We can also brush a solution of quinine on the screen, and immediately the place where the ultra-violet rays fall is illuminated by a violet light. We do not see the ultra-violet rays themselves, but only the rays of increased wave-length, which are emitted by their effect on the sulphate of quinine. Common machine oil as used for engines also emits greenish rays when excited by the ultra-violet rays, and a very beautiful colour it is. Fluorescence then is one means of demonstrating the existence of the ultra-violet rays--or Ritter's rays as they were formerly called, after their discoverer--in a very simple manner. The method of rendering the effects of the infra-red rays visible to the eye is also interesting. All, or at all events most, of our readers have seen Balmain's luminous paint. A glass or card coated with this substance, which is essentially a sulphide of calcium, when exposed to the light of the sun, or of the electric arc, and then taken into comparative darkness, is seen to shine with a peculiar violet-coloured light. If when thus excited we place it in a bright spectrum for some little time, we shall find on shutting off the light that where the ultra-violet and blue fell on it, the violet light is intenser than the light of the main part of the screen; where the yellow fell there is neither increase or diminution in brightness; but that in the red it becomes darker, and also beyond the limit of the visible spectrum, indicating the existence of rays beyond, which through their greater length have not the power of affecting the eye. If the spectrum be shut off, however, very soon after it falls on the plate, it has been asserted that the red and infra-red rays have increased the brightness of that particular part of the plate on which they fell. At first these two observations seem to contradict one another; they do not in reality. We may expose a tablet of Balmain's paint to light, and place a heated iron in contact with the back of the plate; we shall then find that the iron produces a bright image of its surface on a less bright background. This bright image will gradually fade away, and the same space will eventually become dark compared with the rest of the plate. The reason of this is clear. When light excites the paint a certain amount of energy is poured into it, which it radiates out slowly as light. When the hot iron is placed in contact with it, the heat causes the light to radiate more rapidly, and consequently with greater intensity, at the part where its surface touches, and the energy of that particular portion becomes used up. When the energy of radiation of this part becomes less than that of the rest of the tablet, its light must of necessity be of less brightness than that of the background, with which the heated iron has had no contact. For this reason the image of the iron subsequently appears dark. We shall see presently, and as before stated, that the principal heating effect of the spectrum lies in the