M. Chevreul, the _Directeur des Gobelins_, has presented to the French Academy a plan for a universal chromatic scale, and a methodical classification of all imaginable colours. Mayer, a professor at Göttingen, calculated that the different combinations of primitive colours produced 819 different tints; but M. Chevreul established not less than 14,424, all very distinct and easily recognised,--all of course proceeding from the three primitive simple colours of the solar spectrum, red, yellow, and blue. For example, he states that in the violet there are twenty-eight colours, and in the dahlia forty-two. OBJECTS REALLY OF NO COLOUR. A body appears to be of the colour which it reflects; as we see it only by reflected rays, it can but appear of the colour of those rays. Thus grass is green because it absorbs all except the green rays. Flowers, in the same manner, reflect the various colours of which they appear to us: the rose, the red rays; the violet, the blue; the daffodil, the yellow, &c. But these are not the permanent colours of the grass and flowers; for wherever you see these colours, the objects must be illuminated; and light, from whatever source it proceeds, is of the same nature, composed of the various coloured rays which paint the grass, the flowers, and every coloured object in nature. Objects in the dark have no colour, or are black, which is the same thing. You can never see objects without light. Light is composed of colours, therefore there can be no light without colours; and though every object is black or without colour in the dark, it becomes coloured as soon as it becomes visible. THE DIORAMA--WHY SO PERFECT AN ILLUSION. Because when an object is viewed at so great a distance that the optic axes of both eyes are sensibly parallel when directed towards it, the perspective projections of it, seen by each eye separately, are similar; and the appearance to the two eyes is precisely the same as when the object is seen by one eye only. There is, in such case, no difference between the visual appearance of an object in relief and its perspective projection on a plane surface; hence pictorial representations of distant objects, when those circumstances which would prevent or disturb the illusion are carefully excluded, may be rendered such perfect resemblances of the objects they are intended to represent as to be mistaken for them. The Diorama is an instance of this.--_Professor Wheatstone_; _Philosophical Transactions_, 1838. CURIOUS OPTICAL EFFECTS AT THE CAPE.