The signs + and - employed in these figures denote that the two squares on which they occur are always moving in opposite directions. When the squares marked + are above the average level of the plate those marked - are below it; and when those marked - are above the average level those marked + are below it. The nodal lines mark the boundaries of these opposing motions. They are the places of transition from the one motion to the other, and are therefore unaffected by either. Scattering sand once more over its surface, I damp one of the corners of the plate, and excite it by drawing the bow across the middle of one of its sides. The sand dances over the surface, and finally ranges itself in two sharply-defined ridges along its diagonals, Fig. 65. The note here produced is a fifth above the last. Again damping two other points, and drawing the bow across the centre of the opposite side of the plate, we obtain a far shriller note than in either of the former cases, and the manner in which the plate vibrates to produce this note is represented in Fig. 66. [Illustration: FIG. 67.] Thus far plates of glass have been employed held by a clamp at the centre. Plates of metal are still more suitable for such experiments. Here is a plate of brass, 12 inches square, and supported on a suitable stand. Damping it with the finger and thumb of my left hand at two points of its edge, and drawing the bow with my right across a vibrating portion of the opposite edge, the complicated pattern represented in Fig. 67 is obtained. [Illustration: FIG. 68.] The beautiful series of patterns shown on page 182 were obtained by Chladni, by damping and exciting square plates in different ways. It is not only interesting but startling to see the suddenness with which these sharply-defined figures are formed by the sweep of the bow of a skilful experimenter. § 8. _Wheatstone’s Analysis of the Vibrations of Square Plates_ [Illustration: FIG. 69.]