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anj' of the infinitely varied configuratious in which colours are 

 disposed, and to ask the design or meaning of a particular pattern, 

 we can hardly do more than conjecture what may be the answer to our 

 enquiry. 



It is evident that if we are to make any progress in deciphering the 

 meaniug of colour patterns, we must commence with such as are most 

 simple, and pursue our investigation by means of comparison. What, 

 then, is the most elementary form under which we can recognize 

 pattern ? Probably that in which one colour is laid upon another in 

 simple spots. It is not easy to conceive any way in which colours can 

 be combined so as to form a pattern less complicated than this, which, 

 as it is the simplest, so it is also the most common pattern in natural 

 productions. 



Next to this in order of simplicity may be the pattern which is 

 formed by straight lines or bars running parallel to each other, a type 

 in nature only less common than the preceding. 



We have now two patterns between which we may institute a com- 

 parison, — spots, and bars or bands. Can we find any characters 

 belonging to natural productions which are spotted, which do not 

 belong to such as are barred or banded ? Coull we collect all the 

 examples on each side, and find such a distinguishing character, we 

 should have a fair inductive warrant for regarding such a character as 

 likelj' to have something to do with the difference between spots and 

 bands. 



Some process of this kipd is our only chance, and it has been my 

 endeavour to make many such comparisons. 1 feel that an apology is 

 needed for bringing before a Philosophical Society anything so crude 

 as a conclusion must be which has been formed without powers and 

 opportunities of investigation far greater than my own ; but the field 

 is so new that even a guess at truth may be allowable. 



Suppose, then, that bars of colour on any surface suggest the idea 

 of strength, a supposition not utterly gratuitous — for bars or bands 

 somewhat resemble ribs, Kvhich are great sustainers — and there 

 is a continuity in the band that gives the idea of resistance to 

 disruption. 



Suppose, then, the bar or band to indicate strength, under what 

 circumstances should we expect nature to adopt the banded pattern in 

 decorating her works? Certainly not where tlie form and substance of 

 tbc production already suDQciently indicated strength. We should not 

 expect to find an elephant or a rhinosceros striped, for their forms sufii- 

 cieutly indicate the quality that we now suppose the banded pattern to 

 suggest. Rather, we should expect to find it on more slender and 



