In these self-effacing flat-fishes we know with some precision what happens. The adjustment of colour and pattern is due to changes in the size, shape, and position of mobile pigment-cells (chromatophores) and the skin. But what makes the pigment-cells change? The fact that a blind flat-fish does not change its colour gives us the first part of the answer. The colour and the pattern of the surroundings must affect the eye. The message travels by the optic nerve to the brain; from the brain, instead of passing down the spinal cord, the message travels down the chain of sympathetic ganglia. From these it passes along the nerves which comes out of the spinal cord and control the skin. Thus the message reaches the colour-cells in the skin, and before you have carefully read these lines the flat-fish has slipped on its Gyges ring and become invisible. The same power of rapid colour-change is seen in cuttlefishes, where it is often an expression of nervous excitement, though it sometimes helps to conceal. It occurs with much subtlety in the AEsop prawn, Hippolyte, which may be brown on a brown seaweed, green on sea-lettuce or sea-grass, red on red seaweed, and so on through an extensive repertory. According to the nature of the background, [Professor Gamble writes] so is the mixture of the pigments compounded so as to form a close reproduction both of its colour and its pattern. A sweep of the shrimp net detaches a battalion of these sleeping prawns, and if we turn the motley into a dish and give a choice of seaweed, each variety after its kind will select the one with which it agrees in colour, and vanish. Both when young and when full-grown, the AEsop prawn takes on the colour of its immediate surroundings. At nightfall Hippolyte, of whatever colour, changes to a transparent azure blue: its stolidity gives place to a nervous restlessness; at the least tremor it leaps violently, and often swims actively from one food-plant to another. This blue fit lasts till daybreak, and is then succeeded by the prawn's diurnal tint. Thus, Professor Gamble continues, the colour of an animal may express a nervous rhythm. [Illustration: _Photo: J. J. Ward, F.E.S._ PROTECTIVE RESEMBLANCE Hawk Moth, settled down on a branch, and very difficult to detect as long as it remains stationary. Note its remarkable sucking tongue, which is about twice the length of its body. The tongue can be quickly coiled up and put safely away beneath the lower part of the head.] [Illustration: WHEN ONLY A FEW DAYS OLD, YOUNG BITTERN BEGIN TO STRIKE THE SAME ATTITUDE AS THEIR PARENTS THRUSTING THEIR BILLS UPWARDS AND DRAWING THEIR BODIES UP SO THAT THEY RESEMBLE A BUNCH OF REEDS The soft browns and blue-greens harmonise with the dull sheaths of the young reeds; the nestling bittern is thus completely camouflaged.] The Case of Chameleons