22 BRITISH BUTTERFLIES. 



speak, tiled over with distinct, sharply cut scales, arrange^ 

 as in fig. 16, Plate II., with the outer or free edges o! 

 one row overlapping the roots of the next. These root? 

 being all planted towards the base of the wing, if we 

 place that end next the light (as above directed), the 

 free edges of the scales throw a strong shadow on the 

 next row, which brings out the imbricated effect most 

 strikingly. 



Beginning our observations at the outer edge of the 

 wing, we first notice a delicate fringe of scales or plumes, 

 more elongated and pointed than the surface scales, and 

 of a quiet brown colour. This tint is continued inwards 

 or a short space, gradually lightening, when (as we 

 shift the field of view towards the centre of the wing) 

 the colour of the scales suddenly changes to an intense 

 black ; then a little further, and the black ground is all 

 spangled with glittering sapphires, then strewed deep 

 with amethyst round a heap of whitest pearls. Golden 

 topaz (jewels only will furnish apt terms of comparison 

 for these insect gems) golden topaz ends the bright 

 many-coloured crescent, and in the centre is enclosed a 

 spot of profoundest black, gradating into a rich un- 

 nameable red, whose velvet depth and softness contrast 

 deliriously with the adjacent flashing lustre ; then conies 

 another field of velvet black, then more gold, and so on 

 till the gorgeous picture is complete. 



Subject a piece of finest human painting to the scru- 

 tiny of a strong magnifying glass, and where is the 

 beauty thereof? Fai from being magnified, it will 



