>. With Map and Plan, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Hereford.</i></p>
+
+<div class="blockquot"><p>By the Rev. Canon <span class="smcap">Phillott</span>. With Map, 3<i>s.</i> </p></div>
+
+
+<p><i>Lichfield.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">W. Beresford</span>. With Map, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Lincoln.</i></p>
+
+<div class="blockquot"><p>By the late Canon <span class="smcap">E. Venables</span>, and the late Ven. Archdeacon <span class="smcap">Perry</span>.
+With Map, 4<i>s.</i> </p></div>
+
+
+<p><i>Llandaff.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">E.J. Newell</span>, M.A. With Map, 3<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Norwich.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">A. Jessop</span>, D.D. With Map, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Oxford.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">E. Marshall</span>. With Map, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Peterborough.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">G.A. Poolem</span>, M.A. With Map, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Rochester.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">A.J. Pearman</span>, M.A. With Map, 4<i>s.</i> </p></div>
+
+
+<p><i>Salisbury.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">W.H. Jones</span>. With Map and Plan, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Sodor and Man.</i></p>
+
+<div class="blockquot"><p>By <span class="smcap">A.W. Moore</span>, M.A. With Map, 3<i>s.</i> </p></div>
+
+
+<p><i>St. Asaph.</i></p>
+
+<div class="blockquot"><p>By the Ven. Archdeacon <span class="smcap">Thomas</span>. With Map, 2<i>s.</i> </p></div>
+
+
+<p><i>St. Davids.</i></p>
+
+<div class="blockquot"><p>By the Rev. Canon <span class="smcap">Bevan</span>. With Map, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Winchester.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">W. Benham</span>, B.D. With Map, 3<i>s.</i> </p></div>
+
+
+<p><i>Worcester.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">J. Gregory Smith</span>, M.A., and the Rev. <span class="smcap">Phipps Onslow</span>,
+M.A. With Map, 3<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>York.</i></p>
+
+<div class="blockquot"><p>By Rev. Canon <span class="smcap">Ornsby</span>, M.A., F.S.A. With Map, 3<i>s.</i> 6<i>d.</i> </p></div>
+
+
+
+<hr />
+<p class="oldeng">Miscellaneous Publications.</p>
+
+
+<p><i>A Dictionary of the Church of England.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">Edward L. Cuttsm</span>, D.D. With numerous Woodcuts.
+Crown 8vo. 5<i>s.</i> Third Edition, revised. </p></div>
+
+
+<p><i>Aids to Prayer.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">Daniel Moore</span>. Printed in red and black. Post 8vo. 1<i>s.</i>
+6<i>d.</i> </p></div>
+
+
+<p><i>Being of God (Six Addresses on the).</i></p>
+
+<div class="blockquot"><p>By <span class="smcap">C.J. Ellicott</span>, D.D., Bishop of Gloucester. Post 8vo. 1<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Bible Places</i>; or, The Topography of the Holy Land.</p>
+
+<div class="blockquot"><p>By the Rev. Canon <span class="smcap">Tristram</span>. With Map and numerous Woodcuts. New
+Edition. Crown 8vo. 5<i>s.</i> </p></div>
+
+
+<p><i>Called to be Saints.</i></p>
+
+<div class="blockquot"><p>The Minor Festivals Devotionally Studied. By the late <span class="smcap">Christina G.
+Rossetti</span>, Author of "Seek and Find." Post 8vo. 3<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Case for "Establishment" stated (The).</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">T. Moore</span>, M.A. Post 8vo. <i>Paper boards</i>, 6<i>d.</i> </p></div>
+
+
+<p><i>Christians under the Crescent in Asia.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">E.L. Cutts</span>, D.D. With numerous Illustrations.
+Crown 8vo. 5<i>d.</i> </p></div>
+
+
+<p><i>Daily Readings for a Year.</i></p>
+
+<div class="blockquot"><p>By <span class="smcap">Elizabeth Spooner</span>. Crown 8vo. 3<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Devotional (A) Life of Our Lord.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">Edward L. Cutts</span>, D.D., Author of "Pastoral
+Counsels," &amp;c. Post 8vo. 5<i>s.</i> </p></div>
+
+
+<p><i>Golden Year, The.</i></p>
+
+<div class="blockquot"><p>Thoughts for every month. Original and Selected. By <span class="smcap">Emily C. Orr</span>,
+Author of "Thoughts for Working Days." Printed in red and black.
+Post 8vo. 1<i>s.</i> </p></div>
+
+
+<p><i>Gospels (The Four).</i></p>
+
+<div class="blockquot"><p>Arranged in the Form of an English Harmony, from the Text of the
+Authorized Version. By the late Rev. <span class="smcap">J.M. Fuller</span>. With Analytical
+Table of Contents and Four Maps. 1<i>s.</i> </p></div>
+
+
+<p><i>Holy Eucharist, The Evidential Value of the.</i></p>
+
+<div class="blockquot"><p>Being the Boyle Lectures for 1879 and 1880. By the late Rev. <span class="smcap">G.F.
+Maclear</span>, D.D. Crown 8vo. <i>Cloth boards</i>, 4<i>s.</i> </p></div>
+
+
+<p><i>Land of Israel (The)</i>.</p>
+
+<div class="blockquot"><p>A Journal of Travel in Palestine, undertaken with special reference
+to its Physical Character. By the Rev. Canon <span class="smcap">Tristram</span>. With Two
+Maps and numerous Illustrations. Large Post 8vo. <i>Cloth boards</i>,
+10<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Lectures on the Historical and Dogmatical Position of the Church of
+England.</i></p>
+
+<div class="blockquot"><p>By the Rev. <span class="smcap">W. Baker</span>, D.D. Post 8vo. <i>Cloth boards</i>, 1<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Paley's Evidences.</i></p>
+
+<div class="blockquot"><p>A New Edition, with Notes, Appendix, and Preface. By the Rev. <span class="smcap">E.A.
+Litton</span>. Post 8vo. <i>Cloth boards</i>, 4<i>s.</i> </p></div>
+
+
+<p><i>Paley's Hor&aelig; Paulin&aelig;.</i></p>
+
+<div class="blockquot"><p>A New Edition, with Notes, Appendix, and Preface. By the late Rev.
+<span class="smcap">J.S. Howson</span>, D.D. Post 8vo. <i>Cloth boards</i>, 3<i>s.</i> </p></div>
+
+
+<p><i>Peace with God.</i></p>
+
+<div class="blockquot"><p>A Manual for the Sick. By the Rev. <span class="smcap">E. Burbid</span>GE, M.A. Post 8vo.
+<i>Cloth boards</i>, 1<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Plain Words for Christ.</i></p>
+
+<div class="blockquot"><p>Being a Series of Readings for Working Men. By the late Rev. <span class="smcap">R.G.
+Dutton</span>. Post 8vo. <i>Cloth boards</i>, 1<i>s.</i> </p></div>
+
+
+<p><i>Readings on the First Lessons for Sundays and Chief Holy Days.</i></p>
+
+<div class="blockquot"><p>According to the New Table. By the late Rev. <span class="smcap">Peter Young</span>. Crown
+8vo. <i>In two volumes</i>, 5<i>s.</i> </p></div>
+
+
+<p><i>Reflected Lights.</i></p>
+
+<div class="blockquot"><p>From <span class="smcap">Christina Rossetti's</span> "The Face of the Deep." Selected and
+arranged by <span class="smcap">W.M.L. Jay</span>. Small post 8vo. <i>Cloth boards</i>, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Some Chief Truths of Religion.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">Edward L. Cutts</span>, D.D., Author of "St. Cedd's
+Cross," &amp;c. Crown 8vo. <i>Cloth boards</i>, 2<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Thoughts for Men and Women.</i></p>
+
+<div class="blockquot"><p><span class="smcap">The Lord's Prayer.</span> By <span class="smcap">Emily C. Orr</span>. Post 8vo. <i>Limp cloth</i>, 1<i>s.</i> </p></div>
+
+
+<p><i>Thoughts for Working Days.</i></p>
+
+<div class="blockquot"><p>Original and Selected. By <span class="smcap">Emily C. Orr</span>. Post 8vo. <i>Limp cloth</i>,
+1<i>s.</i> </p></div>
+
+
+<p><i>Time Flies; a Reading Diary.</i></p>
+
+<div class="blockquot"><p>By the late <span class="smcap">Christina G. Rossetti</span>. Post 8vo. <i>Cloth boards</i>, 3<i>s.</i>
+6<i>d.</i> </p></div>
+
+
+<p><i>Turning Points of English Church History.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">Edward L. Cutts</span>, D.D. Crown 8vo. <i>Cloth boards</i>,
+3<i>s.</i> 6<i>d.</i> </p></div>
+
+
+<p><i>Turning Points of General Church History.</i></p>
+
+<div class="blockquot"><p>By the late Rev. <span class="smcap">E.L. Cutts</span>, D.D., Author of "Pastoral Counsels."
+Crown 8vo. <i>Cloth boards</i>, 4<i>s.</i> </p></div>
+
+
+<p><i>Verses.</i></p>
+
+<div class="blockquot"><p>By the late <span class="smcap">Christina G. Rossetti</span>. Printed on hand-made paper.
+Small Post 8vo. <i>Cloth</i>, 3<i>s.</i> 6<i>d.</i> </p></div>
+
+<hr class="short" />
+<p class="center">
+LONDON:<br />
+<small>NORTHUMBERLAND AVENUE, CHARING CROSS, W.C.;<br />
+48, QUEEN VICTORIA STREET, E.C.</small><br />
+BRIGHTON: 129, <span class="smcap">North Street</span>.<br />
+</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Splash of a Drop, by A. M. Worthington
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE SPLASH OF A DROP ***
+
+***** This file should be named 27125-h.htm or 27125-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/7/1/2/27125/
+
+Produced by Chris Curnow, Greg Bergquist and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/27125-h/images/i_cover.jpg b/27125-h/images/i_cover.jpg
new file mode 100644
index 0000000..bde5285
--- /dev/null
+++ b/27125-h/images/i_cover.jpg
diff --git a/27125-h/images/image1.jpg b/27125-h/images/image1.jpg
new file mode 100644
index 0000000..e5d9c88
--- /dev/null
+++ b/27125-h/images/image1.jpg
diff --git a/27125-h/images/image10.jpg b/27125-h/images/image10.jpg
new file mode 100644
index 0000000..3bc8328
--- /dev/null
+++ b/27125-h/images/image10.jpg
diff --git a/27125-h/images/image11.jpg b/27125-h/images/image11.jpg
new file mode 100644
index 0000000..e8c6e44
--- /dev/null
+++ b/27125-h/images/image11.jpg
diff --git a/27125-h/images/image12.jpg b/27125-h/images/image12.jpg
new file mode 100644
index 0000000..31a804d
--- /dev/null
+++ b/27125-h/images/image12.jpg
diff --git a/27125-h/images/image13.jpg b/27125-h/images/image13.jpg
new file mode 100644
index 0000000..e1aa452
--- /dev/null
+++ b/27125-h/images/image13.jpg
diff --git a/27125-h/images/image14.jpg b/27125-h/images/image14.jpg
new file mode 100644
index 0000000..b78fa7d
--- /dev/null
+++ b/27125-h/images/image14.jpg
diff --git a/27125-h/images/image15.jpg b/27125-h/images/image15.jpg
new file mode 100644
index 0000000..e05bf44
--- /dev/null
+++ b/27125-h/images/image15.jpg
diff --git a/27125-h/images/image16.jpg b/27125-h/images/image16.jpg
new file mode 100644
index 0000000..40e2fbc
--- /dev/null
+++ b/27125-h/images/image16.jpg
diff --git a/27125-h/images/image17.jpg b/27125-h/images/image17.jpg
new file mode 100644
index 0000000..5654ad9
--- /dev/null
+++ b/27125-h/images/image17.jpg
diff --git a/27125-h/images/image18.jpg b/27125-h/images/image18.jpg
new file mode 100644
index 0000000..f83ef63
--- /dev/null
+++ b/27125-h/images/image18.jpg
diff --git a/27125-h/images/image19.jpg b/27125-h/images/image19.jpg
new file mode 100644
index 0000000..bb445c5
--- /dev/null
+++ b/27125-h/images/image19.jpg
diff --git a/27125-h/images/image2.jpg b/27125-h/images/image2.jpg
new file mode 100644
index 0000000..ccf5ec7
--- /dev/null
+++ b/27125-h/images/image2.jpg
diff --git a/27125-h/images/image20.jpg b/27125-h/images/image20.jpg
new file mode 100644
index 0000000..83ac7ee
--- /dev/null
+++ b/27125-h/images/image20.jpg
diff --git a/27125-h/images/image21.jpg b/27125-h/images/image21.jpg
new file mode 100644
index 0000000..e1f8449
--- /dev/null
+++ b/27125-h/images/image21.jpg
diff --git a/27125-h/images/image22.jpg b/27125-h/images/image22.jpg
new file mode 100644
index 0000000..ee83d78
--- /dev/null
+++ b/27125-h/images/image22.jpg
diff --git a/27125-h/images/image23.jpg b/27125-h/images/image23.jpg
new file mode 100644
index 0000000..fc7a396
--- /dev/null
+++ b/27125-h/images/image23.jpg
diff --git a/27125-h/images/image24.jpg b/27125-h/images/image24.jpg
new file mode 100644
index 0000000..b5ce972
--- /dev/null
+++ b/27125-h/images/image24.jpg
diff --git a/27125-h/images/image25.jpg b/27125-h/images/image25.jpg
new file mode 100644
index 0000000..9f2e214
--- /dev/null
+++ b/27125-h/images/image25.jpg
diff --git a/27125-h/images/image26.jpg b/27125-h/images/image26.jpg
new file mode 100644
index 0000000..3659cb2
--- /dev/null
+++ b/27125-h/images/image26.jpg
diff --git a/27125-h/images/image27.jpg b/27125-h/images/image27.jpg
new file mode 100644
index 0000000..ff7421b
--- /dev/null
+++ b/27125-h/images/image27.jpg
diff --git a/27125-h/images/image28.jpg b/27125-h/images/image28.jpg
new file mode 100644
index 0000000..0bcdf61
--- /dev/null
+++ b/27125-h/images/image28.jpg
diff --git a/27125-h/images/image29.jpg b/27125-h/images/image29.jpg
new file mode 100644
index 0000000..e4b4276
--- /dev/null
+++ b/27125-h/images/image29.jpg
diff --git a/27125-h/images/image3.jpg b/27125-h/images/image3.jpg
new file mode 100644
index 0000000..c7193e7
--- /dev/null
+++ b/27125-h/images/image3.jpg
diff --git a/27125-h/images/image4.jpg b/27125-h/images/image4.jpg
new file mode 100644
index 0000000..f715ad4
--- /dev/null
+++ b/27125-h/images/image4.jpg
diff --git a/27125-h/images/image5.jpg b/27125-h/images/image5.jpg
new file mode 100644
index 0000000..f1dabfd
--- /dev/null
+++ b/27125-h/images/image5.jpg
diff --git a/27125-h/images/image6.jpg b/27125-h/images/image6.jpg
new file mode 100644
index 0000000..bf15780
--- /dev/null
+++ b/27125-h/images/image6.jpg
diff --git a/27125-h/images/image7.jpg b/27125-h/images/image7.jpg
new file mode 100644
index 0000000..dd5a031
--- /dev/null
+++ b/27125-h/images/image7.jpg
diff --git a/27125-h/images/image8.jpg b/27125-h/images/image8.jpg
new file mode 100644
index 0000000..90fd8b2
--- /dev/null
+++ b/27125-h/images/image8.jpg
diff --git a/27125-h/images/image9.jpg b/27125-h/images/image9.jpg
new file mode 100644
index 0000000..2764bba
--- /dev/null
+++ b/27125-h/images/image9.jpg
diff --git a/27125-page-images/f001.png b/27125-page-images/f001.png
new file mode 100644
index 0000000..4f152d9
--- /dev/null
+++ b/27125-page-images/f001.png
diff --git a/27125-page-images/f002.png b/27125-page-images/f002.png
new file mode 100644
index 0000000..790b89e
--- /dev/null
+++ b/27125-page-images/f002.png
diff --git a/27125-page-images/f003.png b/27125-page-images/f003.png
new file mode 100644
index 0000000..4f152d9
--- /dev/null
+++ b/27125-page-images/f003.png
diff --git a/27125-page-images/f004.png b/27125-page-images/f004.png
new file mode 100644
index 0000000..b70411d
--- /dev/null
+++ b/27125-page-images/f004.png
diff --git a/27125-page-images/f005.png b/27125-page-images/f005.png
new file mode 100644
index 0000000..f9e49cc
--- /dev/null
+++ b/27125-page-images/f005.png
diff --git a/27125-page-images/f006.png b/27125-page-images/f006.png
new file mode 100644
index 0000000..1fc5687
--- /dev/null
+++ b/27125-page-images/f006.png
diff --git a/27125-page-images/p007.png b/27125-page-images/p007.png
new file mode 100644
index 0000000..054b29f
--- /dev/null
+++ b/27125-page-images/p007.png
diff --git a/27125-page-images/p008.png b/27125-page-images/p008.png
new file mode 100644
index 0000000..b027cf9
--- /dev/null
+++ b/27125-page-images/p008.png
diff --git a/27125-page-images/p009.png b/27125-page-images/p009.png
new file mode 100644
index 0000000..c8ac02b
--- /dev/null
+++ b/27125-page-images/p009.png
diff --git a/27125-page-images/p010.png b/27125-page-images/p010.png
new file mode 100644
index 0000000..13ac873
--- /dev/null
+++ b/27125-page-images/p010.png
diff --git a/27125-page-images/p011.png b/27125-page-images/p011.png
new file mode 100644
index 0000000..05593e4
--- /dev/null
+++ b/27125-page-images/p011.png
diff --git a/27125-page-images/p012.png b/27125-page-images/p012.png
new file mode 100644
index 0000000..a3b17ff
--- /dev/null
+++ b/27125-page-images/p012.png
diff --git a/27125-page-images/p013.png b/27125-page-images/p013.png
new file mode 100644
index 0000000..9af61e8
--- /dev/null
+++ b/27125-page-images/p013.png
diff --git a/27125-page-images/p014.png b/27125-page-images/p014.png
new file mode 100644
index 0000000..5da39c4
--- /dev/null
+++ b/27125-page-images/p014.png
diff --git a/27125-page-images/p015.png b/27125-page-images/p015.png
new file mode 100644
index 0000000..fa4874d
--- /dev/null
+++ b/27125-page-images/p015.png
diff --git a/27125-page-images/p016.png b/27125-page-images/p016.png
new file mode 100644
index 0000000..7a82343
--- /dev/null
+++ b/27125-page-images/p016.png
diff --git a/27125-page-images/p017.png b/27125-page-images/p017.png
new file mode 100644
index 0000000..a219b3a
--- /dev/null
+++ b/27125-page-images/p017.png
diff --git a/27125-page-images/p018.png b/27125-page-images/p018.png
new file mode 100644
index 0000000..5f132c0
--- /dev/null
+++ b/27125-page-images/p018.png
diff --git a/27125-page-images/p019.png b/27125-page-images/p019.png
new file mode 100644
index 0000000..894aad7
--- /dev/null
+++ b/27125-page-images/p019.png
diff --git a/27125-page-images/p020.png b/27125-page-images/p020.png
new file mode 100644
index 0000000..e030b32
--- /dev/null
+++ b/27125-page-images/p020.png
diff --git a/27125-page-images/p021.png b/27125-page-images/p021.png
new file mode 100644
index 0000000..6c6b1c9
--- /dev/null
+++ b/27125-page-images/p021.png
diff --git a/27125-page-images/p022.png b/27125-page-images/p022.png
new file mode 100644
index 0000000..cd718be
--- /dev/null
+++ b/27125-page-images/p022.png
diff --git a/27125-page-images/p023.png b/27125-page-images/p023.png
new file mode 100644
index 0000000..1ded6c6
--- /dev/null
+++ b/27125-page-images/p023.png
diff --git a/27125-page-images/p024.png b/27125-page-images/p024.png
new file mode 100644
index 0000000..b9835af
--- /dev/null
+++ b/27125-page-images/p024.png
diff --git a/27125-page-images/p025.png b/27125-page-images/p025.png
new file mode 100644
index 0000000..0ad60b3
--- /dev/null
+++ b/27125-page-images/p025.png
diff --git a/27125-page-images/p026.png b/27125-page-images/p026.png
new file mode 100644
index 0000000..265d641
--- /dev/null
+++ b/27125-page-images/p026.png
diff --git a/27125-page-images/p027.png b/27125-page-images/p027.png
new file mode 100644
index 0000000..eab4a8a
--- /dev/null
+++ b/27125-page-images/p027.png
diff --git a/27125-page-images/p028.png b/27125-page-images/p028.png
new file mode 100644
index 0000000..a483863
--- /dev/null
+++ b/27125-page-images/p028.png
diff --git a/27125-page-images/p029.png b/27125-page-images/p029.png
new file mode 100644
index 0000000..5a190bd
--- /dev/null
+++ b/27125-page-images/p029.png
diff --git a/27125-page-images/p030.png b/27125-page-images/p030.png
new file mode 100644
index 0000000..60a438e
--- /dev/null
+++ b/27125-page-images/p030.png
diff --git a/27125-page-images/p031.png b/27125-page-images/p031.png
new file mode 100644
index 0000000..0b3c1c5
--- /dev/null
+++ b/27125-page-images/p031.png
diff --git a/27125-page-images/p032.png b/27125-page-images/p032.png
new file mode 100644
index 0000000..366bf24
--- /dev/null
+++ b/27125-page-images/p032.png
diff --git a/27125-page-images/p033.png b/27125-page-images/p033.png
new file mode 100644
index 0000000..f4ae530
--- /dev/null
+++ b/27125-page-images/p033.png
diff --git a/27125-page-images/p034.png b/27125-page-images/p034.png
new file mode 100644
index 0000000..0754656
--- /dev/null
+++ b/27125-page-images/p034.png
diff --git a/27125-page-images/p035.png b/27125-page-images/p035.png
new file mode 100644
index 0000000..fd20e92
--- /dev/null
+++ b/27125-page-images/p035.png
diff --git a/27125-page-images/p036.png b/27125-page-images/p036.png
new file mode 100644
index 0000000..5aac9e9
--- /dev/null
+++ b/27125-page-images/p036.png
diff --git a/27125-page-images/p037.png b/27125-page-images/p037.png
new file mode 100644
index 0000000..186401b
--- /dev/null
+++ b/27125-page-images/p037.png
diff --git a/27125-page-images/p038.png b/27125-page-images/p038.png
new file mode 100644
index 0000000..4bd74c1
--- /dev/null
+++ b/27125-page-images/p038.png
diff --git a/27125-page-images/p039.png b/27125-page-images/p039.png
new file mode 100644
index 0000000..ce4abc8
--- /dev/null
+++ b/27125-page-images/p039.png
diff --git a/27125-page-images/p040.png b/27125-page-images/p040.png
new file mode 100644
index 0000000..90f1179
--- /dev/null
+++ b/27125-page-images/p040.png
diff --git a/27125-page-images/p041.png b/27125-page-images/p041.png
new file mode 100644
index 0000000..1b05c57
--- /dev/null
+++ b/27125-page-images/p041.png
diff --git a/27125-page-images/p042.png b/27125-page-images/p042.png
new file mode 100644
index 0000000..38b4376
--- /dev/null
+++ b/27125-page-images/p042.png
diff --git a/27125-page-images/p043.png b/27125-page-images/p043.png
new file mode 100644
index 0000000..bdd4394
--- /dev/null
+++ b/27125-page-images/p043.png
diff --git a/27125-page-images/p044.png b/27125-page-images/p044.png
new file mode 100644
index 0000000..1628524
--- /dev/null
+++ b/27125-page-images/p044.png
diff --git a/27125-page-images/p045.png b/27125-page-images/p045.png
new file mode 100644
index 0000000..a539379
--- /dev/null
+++ b/27125-page-images/p045.png
diff --git a/27125-page-images/p046.png b/27125-page-images/p046.png
new file mode 100644
index 0000000..d9b43b6
--- /dev/null
+++ b/27125-page-images/p046.png
diff --git a/27125-page-images/p047.png b/27125-page-images/p047.png
new file mode 100644
index 0000000..7ddfe38
--- /dev/null
+++ b/27125-page-images/p047.png
diff --git a/27125-page-images/p048.png b/27125-page-images/p048.png
new file mode 100644
index 0000000..3c5405e
--- /dev/null
+++ b/27125-page-images/p048.png
diff --git a/27125-page-images/p049.png b/27125-page-images/p049.png
new file mode 100644
index 0000000..ad64502
--- /dev/null
+++ b/27125-page-images/p049.png
diff --git a/27125-page-images/p050.png b/27125-page-images/p050.png
new file mode 100644
index 0000000..6809f60
--- /dev/null
+++ b/27125-page-images/p050.png
diff --git a/27125-page-images/p051.png b/27125-page-images/p051.png
new file mode 100644
index 0000000..f70a975
--- /dev/null
+++ b/27125-page-images/p051.png
diff --git a/27125-page-images/p052.png b/27125-page-images/p052.png
new file mode 100644
index 0000000..cfae787
--- /dev/null
+++ b/27125-page-images/p052.png
diff --git a/27125-page-images/p053.png b/27125-page-images/p053.png
new file mode 100644
index 0000000..8b80018
--- /dev/null
+++ b/27125-page-images/p053.png
diff --git a/27125-page-images/p054.png b/27125-page-images/p054.png
new file mode 100644
index 0000000..c54877f
--- /dev/null
+++ b/27125-page-images/p054.png
diff --git a/27125-page-images/p055.png b/27125-page-images/p055.png
new file mode 100644
index 0000000..7548d14
--- /dev/null
+++ b/27125-page-images/p055.png
diff --git a/27125-page-images/p056.png b/27125-page-images/p056.png
new file mode 100644
index 0000000..58c8e6a
--- /dev/null
+++ b/27125-page-images/p056.png
diff --git a/27125-page-images/p057.png b/27125-page-images/p057.png
new file mode 100644
index 0000000..a58e732
--- /dev/null
+++ b/27125-page-images/p057.png
diff --git a/27125-page-images/p058.png b/27125-page-images/p058.png
new file mode 100644
index 0000000..fe73dbe
--- /dev/null
+++ b/27125-page-images/p058.png
diff --git a/27125-page-images/p059.png b/27125-page-images/p059.png
new file mode 100644
index 0000000..38aeee3
--- /dev/null
+++ b/27125-page-images/p059.png
diff --git a/27125-page-images/p060.png b/27125-page-images/p060.png
new file mode 100644
index 0000000..5c4b49f
--- /dev/null
+++ b/27125-page-images/p060.png
diff --git a/27125-page-images/p061.png b/27125-page-images/p061.png
new file mode 100644
index 0000000..9898f27
--- /dev/null
+++ b/27125-page-images/p061.png
diff --git a/27125-page-images/p062.png b/27125-page-images/p062.png
new file mode 100644
index 0000000..d8fed88
--- /dev/null
+++ b/27125-page-images/p062.png
diff --git a/27125-page-images/p063.png b/27125-page-images/p063.png
new file mode 100644
index 0000000..6df1cc5
--- /dev/null
+++ b/27125-page-images/p063.png
diff --git a/27125-page-images/p064.png b/27125-page-images/p064.png
new file mode 100644
index 0000000..4972300
--- /dev/null
+++ b/27125-page-images/p064.png
diff --git a/27125-page-images/p065.png b/27125-page-images/p065.png
new file mode 100644
index 0000000..923a355
--- /dev/null
+++ b/27125-page-images/p065.png
diff --git a/27125-page-images/p066.png b/27125-page-images/p066.png
new file mode 100644
index 0000000..261e47c
--- /dev/null
+++ b/27125-page-images/p066.png
diff --git a/27125-page-images/p067.png b/27125-page-images/p067.png
new file mode 100644
index 0000000..061d1e4
--- /dev/null
+++ b/27125-page-images/p067.png
diff --git a/27125-page-images/p068.png b/27125-page-images/p068.png
new file mode 100644
index 0000000..ec1165c
--- /dev/null
+++ b/27125-page-images/p068.png
diff --git a/27125-page-images/p069.png b/27125-page-images/p069.png
new file mode 100644
index 0000000..9f9fcd4
--- /dev/null
+++ b/27125-page-images/p069.png
diff --git a/27125-page-images/p070.png b/27125-page-images/p070.png
new file mode 100644
index 0000000..c62ee2d
--- /dev/null
+++ b/27125-page-images/p070.png
diff --git a/27125-page-images/p071.png b/27125-page-images/p071.png
new file mode 100644
index 0000000..67a7e02
--- /dev/null
+++ b/27125-page-images/p071.png
diff --git a/27125-page-images/p072.png b/27125-page-images/p072.png
new file mode 100644
index 0000000..5284436
--- /dev/null
+++ b/27125-page-images/p072.png
diff --git a/27125-page-images/p073.png b/27125-page-images/p073.png
new file mode 100644
index 0000000..f0c6c59
--- /dev/null
+++ b/27125-page-images/p073.png
diff --git a/27125-page-images/p074.png b/27125-page-images/p074.png
new file mode 100644
index 0000000..bd6543e
--- /dev/null
+++ b/27125-page-images/p074.png
diff --git a/27125-page-images/p075.png b/27125-page-images/p075.png
new file mode 100644
index 0000000..2e4432e
--- /dev/null
+++ b/27125-page-images/p075.png
diff --git a/27125-page-images/p076.png b/27125-page-images/p076.png
new file mode 100644
index 0000000..f7086c9
--- /dev/null
+++ b/27125-page-images/p076.png
diff --git a/27125-page-images/p077.png b/27125-page-images/p077.png
new file mode 100644
index 0000000..87b180a
--- /dev/null
+++ b/27125-page-images/p077.png
diff --git a/27125-page-images/p078.png b/27125-page-images/p078.png
new file mode 100644
index 0000000..1d3feef
--- /dev/null
+++ b/27125-page-images/p078.png
diff --git a/27125-page-images/p079.png b/27125-page-images/p079.png
new file mode 100644
index 0000000..a0b0e61
--- /dev/null
+++ b/27125-page-images/p079.png
diff --git a/27125-page-images/p080.png b/27125-page-images/p080.png
new file mode 100644
index 0000000..f2b67d0
--- /dev/null
+++ b/27125-page-images/p080.png
diff --git a/27125-page-images/p081.png b/27125-page-images/p081.png
new file mode 100644
index 0000000..6fb6096
--- /dev/null
+++ b/27125-page-images/p081.png
diff --git a/27125-page-images/p082.png b/27125-page-images/p082.png
new file mode 100644
index 0000000..8cc79ef
--- /dev/null
+++ b/27125-page-images/p082.png
diff --git a/27125-page-images/p083.png b/27125-page-images/p083.png
new file mode 100644
index 0000000..5418e1d
--- /dev/null
+++ b/27125-page-images/p083.png
diff --git a/27125-page-images/p084.png b/27125-page-images/p084.png
new file mode 100644
index 0000000..f7fafb2
--- /dev/null
+++ b/27125-page-images/p084.png
diff --git a/27125-page-images/p085.png b/27125-page-images/p085.png
new file mode 100644
index 0000000..93dcd48
--- /dev/null
+++ b/27125-page-images/p085.png
diff --git a/27125-page-images/p086.png b/27125-page-images/p086.png
new file mode 100644
index 0000000..1fa3002
--- /dev/null
+++ b/27125-page-images/p086.png
diff --git a/27125-page-images/p087.png b/27125-page-images/p087.png
new file mode 100644
index 0000000..78bed3f
--- /dev/null
+++ b/27125-page-images/p087.png
diff --git a/27125-page-images/p088.png b/27125-page-images/p088.png
new file mode 100644
index 0000000..ed46121
--- /dev/null
+++ b/27125-page-images/p088.png
diff --git a/27125-page-images/p089.png b/27125-page-images/p089.png
new file mode 100644
index 0000000..6bc3b17
--- /dev/null
+++ b/27125-page-images/p089.png
diff --git a/27125.txt b/27125.txt
new file mode 100644
index 0000000..d176e2c
--- /dev/null
+++ b/27125.txt
@@ -0,0 +1,2151 @@
+The Project Gutenberg EBook of The Splash of a Drop, by A. M. Worthington
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Splash of a Drop
+
+Author: A. M. Worthington
+
+Release Date: November 2, 2008 [EBook #27125]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE SPLASH OF A DROP ***
+
+
+
+
+Produced by Chris Curnow, Greg Bergquist and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+
+
+
+
+
+
+
+  _THE ROMANCE OF SCIENCE_
+
+  THE SPLASH OF A DROP
+
+
+  BY
+  PROF. A.M. WORTHINGTON, M.A., F.R.S.
+
+
+  _Being the reprint of a Discourse delivered at the Royal Institution
+  of Great Britain, May 18, 1894._
+
+  PUBLISHED UNDER THE DIRECTION OF THE GENERAL
+  LITERATURE COMMITTEE.
+
+
+  LONDON:
+  SOCIETY FOR PROMOTING CHRISTIAN KNOWLEDGE,
+  NORTHUMBERLAND AVENUE, CHARING CROSS, W.C.;
+  43, QUEEN VICTORIA STREET, E.C.
+  BRIGHTON: 129, NORTH STREET.
+  NEW YORK: E. & J.B. YOUNG & CO.
+  1895.
+
+
+
+
+THE SPLASH OF A DROP
+
+
+
+
+INSTANTANEOUS PHOTOGRAPHS OF THE SPLASH OF A WATER-DROP FALLING ABOUT 16
+INCHES INTO MILK.
+
+[Illustration: Time after contact = .0262 sec.]
+
+[Illustration: Time after contact = .0391 sec.]
+
+[Illustration: Time after contact = .101 sec.]
+
+
+
+
+THE SPLASH OF A DROP
+
+
+The splash of a drop is a transaction which is accomplished in the
+twinkling of an eye, and it may seem to some that a man who proposes to
+discourse on the matter for an hour must have lost all sense of
+proportion. If that opinion exists, I hope this evening to be able to
+remove it, and to convince you that we have to deal with an exquisitely
+regulated phenomenon, and one which very happily illustrates some of the
+fundamental properties of fluids. It may be mentioned also that the
+recent researches of Lenard in Germany and J.J. Thomson at Cambridge, on
+the curious development of electrical charges that accompanies certain
+kinds of splashes, have invested with a new interest any examination of
+the mechanics of the phenomenon. It is to the mechanical and not to the
+electrical side of the question that I shall call your attention this
+evening.
+
+The first well-directed and deliberate observations on the subject that
+I am acquainted with were made by a school-boy at Rugby some twenty
+years ago, and were reported by him to the Rugby Natural History
+Society. He had observed that the marks of accidental splashes of
+ink-drops that had fallen on some smoked glasses with which he was
+experimenting, presented an appearance not easy to account for. Drops of
+the same size falling from the same height had made always the same
+kind of mark, which, when carefully examined with a lens, showed that
+the smoke had been swept away in a system of minute concentric rings and
+fine striae. Specimens of such patterns, obtained by letting drops of
+mercury, alcohol, and water fall on to smoked glass, are thrown on the
+screen, and the main characteristics are easily recognized. Such a
+pattern corresponds to the footprints of the dance that has been
+performed on the surface, and though the drop may be lying unbroken on
+the plate, it has evidently been taking violent exercise, and were our
+vision acute enough we might observe that it was still palpitating after
+its exertions.
+
+A careful examination of a large number of such footprints showed that
+any opinion that could be formed therefrom of the nature of the motion
+of the drop must be largely conjectural, and it occurred to me about
+eighteen years ago to endeavour by means of the illumination of a
+suitably-timed electric spark to watch a drop through its various
+changes on impact.
+
+The reason that with ordinary continuous light nothing can be
+satisfactorily seen of the splash, is not that the phenomenon is of such
+short duration, but because the changes are so rapid that before the
+image of one stage has faded from the eye the image of a later and quite
+different stage is superposed upon it. Thus the resulting impression is
+a confused assemblage of all the stages, as in the photograph of a
+person who has not sat still while the camera was looking at him. The
+problem to be solved experimentally was therefore this: to let a drop of
+definite size fall from a definite height in comparative darkness on to
+a surface, and to illuminate it by a flash of exceedingly short duration
+at any desired stage, so as to exclude all the stages previous and
+subsequent to the one thus picked out. The flash must be bright enough
+for the image of what is seen to remain long enough on the eye for the
+observer to be able to attend to it, and even to shift his attention
+from one part to another, and thus to make a drawing of what is seen. If
+necessary the experiment must be capable of repetition, with an exactly
+similar drop falling from exactly the same height, and illuminated at
+exactly the same stage. Then, when this stage has been sufficiently
+studied, we must be able to arrange with another similar drop to
+illuminate it at a rather later stage, say 1/1000 second later, and in
+this way to follow step by step the whole course of the phenomenon.
+
+The apparatus by which this has been accomplished is on the table before
+you. Time will not suffice to explain how it grew out of earlier
+arrangements very different in appearance, but its action is very simple
+and easy to follow by reference to the diagram (Fig. 1).
+
+AA' is a light wooden rod rather longer and thicker than an ordinary
+lead pencil, and pivoted on a horizontal axle O. The rod bears at the
+end A a small deep watch-glass, or segment of a watch-glass, whose
+surface has been smoked, so that a drop even of water will lie on it
+without adhesion. The end A' carries a small strip of tinned iron, which
+can be pressed against and held down by an electro-magnet CC'. When the
+current of the electro-magnet is cut off the iron is released, and the
+end A' of the rod is tossed up by the action of a piece of india-rubber
+stretched catapult-wise across two pegs at E, and by this means the drop
+resting on the watch-glass is left in mid-air free to fall from rest.
+
+[Illustration: FIG. 1.]
+
+BB' is a precisely similar rod worked in just the same way, but carrying
+at B a small horizontal metal ring, on which an ivory timing sphere of
+the size of a child's marble can be supported. On cutting off the
+current of the electro-magnet the ends A' and B' of the two levers are
+simultaneously tossed up by the catapults, and thus drop and sphere
+begin to fall at the same moment. Before, however, the drop reaches the
+surface on which it is to impinge, the timing sphere strikes a plate D
+attached to one end of a third lever pivoted at Q, and thus breaks the
+contact between a platinum wire bound to the underside of this lever and
+another wire crossing the first at right angles. This action breaks an
+electric current which has traversed a second electro-magnet F (Fig. 2),
+and releases the iron armature N of the lever NP, pivoted at P, thus
+enabling a strong spiral spring G to lift a stout brass wire L out of
+mercury, and to break at the surface of the mercury a strong current
+that has circulated round the primary circuit of a Ruhmkorff's induction
+coil; this produces at the surface of the mercury a bright
+self-induction spark in the neighbourhood of the splash, and it is by
+this flash that the splash is viewed. The illumination is greatly helped
+by surrounding the place where the splash and flash are produced by a
+white cardboard enclosure, seen in Fig. 2, from whose walls the light is
+diffused.
+
+[Illustration: FIG. 2.]
+
+It will be observed that the time at which the spark is made will depend
+upon the distance that the sphere has to fall before striking the plate
+D, for the subsequent action of demagnetizing F and pulling the wire L
+out of the mercury in the cup H is the same on each occasion. The modus
+operandi is consequently as follows:--The observer, sitting in
+comparative but by no means complete darkness, faces the apparatus as it
+appears in Fig. 2, presses down the ends A'B' of the levers first
+described, so that they are held by the electro-magnet C (Fig. 1); then
+he presses the lever NP down on the electro-magnet F, sets the timing
+sphere and drop in place, and then by means of a bridge between two
+mercury cups, short-circuits and thus cuts off the current of the
+electro-magnet C. This lets off drop and sphere, and produces the flash.
+The stage of the phenomenon that is thus revealed having been
+sufficiently studied by repetition of the experiment as often as may be
+necessary, he lowers the plate D a fraction of an inch and thus obtains
+a later stage. Not only is any desired stage of the phenomenon thus
+easily brought under examination, but the apparatus also affords the
+means of measuring the time interval between any two stages. All that
+is necessary is to know the distance that the timing sphere falls in the
+two cases. Elementary dynamics then give us the interval required. Thus,
+if the sphere falls one foot and we then lower D 1/4 inch, the interval
+between the corresponding stages will be about .0026 second.
+
+Having thus described the apparatus, which I hope shortly to show you in
+action, I pass to the information that has been obtained by it.
+
+This is contained in a long series of drawings, of which a selection
+will be presented on the screen. The First Series that I have to show
+represents the splash of a drop of mercury 0.15 inch in diameter that
+has fallen 3 inches on to a smooth glass plate. It will be noticed that
+very soon after the first moment of impact, minute rays are shot out in
+all directions on the surface. These are afterwards overflowed or
+united, until, as in Fig. 8, the outline is only slightly rippled. Then
+(Fig. 9) main rays shoot out, from the ends of which in some cases
+minute droplets of liquid would split off, to be left lying in a circle
+on the plate, and visible in all subsequent stages. By counting these
+droplets when they were thus left, the number of rays was ascertained to
+have been generally about 24. This exquisite shell-like configuration,
+shown in Fig. 9, marks about the maximum spread of the liquid, which,
+subsiding in the middle, afterwards flows into an annulus or rim with a
+very thin central film, so thin, in fact, as often to tear more or less
+irregularly. This annular rim then divides or segments (Figs. 14, 15,
+16) in such a manner as to join up the rays in pairs, and thus passes
+into the 12-lobed annulus of Fig. 16. Then the whole contracts, but
+contracts most rapidly between the lobes, the liquid then being driven
+into and feeding the arms, which follow more slowly. In Fig. 21 the end
+of this stage is reached, and now the arms continuing to come in, the
+liquid rises in the centre; this is, in fact, the beginning of the
+rebound of the drop from the plate. In the case before us the drops at
+the ends of the arms now break off (Fig. 25), while the central mass
+rises in a column which just fails itself to break up into drops, and
+falls back into the middle of the circle of satellites which, it will be
+understood, may in some cases again be surrounded by a second circle of
+the still smaller and more numerous droplets that split off the ends of
+the rays in Fig. 9. The whole of the 30 stages described are
+accomplished in about 1/20 second, so that the average interval between
+them is about 1/600 second.
+
+
+FIRST SERIES.
+
+[Illustration: 1]
+
+[Illustration: 2]
+
+[Illustration: 3]
+
+[Illustration: 4]
+
+[Illustration: 5]
+
+[Illustration: 6]
+
+[Illustration: 7]
+
+[Illustration: 8]
+
+[Illustration: 9]
+
+[Illustration: 10]
+
+[Illustration: 11]
+
+[Illustration: 12]
+
+[Illustration: 13]
+
+[Illustration: 14]
+
+[Illustration: 15]
+
+[Illustration: 16]
+
+[Illustration: 17]
+
+[Illustration: 18]
+
+[Illustration: 19]
+
+[Illustration: 20]
+
+[Illustration: 21]
+
+[Illustration: 22]
+
+[Illustration: 23]
+
+[Illustration: 24]
+
+[Illustration: 25]
+
+[Illustration: 26]
+
+[Illustration: 27]
+
+[Illustration: 28]
+
+[Illustration: 29]
+
+[Illustration: 30]
+
+It should be mentioned that it is only in rare cases that the
+subordinate drops seen in the last six figures, are found lying in a
+very complete circle after all is over, for there is generally some
+slight disturbing lateral velocity which causes many to mingle again
+with the central drop, or with each other. But even if only half or a
+quarter of the circle is left, it is easy to estimate how many drops,
+and therefore how many arms there have been. It may be mentioned that
+sometimes the surface of the central lake of liquid (Figs. 14, 15, 16,
+17) was seen to be covered with beautiful concentric ripples, not shown
+in the figures.
+
+The question now naturally presents itself, Why should the drop behave
+in this manner? In seeking the answer it will be useful to ask ourselves
+another question. What should we have expected the drop to do? Well, to
+this I suppose most people would be inclined, arguing from analogy with
+a solid, to reply that it would be reasonable to expect the drop to
+flatten itself, and even very considerably flatten itself, and then,
+collecting itself together again, to rebound, perhaps as a column such
+as we have seen, but not to form this regular system of rays and arms
+and subordinate drops.
+
+Now this argument from analogy with a solid is rather misleading, for
+the forces that operate in the case of a solid sphere that flattens
+itself and rebounds, are due to the bodily elasticity which enables it
+not only to resist, but also to recover from any distortion of shape or
+shearing of its internal parts past each other. But a liquid has no
+power of recovering from such internal shear, and the only force that
+checks the spread, and ultimately causes the recovery of shape, is the
+_surface tension_, which arises from the fact that the surface layers
+are always in a state of extension and always endeavouring to contract.
+Thus we are at liberty when dealing with the motions of the drop to
+think of the interior liquid as not coherent, provided we furnish it
+with a suitable elastic skin. Where the surface skin is sharply curved
+outwards, as it is at the sharp edge of the flattened disc, there the
+interior liquid will be strongly pressed back. In fact the process of
+flattening and recoil is one in which energy of motion is first expended
+in creating fresh liquid surface, and subsequently recovered as the
+surface contracts. The transformation is, however, at all moments
+accompanied by a great loss of energy as heat. Moreover, it must be
+remembered that the energy expended in creating the surface of the
+satellite drops is not restored if these remain permanently separate.
+Thus the surface tension explains the recoil, and it is also closely
+connected with the formation of the subordinate rays and arms. To
+explain this it is only necessary to remind you that a liquid cylinder
+is an unstable configuration. As you know, any fine jet becomes beaded
+and breaks into drops, but it is not necessary that there should be any
+flow of liquid along the jet; if, for example, we could realize a rod of
+liquid of the shape and size of this cylindrical ruler that I hold in my
+hand, and liberate it in the air, it would not retain its cylindrical
+shape, but would segment or divide itself up into a row of drops
+regularly disposed according to a definite and very simple numerical
+law, viz. that the distances between the centres of contiguous drops
+would be equal to the circumference of the cylinder. This can be shown
+by calculation to be a consequence of the surface tension, and the
+calculation has been closely verified by experiment. If the liquid
+cylinder were liberated on a plate, it would still topple into a regular
+row of drops, but they would be further apart; this was shown by
+Plateau. Now imagine the cylinder bent into an annulus. It will still
+follow the same law,[1] _i.e._ it will topple into drops just as if it
+were straight. This I can show you by a direct experiment. I have here a
+small thick disc of iron, with an accurately planed face and a handle at
+the back. In the face is cut a circular groove, whose cross section is a
+semi-circle. I now lay this disc face downwards on the horizontal face
+of the lantern condenser, and through one of two small holes bored
+through to the back of the disc I fill the groove with quicksilver. Now,
+suddenly lifting the disc from the plate, I release an annulus of
+liquid, which splits into the circle of very equal drops which you see
+projected on the screen. You will notice that the main drops have
+between them still smaller ones, which have come from the splitting up
+of the thin cylindrical necks of liquid which connected the larger drops
+at the last moment.
+
+Now this tendency to segment or topple into drops, whether of a straight
+cylinder or of an annulus, is the key to the formation of the arms and
+satellites, and indeed to much that happens in all the splashes that we
+shall examine. Thus in Fig. 12 we have an annular rim, which in Figs. 13
+and 14 is seen to topple into lobes by which the rays are united in
+pairs, and even the special rays that are seen in Fig. 9 owe their
+origin to the segmentation of the rim of the thin disc into which the
+liquid has spread. The proceeding is probably exactly analogous to what
+takes place in a sea wave that curls over in calm weather on a slightly
+sloping shore. Any one may notice how, as it curls over, the wave
+presents a long smooth edge, from which at a given instant a multitude
+of jets suddenly shoot out, and at once the back of the wave, hitherto
+smooth, is seen to be furrowed or "combed." There can be no doubt that
+the cylindrical edge topples into alternate convexities and concavities;
+at the former the flow is helped, at the latter hindered, and thus the
+jets begin, and special lines of flow are determined. In precisely the
+same way the previously smooth circular edge of Fig. 8 topples, and
+determines the rays and lines of flow of Fig. 9.
+
+Before going on to other splashes I will now endeavour to reproduce a
+mercury splash of the kind I have described, in a manner that shall be
+visible to all. For this purpose I have reduplicated the apparatus which
+you have seen, and have it here so arranged that I can let the drop fall
+on to the horizontal condenser plate of the lantern, through which the
+light passes upwards, to be afterwards thrown upon this screen. The
+illuminating flash will be made inside the lantern, where the arc light
+would ordinarily be placed. I have now set a drop of mercury in
+readiness and put the timing sphere in place, and now if you will look
+intently at the middle of the screen I will darken the room and let off
+the splash. (The experiment was repeated four or five times, and the
+figures seen were like those of Series X.) Of course all that can be
+shown in this way is the outline, or rather a horizontal section of the
+splash; but you are able to recognize some of the configurations already
+described, and will be the more willing to believe that a momentary view
+is after all sufficient to give much information if one is on the alert
+and has acquired skill by practice.
+
+The general features of the splash that we have examined are not merely
+characteristic of the liquid mercury, but belong to all splashes of a
+liquid falling on to a surface which it does not wet, provided the
+height of fall or size of the drop are not so great as to cause complete
+disruption,[2] in which case there is no recovery and rebound. Thus a
+drop of milk falling on to smoked glass will, if the height of fall and
+size of drop are properly adjusted, give forms very similar to those
+presented by a drop of mercury. The whole course of the phenomenon
+depends, in fact, mainly on four quantities only: (1) the size of the
+drop; (2) the height of fall; (3) the value of the surface tension; (4)
+the viscosity of the liquid.
+
+The next series of drawings illustrates the splash of a drop of water
+falling into water.
+
+In order the better to distinguish the liquid of the original drop from
+that into which it falls, the latter was coloured with ink or with an
+aniline dye, and the drop itself was of water rendered turbid with
+finely-divided matter in suspension. Finally drops of milk were found to
+be very suitable for the purpose, the substitution of milk for water not
+producing any observable change in the phenomenon.
+
+In Series II. the drop fell 3 inches, and was 1/5 inch in diameter.
+
+[In most of the figures of this and of succeeding series the central
+white patch represents the original drop, and the white parts round it
+represent those raised portions of the liquid which catch the light. The
+numbers under each figure give the time interval in seconds from the
+occurrence of the first figure, or of the figure marked [Tau] = 0.]
+
+
+SERIES II.
+
+_The Splash of a Drop, followed in detail by Instantaneous
+Illumination._
+
+Diameter of Drop, 1/5 inch. Height of Fall, 3-1/5 inches.
+
+[Illustration: 1
+
+[Tau] = 0 sec.]
+
+[Illustration: 2
+
+[Tau] = 0 sec.]
+
+[Illustration: 3
+
+[Tau] = .0097 sec.]
+
+[Illustration: 4
+
+[Tau] = .0392 sec.]
+
+[Illustration: 5
+
+[Tau] = .0392 sec.]
+
+[Illustration: 6]
+
+[Illustration: 7
+
+[Tau] = .0979 sec.]
+
+[Illustration: 8
+
+[Tau] = .1095 sec.]
+
+[Illustration: 9
+
+[Tau] = .167 sec.]
+
+It will be observed that the drop flattens itself out somewhat, and
+descends at the bottom of a hollow with a raised beaded edge (Fig. 2).
+This edge would be smooth and circular but for the instability which
+causes it to topple into drops. As the drop descends the hollow becomes
+wider and deeper, and finally closes over the drop (Fig. 3), which,
+however, soon again emerges as the hollow flattens out, appearing first
+near, but still below the surface (Fig. 4), in a flattened, lobed form,
+afterwards rising as a column somewhat mixed with adherent water, in
+which traces of the lobes are at first very visible.
+
+The rising column, which is nearly cylindrical, breaks up into drops
+before or during its subsequent descent into the liquid. As it
+disappears below the surface the outward and downward flow causes a
+hollow to be again formed, up the sides of which an annulus of milk is
+carried, while the remainder descends to be torn again a second time
+into a vortex ring, which, however, is liable to disturbance from the
+falling in of the drops which once formed the upper part of the
+rebounding column.
+
+It is not difficult to recognize some features of this splash without
+any apparatus beyond a cup of tea and a spoonful of milk. Any drinker of
+afternoon tea, after the tea is poured out and before the milk is put
+in, may let the milk fall into it drop by drop from one or two inches
+above it. The rebounding column will be seen to consist almost entirely
+of milk, and to break up into drops in the manner described, while the
+vortex ring, whose core is of milk, may be seen to shoot down into the
+liquid. But this is better observed by dropping ink into a tumbler of
+clear water.
+
+Let us now increase the height of fall to 17 inches. Series III.
+exhibits the result. All the characteristics of the last splash are
+more strongly marked. In Fig. 1 we have caught sight of the little
+raised rim of the hollow before it was headed, but in Fig. 2 special
+channels of easiest flow have been already determined. The number of
+ribs and rays in this basket-shaped hollow seemed to vary a good deal
+with different drops, as also did the number of arms and lobes seen in
+later figures, in a somewhat puzzling manner, and I made no attempt to
+select drawings which are in agreement in this respect. It will be
+understood that these rays contain little or none of the liquid of the
+drop, which remains collected together in the middle. Drops from these
+rays or from the larger arms and lobes of subsequent figures are often
+thrown off high into the air. In Figs. 3 and 4 the drop is clean gone
+below the surface of the hollow, which is now deeper and larger than
+before. The beautiful beaded annular edge then subsides, and in Fig. 5
+we see the drop again, and in Fig. 6 it begins to emerge. But although
+the drop has fallen from a greater height than in the previous splash,
+the energy of the impact, instead of being expended in raising the same
+amount of liquid to a greater height, is now spent in lifting a much
+thicker adherent column to about the same height as in the last splash.
+There was sometimes noticed, as seen in Fig. 9, a tendency in the water
+to flow up past the milk, which, still comparatively unmixed with water,
+rides triumphant on the top of the emergent column. The greater relative
+thickness of this column prevents it splitting into drops, and Figs. 10
+and 11 show it descending below the surface to form the hollow of Fig.
+12, up the sides of which an annular film of milk is carried (Figs. 12
+and 13), having been detached from the central mass, which descends to
+be torn again, this time centrally into a well-marked vortex ring.
+
+
+SERIES III.
+
+_The Splash of a Drop, followed in detail by Instantaneous
+Illumination._
+
+Diameter of Drop, 1/5 inch. Height of Fall, 1 ft. 5 in.
+
+[Illustration: 1
+
+[Tau] = 0 sec.]
+
+[Illustration: 2
+
+[Tau] = .0314 sec.]
+
+[Illustration: 3
+
+[Tau] = .0317 sec.]
+
+[Illustration: 4
+
+[Tau] = .0389 sec.]
+
+[Illustration: 5
+
+[Tau] = .0498 sec.]
+
+[Illustration: 6
+
+[Tau] = .0551 sec.]
+
+[Illustration: 7
+
+[Tau] = .0759 sec.]
+
+[Illustration: 8
+
+[Tau] = .0901 sec.]
+
+[Illustration: 9]
+
+[Illustration: 10]
+
+[Illustration: 11]
+
+[Illustration: 12
+
+[Tau] = .295 sec.]
+
+[Illustration: 13]
+
+[Illustration: 14]
+
+If we keep to the same size of drop and increase the fall to something
+over a yard, no great change occurs in the nature of the splash, but the
+emergent column is rather higher and thinner and shows a tendency to
+split into drops.
+
+When, however, we double the volume of the drop and raise the height of
+fall to 52 inches, the splash of Series IV. is obtained, which is
+beginning to assume quite a different character. The raised rim of the
+previous series is now developed into a hollow shell of considerable
+height, which tends to close over the drop. This shell or dome is a
+characteristic feature of all splashes made by large drops falling from
+a considerable height, and is extremely beautiful. In the splash at
+present under consideration it does not always succeed in closing
+permanently, but opens out as it subsides, and is followed by the
+emergence of the drop (Fig. 8). In Fig. 9 the return wave overwhelms the
+drop for an instant, but it is again seen at the summit of the column in
+Fig. 10.
+
+
+SERIES IV.
+
+_The Splash of a Drop, followed in detail by Instantaneous
+Illumination._
+
+Diameter of Drop, 1/4 inch. Height of Fall, 4 ft. 4 in.
+
+[Illustration: 1
+
+[Tau] = 0 sec.]
+
+[Illustration: 2
+
+[Tau] = .0021 sec.]
+
+[Illustration: 3
+
+[Tau] = .0042 sec.]
+
+[Illustration: 4
+
+[Tau] = .0165 sec.]
+
+[Illustration: 5
+
+[Tau] = .0206 sec.]
+
+[Illustration: 6
+
+[Tau] = .0443 sec.]
+
+[Illustration: 7
+
+[Tau] = .0482 sec.]
+
+[Illustration: 8
+
+[Tau] = .0595 sec.]
+
+[Illustration: 9
+
+[Tau] = .0707 sec.]
+
+[Illustration: 10]
+
+[Illustration: 11]
+
+But on other occasions the shell or dome of Figs. 4 and 5 closes
+permanently over the imprisoned air, the liquid then flowing down the
+sides, which become thinner and thinner, till at length we are left with
+a large bubble floating on the water (see Series V.). It will be
+observed that the flow of liquid down the sides is chiefly along
+definite channels, which are probably determined by the arms thrown up
+at an earlier stage. The bubble is generally creased by the weight of
+the liquid along these channels. It must be remembered that the base of
+the bubble is in a state of oscillation, and that the whole is liable to
+burst at any moment, when such figures as 6 and 7 of the previous series
+will be seen.
+
+[Illustration: SERIES V.
+
+_The Splash of a Drop, followed in detail by Instantaneous
+Illumination._
+
+The Size of Drop and Height of Fall are the same as before, but the
+hollow shell (see figs. 4 and 5 of the previous Series) does not succeed
+in opening, but is left as a bubble on the surface. This explains the
+formation of bubbles when _big_ rain-drops fall into a pool of water.]
+
+Such is the history of the building of the bubbles which big rain-drops
+leave on the smooth water of a lake, or pond, or puddle. Only the bigger
+drops can do it, and reference to the number at the side of Fig. 5 of
+Series IV. shows that the dome is raised in about two-hundredths of a
+second. Should the domes fail to close, or should they open again, we
+have the emergent columns which any attentive observer will readily
+recognize, and which have never been better described than by Mr. R.L.
+Stevenson, who, in his delightful _Inland Voyage_, speaks of the surface
+of the Belgian canals along which he was canoeing, as thrown up by the
+rain into "an infinity of little crystal fountains."
+
+Very beautiful forms of the same type indeed, but different in detail,
+are those produced by a drop of water falling into the lighter and more
+mobile liquid, petroleum.
+
+It will now be interesting to turn to the splash that is produced when a
+solid sphere, such as a child's marble, falls into water.
+
+I found to my great surprise that the character of the splash, at any
+rate up to a height of 4 or 5 feet, depends entirely on the state of the
+surface of the sphere. A polished sphere of marble about 0.6 of an inch
+in diameter, rubbed very dry with a cloth just beforehand and dropped
+from a height of 2 feet into water, gave the figures of Series VI., in
+which it is seen that the water spreads over the sphere so rapidly, that
+it is sheathed with the liquid even before it has passed below the
+general level of the surface. The splash is insignificantly small and of
+very short duration.[3] If the drying and polishing be not so perfect,
+the configurations of Series VII. are produced; while if the sphere be
+roughened with sandpaper, or _left wet_, Series VIII. is obtained, in
+which it will be perceived that, as was the case with the liquid drop,
+the water is driven away laterally, forming the ribbed basket-shaped
+hollow, which, however, is now prolonged to a great depth, the drop
+being followed by a cone of air, while the water seems to find great
+difficulty in wetting the surface completely. Part of this column of air
+was carried down at least 16 inches, and then only detached when the
+sphere struck the bottom of the vessel.
+
+
+SERIES VI., VII.
+
+_Splash of a Solid Sphere (a marble 1/2 inch in diameter falling 2 feet
+into water)._
+
+[Illustration: SERIES VI.
+
+When the sphere is _dry_ and _polished_.]
+
+[Illustration: SERIES VII.
+
+When the sphere is _not_ well _dried_ and _polished_.]
+
+[Illustration: SERIES VIII.
+
+_The Splash of a Solid Sphere_--(continued.)
+
+When the sphere is _rough_ or _wet_.]
+
+[Illustration: SERIES IX.
+
+_The Splash of a Solid Sphere_--(continued.)
+
+When the sphere is rough or wet, and falls above 5 feet.]
+
+Figs. 6 and 7 show the crater falling in, but this did not always
+happen, for the walls often closed over the hollow exactly as in Figs. 4
+and 5 of Series IV. Meanwhile the long and nearly cylindrical portion
+below breaks up into bubbles which rise quickly to the surface.
+
+By increasing the fall to 5 feet we obtain the figures of Series IX. The
+tube of Fig. 1 corresponds to the dome of Series IV. and V., and is not
+only elevated to a surprising height, but is also in the act of cleaving
+(the outline being approximately that of the unduloid of M. Plateau).
+Figs. 2 and 3 show the bubble formed by the closing up of this tube,
+weighed down in the centre as in Figs. 5 and 6 of Series V. Similar
+results were obtained with other liquids, such as petroleum and alcohol.
+
+It is easy to show in a very striking manner the paramount influence of
+the condition of the solid surface. I have here a number of similar
+marbles; this set has been well polished by rubbing with wash leather. I
+drop them one by one through a space of about 1 foot into this deep,
+wide, cylindrical glass vessel, lighted up by a lamp placed behind it.
+You see each marble enters noiselessly and with hardly a visible trace
+of splash. Now I pick them out and drop them in again (or to save
+trouble, I drop in the place of these other wet ones), everything is
+changed. You see how the air is carried to the very bottom of the
+vessel, and you hear the "phloisbos" of the bubbles as they
+rise to the surface and burst. These dry but rough marbles behave in
+much the same way.
+
+Such are the main features of the Natural History of Splashes, as I made
+it out between thirteen and eighteen years ago. Before passing on to the
+photographs that I have since obtained, I desire to add a few words of
+comment. I have not till now alluded to any imperfections in the timing
+apparatus. But no apparatus of the kind can be absolutely perfect, and,
+as a matter of fact, when everything is adjusted so as to display a
+particular stage, it will happen that in a succession of observations
+there is a certain variation in what is seen. Thus the configuration
+viewed may be said to oscillate slightly about the mean for which the
+apparatus is adjusted. Now this is due both to small imperfections in
+the timing apparatus and to the fact that the splashes themselves do
+actually vary within certain limits. The reasons are not very far to
+seek. In the first place the rate of demagnetization of the
+electro-magnets varies slightly, being partly dependent on the varying
+resistance of the contacts of crossed wires, partly on the temperature
+of the magnet, which is affected by the length of time for which the
+current has been running. But a much more important reason is the
+variation of the slight adhesion of the drop to the smoked watch-glass
+that has supported it, and consequently of the oscillations to which, as
+we shall see, the drop is subjected as it descends. Thus the drop will
+sometimes strike the surface in a flattened form, at others in an
+elongated form, and there will be a difference, not only in the time of
+impact, but in the nature of the ensuing splash; consequently some
+judgment is required in selecting a consecutive series of drawings. The
+only way is to make a considerable number of drawings of each stage, and
+then to pick out a consecutive series. Now, whenever judgment has to be
+used, there is room for error of judgment, and moreover, it is
+impossible to put together the drawings so as to tell a consecutive
+story, without being guided by some theory, such as I have already
+sketched, as to the nature of the motion and the conditions that govern
+it. You will therefore be good enough to remember that this chronicle of
+the events of a tenth of a second is not a mechanical record but is
+presented by a fallible human historian, whose account, like that of
+any other contemporary observer, will be none the worse for independent
+confirmation. That confirmation is fortunately obtainable. In an attempt
+made eighteen years ago to photograph the splash of a drop of mercury, I
+was unable to procure plates sufficiently sensitive to respond to the
+very short exposures that were required, and consequently abandoned the
+endeavour. But in recent years plates of exquisite sensitiveness have
+been produced, and such photographs as those taken by Mr. Boys of a
+flying rifle bullet have shown that difficulties on the score of
+sensitiveness have been practically overcome. Within the last few weeks,
+with the valuable assistance of my colleague at Devonport, Mr. R.S.
+Cole, I have succeeded in obtaining photographs of various splashes.
+Following Prof. Boys' suggestion, we employed Thomas's cyclist plates,
+or occasionally the less sensitive "extra-rapid" plates of the same
+makers, and as a developer, Eikonogen solution of triple strength, in
+which the plates were kept for about 40 minutes, the development being
+conducted in complete darkness.
+
+A few preliminary trials with the self-induction spark produced at the
+surface of mercury by the apparatus that you have seen at work, showed
+that the illumination, though ample for direct vision, was not
+sufficient for photography. When the current strength was increased, so
+as to make the illumination bright enough for the camera, then the spark
+became of too great duration, for it lasted for between 4 and 5
+thousandths of a second, within which time there was very perceptible
+motion of the drop and consequent blurring. It was therefore necessary
+to modify the apparatus so as to employ a Leyden-jar spark whose
+duration was probably less than 10-millionths of a second. A very
+slight change in the apparatus rendered it suitable for the new
+conditions, but time does not permit me to describe the arrangements in
+detail. It is, however, less necessary to do so as the method is in all
+essentials the same as that described in this room two years ago by Lord
+Rayleigh in connection with the photography of a breaking soap-film.[4]
+I therefore pass at once to the photographs themselves.
+
+The first two series (X. and XI.) may be described as shadow
+photographs; they were obtained by allowing a drop of mercury to fall on
+to the naked photographic plate itself, the illuminating spark being
+produced vertically above it, and they give only a horizontal section of
+the drop in various stages, revealing the form of the outline of the
+part in contact with the plate, but of course telling nothing about the
+shape of the parts above. The first series corresponds to a mercury
+splash very similar to that first described, and the second to the
+splash of a larger drop such as was not described. In each series, the
+tearing of the thin central film to which allusion was made is well
+illustrated. I think the first comment that any one would make is that
+the photographs, while they bear out the drawings in many details, show
+greater irregularity than the drawings would have led one to expect. On
+this point I shall presently have something to say.
+
+
+SERIES X.
+
+(1) _Instantaneous Shadow Photographs (life size) of the Splash of a
+Drop of Mercury falling 8 cm. on to the Photographic Plate._
+
+[Illustration: 1
+
+Actual size of the Drop, 4.83 mm.]
+
+[Illustration: 2
+
+[Tau] = 0]
+
+[Illustration: 3]
+
+[Illustration: 4]
+
+[Illustration: 5]
+
+[Illustration: 6]
+
+[Illustration: 7
+
+[Tau] = .048 sec.]
+
+
+SERIES XI.
+
+(2) _Instantaneous Shadow Photographs (life size) of the Splash of a
+Drop of Mercury falling 15 cm. on to Glass._
+
+[Illustration: 1
+
+Actual size, 4.83 mm. in diameter.]
+
+[Illustration: 2
+
+[Tau] = 0 sec.]
+
+[Illustration: 3]
+
+[Illustration: 4
+
+4A
+
+[Tau] = .0032 sec.]
+
+[Illustration: 5
+
+[Tau] = .0063 sec.]
+
+[Illustration: 5A
+
+[Tau] = .0094 sec.]
+
+[Illustration: 6
+
+[Tau] = .0134 sec.]
+
+Comparing the first set of drawings (pp. 20-24) with the photographs of
+Series X., it will be seen that
+
+  Photograph 2 corresponds to drawing 4 or 5
+      "      3     "             "    9
+      "      4     "             "   18
+      "      6     "             "   20
+      "      7     "             "   24
+
+but the irregularity of the last photograph almost masks the
+resemblance.
+
+
+SERIES XII.
+
+_Engravings from Instantaneous Photographs (16/17 of the real size) of
+the Splash of a Drop of Mercury, 4.83 mm. in diameter, falling 8.9 cm.
+on to a hard polished surface._
+
+[Illustration: 1]
+
+[Illustration: 2
+
+[Tau] = 0 sec.]
+
+[Illustration: 3]
+
+[Illustration: 4]
+
+[Illustration: 5]
+
+[Illustration: 6
+
+[Tau] = .0195 sec.]
+
+Series XII. gives an objective view of a mercury splash as taken by the
+camera. Only the first of this series shows any detail in the interior.
+The polished surface of the mercury is, in fact, very troublesome to
+illuminate, and this splash proved the most difficult of all to
+photograph.
+
+Series XIII. shows the splash of a drop of milk falling on to a smoked
+glass plate, on which it runs about without adhesion just as mercury
+would. Here there is more of detail. In Fig. 4 the central film is so
+thin in the middle that the black plate beneath it is seen through the
+liquid. In Fig. 8 this film has been torn.
+
+Series XIV. exhibits the splash of a water drop falling into milk. The
+first four photographs show the oscillations of the drop about a mean
+spherical figure as it approaches the surface.
+
+In the subsequent figures it will be noticed that the arms which are
+thrown up at first, afterwards segment into drops which fly off and
+subside (see Fig. 8), to be followed by a second series which again
+subside (Fig. 11), to be again succeeded by a third set. In fact, so
+long as there is any downward momentum the drop and the air behind it
+are penetrating the liquid, and so long must there be an upward flow of
+displaced liquid. Much of this flow is seen to be directed into the arms
+along the channels determined by the segmentation of the annular rim.
+This reproduction of the lobes and arms time after time on a varying
+scale goes far to explain the puzzling variations in their number which
+I mentioned in connection with the drawings. I had not, indeed,
+suspected this, which is one of the few new points that the photographs
+have so far revealed.[5]
+
+
+SERIES XIII.
+
+_Engravings of Instantaneous Photographs (16/17 of the real size) of the
+Splash of a Drop of Milk falling 20 cm. on to smoked glass._
+
+[Illustration: 1]
+
+[Illustration: 2
+
+[Tau] = 0 sec.]
+
+[Illustration: 3
+
+[Tau] = .0025 sec.]
+
+(It was not found possible to reproduce satisfactorily the missing
+figures of this series.)
+
+[Illustration: 7
+
+[Tau] = .0128 sec.]
+
+[Illustration: 8
+
+[Tau] = .0149 sec.]
+
+[Illustration: 9
+
+[Tau] = .0149 sec.]
+
+
+SERIES XIV.
+
+_Engravings of Instantaneous Photographs of the Splash of a Drop of
+Water falling 40 cm. into Milk._
+
+Scale about 6/10 of actual size.
+
+[Illustration: 1]
+
+[Illustration: 2]
+
+[Illustration: 3]
+
+[Illustration: 4
+
+[Tau] = 0 sec.]
+
+[Illustration: 5]
+
+[Illustration: 6
+
+[Tau] = .0056 sec.]
+
+[Illustration: 7
+
+[Tau] = .0163 sec.]
+
+[Illustration: 8]
+
+[Illustration: 9
+
+[Tau] = .0182 sec.]
+
+[Illustration: 10
+
+[Tau] = .0197 sec.]
+
+[Illustration: 11
+
+[Tau] = .0262 sec.]
+
+[Illustration: 12
+
+[Tau] = .0391 sec.]
+
+[Illustration: 13
+
+[Tau] = .0514 sec.]
+
+[Illustration: 14
+
+[Tau] = .0601 sec.]
+
+[Illustration: 15]
+
+[Illustration: 16
+
+[Tau] = .080 sec.]
+
+[Illustration: 17]
+
+[Illustration: 18
+
+[Tau] = .101 sec.]
+
+With respect to these photographs,[6] the credit of which I hope you
+will attribute firstly to the inventors of the sensitive plates, and
+secondly to the skill and experience of Mr. Cole, I desire to add that
+they are, as far as we know, the first really detailed objective views
+that have been obtained with anything approaching so short an exposure.
+
+Even Mr. Boys' wonderful photographs of flying bullets were after all
+but shadow-photographs, and did not so strikingly illustrate the
+extreme sensitiveness of the plates, and I want you to distinguish
+between such and what (to borrow Mr. F.J. Smith's phrase) I call an
+"objective view."
+
+It remains only to speak of the greater irregularity in the arms and
+rays as shown by the photographs. The point is a curious and interesting
+one. In the first place I have to confess that in looking over my
+original drawings I find records of many irregular or unsymmetrical
+figures, yet in compiling the history it has been inevitable that these
+should be rejected, if only because identical irregularities never
+recur. Thus the mind of the observer is filled with an ideal splash--an
+"Auto-Splash"--whose perfection may never be actually realized.
+
+But in the second place, when the splash is nearly regular it is very
+difficult to detect irregularity. This is easily proved by projecting
+on the screen with instantaneous illumination such a photograph as that
+of Series X., Fig. 6. My experience is that most persons pronounce what
+they have seen to be a regular and symmetrical star-shaped figure, and
+they are surprised when they come to examine it by detail in continuous
+light to find how far this is from the truth. Especially is this the
+case if no irregularity is suspected beforehand. I believe that the
+observer, usually finding himself unable to attend to more than a
+portion of the rays in the system, is liable instinctively to pick out
+for attention a part of the circumference where they are regularly
+spaced, and to fill up the rest in imagination, and that where a ray may
+be really absent he prefers to consider that it has been imperfectly
+viewed.
+
+This opinion is confirmed by the fact that in several cases, I have
+been able to observe with the naked eye a splash that was also
+simultaneously photographed, and have made the memorandum "quite
+regular," though the photograph subsequently showed irregularity. It
+must, however, be observed that the absolute darkness and other
+conditions necessary for photography are not very favourable for direct
+vision.
+
+And now my tale is told, or rather as much of it as the limits of the
+time allowed me will permit. I think you will agree that the phenomena
+are very beautiful, and that the subject, commonplace and familiar
+though it is, has yet proved worthy of an hour's attention.
+
+
+THE END.
+
+
+_Richard Clay & Sons, Limited, London & Bungay._
+
+
+FOOTNOTES:
+
+[1] See Worthington on the "Spontaneous Segmentation of a Liquid
+Annulus," _Proceedings Royal Society_, No. 200, p. 49 (1879).
+
+[2] Readers who wish a more detailed account of a greater variety of
+splashes are referred to papers by the author. _Proceedings Royal
+Society_, vol. xxv. pp. 261 and 498 (1877); and vol. xxxiv. p. 217
+(1882).
+
+[3] Photographs obtained since this was written show that much may
+happen after the stages here traced.
+
+[4] A detailed account of the optical, mechanical, and electrical
+arrangements employed, written by Mr. Cole, will be found in _Nature_,
+vol. i., p. 222 (July 5, 1894).
+
+[5] The black streaks, seen especially in Figs. 11, 15, and 16, are due
+to particles of lamp-black carried down by the drop from the surface of
+the smoked watch-glass on which it rested.
+
+[6] Three of these photographs, viz. Nos. 11, 12, and 17, are reproduced
+full size, as a frontispiece, by a _photographic_ process, to enable the
+reader to form a more correct idea than can be gathered from the
+engravings, of the amount of detail actually obtained, though even in
+these reproductions much is inevitably lost.
+
+
+
+
+THE ROMANCE OF SCIENCE.
+
+_Small post 8vo. Illustrated. Cloth boards._
+
+                                                         _s. d._
+
+  Coal; and What We get from It.
+    By Professor RAPHAEL MELDOLA, F.R.S., F.I.C.          2    6
+
+  Colour Measurement and Mixture.
+    By Captain W. DE W. ABNEY, C.B., R.E., F.R.S.         2    6
+
+  Diseases of Plants.
+    By H. MARSHALL WARD, M.A., F.R.S., F.L.S.             2    6
+
+  Our Secret Friends and Foes.
+    By PERCY FARADAY FRANKLAND, Ph.D., B.Sc. (Lond.),
+    F.R.S. Second Edition, revised and enlarged           3    0
+
+  Soap Bubbles and the Forces which Mould Them.
+    By C.V. BOYS, A.R.S.M., F.R.S.                        2    6
+
+  Spinning Tops.
+    By Professor J. PERRY, M.E., D.Sc, F.R.S.             2    6
+
+  The Birth and Growth of Worlds.
+    By Professor GREEN, M.A., F.R.S.                      2    6
+
+  The Making of Flowers.
+    By the Rev. Professor GEORGE HENSLOW, M.A.,
+    F.L.S., F.G.S.                                        2    6
+
+  The Story of a Tinder-Box.
+    By the late C. MEYMOTT TIDY, M.B., M.S., F.C.S.       2    0
+
+  Time and Tide: a Romance of the Moon.
+    By Sir ROBERT S. BALL, F.R.S. Third Edition revised   2    6
+
+
+
+
+PUBLICATIONS
+OF THE
+Society for Promoting Christian Knowledge.
+
+
+
+
+Publications
+
+of
+
+The Society for Promoting Christian Knowledge.
+
+
+Early Britain.
+
+_This is a Series of books which has for its aim the presentation of
+Early Britain at great Historic Periods._
+
+
+_Anglo-Saxon Britain._
+
+     By the late GRANT ALLEN. With Map. Fcap. 8vo. _Cloth boards_, 2_s._
+     6_d._
+
+
+_Celtic Britain._
+
+     By Professor RHYS. With two Maps. Fcap. 8vo. _Cloth boards_, 3_s._
+
+
+_Norman Britain._
+
+     By the Rev. W. HUNT. With Map. Fcap. 8vo. _Cloth boards_, 2_s._
+     6_d._
+
+
+_Post-Norman Britain._
+
+     By HENRY G. HEWLETT. Fcap. 8vo. _Cloth boards_, 3_s._
+
+
+_Roman Britain._
+
+     By the Rev. EDWARD CONYBEARE. With Map. Fcap. 8vo. 3_s._ 6_d._
+
+
+_Roman Roads in Britain._
+
+     By THOMAS CODRINGTON, M.Inst.C.E., F.G.S. With several Maps. Fcap.
+     8vo. _Cloth boards_, 5_s._
+
+
+
+
+THE HEATHEN WORLD AND ST. PAUL.
+
+_This Series is intended to throw light upon the Writings and Labours of
+the Apostle of the Gentiles._
+
+Fcap. 8vo, cloth boards, 2s. each.
+
+
+_St. Paul in Damascus and Arabia._
+
+     By the late Rev. GEORGE RAWLINSON, M.A., Canon of Canterbury. With
+     Map.
+
+
+_St. Paul at Rome._
+
+     By the Very Rev. CHARLES MERIVALE, D.D., D.C.L., Dean of Ely. With
+     Map.
+
+
+_St. Paul in Asia Minor and at the Syrian Antioch._
+
+     By the late Rev. E.H. PLUMPTRE, D.D. With Map.
+
+
+
+
+ANCIENT HISTORY FROM THE MONUMENTS
+
+_This Series of Books is chiefly intended to illustrate the Sacred
+Scriptures by the results of recent Monumental Researches in the East._
+
+Fcap. 8vo, cloth boards, 2s. each.
+
+
+_Assyria, from the Earliest Times to the Fall of Nineveh._
+
+     By the late GEORGE SMITH, of the British Museum. New and Revised
+     Edition by the Rev. Professor A.H. SAYCE.
+
+
+_Sinai, from the Fourth Egyptian Dynasty to the Present Day._
+
+     By the late HENRY S. PALMER, Major R.E., F.R.A.S. With Map. A New
+     Edition, revised throughout. By the Rev. Professor A.H. SAYCE.
+
+
+_Babylonia (The History of)._
+
+     By the late GEORGE SMITH. Edited by the Rev. Professor A.H. SAYCE.
+
+
+_Persia, from the Earliest Period to the Arab Conquest._
+
+     By the late W.S.W. VAUX, M.A., F.R.S. A New Edition. Revised by the
+     Rev. Professor A.H. SAYCE.
+
+
+
+
+BOOKS BY THE AUTHOR OF
+
+"The Chronicles of the Schoenberg-Cotta Family."
+
+"_By the Mystery of Thy Holy Incarnation._"
+
+     Post 8vo. _Cloth boards_, 1_s._
+
+
+"_By Thy Cross and Passion._"
+
+     Thoughts on the words spoken around and on the Cross. Post 8vo.
+     _Cloth boards_, 1_s._
+
+
+"_By Thy Glorious Resurrection and Ascension._"
+
+     Easter Thoughts. Post 8vo. _Cloth boards_, 1_s._
+
+
+"_By the Coming of the Holy Ghost._"
+
+     Thoughts for Whitsuntide. Post 8vo. _Cloth boards_, 1_s._
+
+
+_The True Vine._
+
+     Post 8vo. _Cloth boards_, 1_s._
+
+
+_The Great Prayer of Christendom._
+
+     Post 8vo. _Cloth boards_, 1_s._
+
+
+_An Old Story of Bethlehem._
+
+     One link in the great Pedigree. Fcap. 4to, with six plates
+     beautifully printed in colours. _Cloth boards_, 2_s._
+
+
+_Three Martyrs of the Nineteenth Century._
+
+     Studies from the Lives of Livingstone, Gordon, and Patteson. Crown
+     8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Martyrs and Saints of the First Twelve Centuries._
+
+     Studies from the Lives of the Black-letter Saints of the English
+     Calendar. Crown 8vo. _Cloth boards_, 3_s._ 6_d._
+
+
+_Against the Stream._
+
+     The Story of an Heroic Age in England. With eight page woodcuts.
+     Crown 8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Conquering and to Conquer._
+
+     A Story of Rome in the days of St. Jerome. With four page woodcuts.
+     Crown 8vo. _Cloth boards_, 2_s._
+
+
+_Lapsed not Lost._
+
+     A Story of Roman Carthage. Crown 8vo. _Cloth boards_, 2_s._
+
+
+_Sketches of the Women of Christendom._
+
+     Crown 8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Thoughts and Characters._
+
+     Being Selections from the Writings of the Author of "The
+     Schoenberg-Cotta Family." Crown 8vo. _Cloth bds._, 2_s._ 6_d._
+
+
+
+
+The Fathers for English Readers.
+
+Fcap. 8vo, cloth boards, 2s. each.
+
+
+_Boniface._
+
+     By the Rev. Canon GREGORY SMITH, M.A. (1_s._ 6_d._)
+
+
+_Clement of Alexandria._
+
+     By the Rev. F.R. MONTGOMERY HITCHCOCK. (3_s._)
+
+
+_Gregory the Great._
+
+     By the late Rev. J. BARMBY, B.D.
+
+
+_Leo the Great._
+
+     By the Right Rev. C. GORE, D.D.
+
+
+_Saint Ambrose_: his Life, Times, and Teaching.
+
+     By the Ven. ARCHDEACON THORNTON, D.D.
+
+
+_Saint Athanasius_: his Life and Times.
+
+     By the Rev. R. WHELER BUSH. (2_s._ 6_d._)
+
+
+_Saint Augustine._
+
+     By the late Rev. E.L. CUTTS, D.D.
+
+
+_Saint Basil the Great._
+
+     By the Rev. RICHARD T. SMITH, B.D.
+
+
+_Saint Bernard_: Abbot of Clairvaux, A.D. 1091-1153.
+
+     By the Rev. S.J. EALES, M.A., D.C.L. (2_s._ 6_d._)
+
+
+_Saint Hilary of Poitiers, and Saint Martin of Tours._
+
+     By the Rev. J. GIBSON CAZENOVE, D.D.
+
+
+_Saint Jerome._
+
+     By the late Rev. EDWARD L. CUTTS, D.D.
+
+
+_Saint John of Damascus._
+
+     By the Rev. J.H. LUPTON, M.A.
+
+
+_Saint Patrick_: his Life and Teaching.
+
+     By the Rev. E.J. NEWELL, M.A. (2_s._ 6_d._)
+
+
+_Synesius of Cyrene_, Philosopher and Bishop.
+
+     By ALICE GARDNER.
+
+
+_The Apostolic Fathers._
+
+     By the Rev. Canon H.S. HOLLAND.
+
+
+_The Defenders of the Faith_; or, The Christian Apologists of the Second
+and Third Centuries.
+
+     By the Rev. F. WATSON, D.D.
+
+
+_The Venerable Bede._
+
+     By the Right Rev. G.F. BROWNE, D.D.
+
+
+
+
+Diocesan Histories.
+
+
+_Bath and Wells._
+
+     By the Rev. W. HUNT. With Map, 2_s._ 6_d._
+
+
+_Canterbury._
+
+     By the late Rev. R.C. JENKINS. With Map, 2_s._ 6_d._
+
+
+_Carlisle._
+
+     By the late RICHARD S. FERGUSON. With Map, 2_s._ 6_d._
+
+
+_Chester._
+
+     By the Rev. RUPERT H. MORRIS, D.D. With Map, 3_s._
+
+
+_Chichester._
+
+     By the late Very Rev. W.R.W. STEPHENS. With Map and Plan, 2_s._
+     6_d._
+
+
+_Durham._
+
+     By the Rev. J.L. LOW. With Map and Plan, 2_s._ 6_d._
+
+
+_Hereford._
+
+     By the Rev. Canon PHILLOTT. With Map, 3_s._
+
+
+_Lichfield._
+
+     By the late Rev. W. BERESFORD. With Map, 2_s._ 6_d._
+
+
+_Lincoln._
+
+     By the late Canon E. VENABLES, and the late Ven. Archdeacon PERRY.
+     With Map, 4_s._
+
+
+_Llandaff._
+
+     By the Rev. E.J. NEWELL, M.A. With Map, 3_s._ 6_d._
+
+
+_Norwich._
+
+     By the Rev. A. JESSOP, D.D. With Map, 2_s._ 6_d._
+
+
+_Oxford._
+
+     By the Rev. E. MARSHALL. With Map, 2_s._ 6_d._
+
+
+_Peterborough._
+
+By the Rev. G.A. POOLEM, M.A. With Map, 2_s._ 6_d._
+
+
+_Rochester._
+
+     By the Rev. A.J. PEARMAN, M.A. With Map, 4_s._
+
+
+_Salisbury._
+
+     By the Rev. W.H. JONES. With Map and Plan, 2_s._ 6_d._
+
+
+_Sodor and Man._
+
+     By A.W. MOORE, M.A. With Map, 3_s._
+
+
+_St. Asaph._
+
+     By the Ven. Archdeacon THOMAS. With Map, 2_s._
+
+
+_St. Davids._
+
+     By the Rev. Canon BEVAN. With Map, 2_s._ 6_d._
+
+
+_Winchester._
+
+     By the Rev. W. BENHAM, B.D. With Map, 3_s._
+
+
+_Worcester._
+
+     By the Rev. J. GREGORY SMITH, M.A., and the Rev. PHIPPS ONSLOW,
+     M.A. With Map, 3_s._ 6_d._
+
+
+_York._
+
+     By Rev. Canon ORNSBY, M.A., F.S.A. With Map, 3_s._ 6_d._
+
+
+
+
+Miscellaneous Publications.
+
+
+_A Dictionary of the Church of England._
+
+     By the late Rev. EDWARD L. CUTTSM, D.D. With numerous Woodcuts.
+     Crown 8vo. 5_s._ Third Edition, revised.
+
+
+_Aids to Prayer._
+
+     By the Rev. DANIEL MOORE. Printed in red and black. Post 8vo. 1_s._
+     6_d._
+
+
+_Being of God (Six Addresses on the)._
+
+     By C.J. ELLICOTT, D.D., Bishop of Gloucester. Post 8vo. 1_s._ 6_d._
+
+
+_Bible Places_; or, The Topography of the Holy Land.
+
+     By the Rev. Canon TRISTRAM. With Map and numerous Woodcuts. New
+     Edition. Crown 8vo. 5_s._
+
+
+_Called to be Saints._
+
+     The Minor Festivals Devotionally Studied. By the late CHRISTINA G.
+     ROSSETTI, Author of "Seek and Find." Post 8vo. 3_s._ 6_d._
+
+
+_Case for "Establishment" stated (The)._
+
+     By the Rev. T. MOORE, M.A. Post 8vo. _Paper boards_, 6_d._
+
+
+_Christians under the Crescent in Asia._
+
+     By the late Rev. E.L. CUTTS, D.D. With numerous Illustrations.
+     Crown 8vo. 5_d._
+
+
+_Daily Readings for a Year._
+
+     By ELIZABETH SPOONER. Crown 8vo. 3_s._ 6_d._
+
+
+_Devotional (A) Life of Our Lord._
+
+     By the late Rev. EDWARD L. CUTTS, D.D., Author of "Pastoral
+     Counsels," &c. Post 8vo. 5_s._
+
+
+_Golden Year, The._
+
+     Thoughts for every month. Original and Selected. By EMILY C. ORR,
+     Author of "Thoughts for Working Days." Printed in red and black.
+     Post 8vo. 1_s._
+
+
+_Gospels (The Four)._
+
+     Arranged in the Form of an English Harmony, from the Text of the
+     Authorized Version. By the late Rev. J.M. FULLER. With Analytical
+     Table of Contents and Four Maps. 1_s._
+
+
+_Holy Eucharist, The Evidential Value of the._
+
+     Being the Boyle Lectures for 1879 and 1880. By the late Rev. G.F.
+     MACLEAR, D.D. Crown 8vo. _Cloth boards_, 4_s._
+
+
+_Land of Israel (The)_.
+
+     A Journal of Travel in Palestine, undertaken with special reference
+     to its Physical Character. By the Rev. Canon TRISTRAM. With Two
+     Maps and numerous Illustrations. Large Post 8vo. _Cloth boards_,
+     10_s._ 6_d._
+
+
+_Lectures on the Historical and Dogmatical Position of the Church of
+England._
+
+     By the Rev. W. BAKER, D.D. Post 8vo. _Cloth boards_, 1_s._ 6_d._
+
+
+_Paley's Evidences._
+
+     A New Edition, with Notes, Appendix, and Preface. By the Rev. E.A.
+     LITTON. Post 8vo. _Cloth boards_, 4_s._
+
+
+_Paley's Horae Paulinae._
+
+     A New Edition, with Notes, Appendix, and Preface. By the late Rev.
+     J.S. HOWSON, D.D. Post 8vo. _Cloth boards_, 3_s._
+
+
+_Peace with God._
+
+     A Manual for the Sick. By the Rev. E. BURBIDGE, M.A. Post 8vo.
+     _Cloth boards_, 1_s._ 6_d._
+
+
+_Plain Words for Christ._
+
+     Being a Series of Readings for Working Men. By the late Rev. R.G.
+     DUTTON. Post 8vo. _Cloth boards_, 1_s._
+
+
+_Readings on the First Lessons for Sundays and Chief Holy Days._
+
+     According to the New Table. By the late Rev. PETER YOUNG. Crown
+     8vo. _In two volumes_, 5_s._
+
+
+_Reflected Lights._
+
+     From CHRISTINA ROSSETTI'S "The Face of the Deep." Selected and
+     arranged by W.M.L. JAY. Small post 8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Some Chief Truths of Religion._
+
+     By the late Rev. EDWARD L. CUTTS, D.D., Author of "St. Cedd's
+     Cross," &c. Crown 8vo. _Cloth boards_, 2_s._ 6_d._
+
+
+_Thoughts for Men and Women._
+
+     THE LORD'S PRAYER. By EMILY C. ORR. Post 8vo. _Limp cloth_, 1_s._
+
+
+_Thoughts for Working Days._
+
+     Original and Selected. By EMILY C. ORR. Post 8vo. _Limp cloth_,
+     1_s._
+
+
+_Time Flies; a Reading Diary._
+
+     By the late CHRISTINA G. ROSSETTI. Post 8vo. _Cloth boards_, 3_s._
+     6_d._
+
+
+_Turning Points of English Church History._
+
+     By the late Rev. EDWARD L. CUTTS, D.D. Crown 8vo. _Cloth boards_,
+     3_s._ 6_d._
+
+
+_Turning Points of General Church History._
+
+     By the late Rev. E.L. CUTTS, D.D., Author of "Pastoral Counsels."
+     Crown 8vo. _Cloth boards_, 4_s._
+
+
+_Verses._
+
+     By the late CHRISTINA G. ROSSETTI. Printed on hand-made paper.
+     Small Post 8vo. _Cloth_, 3_s._ 6_d._
+
+
+  LONDON:
+  NORTHUMBERLAND AVENUE, CHARING CROSS, W.C.;
+  48, QUEEN VICTORIA STREET, E.C.
+  BRIGHTON: 129, NORTH STREET.
+
+
+
+
+
+End of Project Gutenberg's The Splash of a Drop, by A. M. Worthington
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE SPLASH OF A DROP ***
+
+***** This file should be named 27125.txt or 27125.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/7/1/2/27125/
+
+Produced by Chris Curnow, Greg Bergquist and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/27125.zip b/27125.zip
new file mode 100644
index 0000000..4099418
--- /dev/null
+++ b/27125.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..c644c46
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #27125 (https://www.gutenberg.org/ebooks/27125)