817 



ANAMIRTIC ACID. 



ANASTATIC PRINTING. 



318 



ANAMIRTIC ACID. (C'^H^O,?) Obtained from the seeds of 

 'fta Coccidus, but now believed to lie identical with stearie acid. 

 [STEAKIC ACID.] 



AXAJIIRTIJf (CjjHjgOj.) A white crystalline body obtained by 

 Francis from the seeds of the Anamirta Coceuiai. When saponified by 

 potash it is said to yield anamirtio acid. 



ANAMORPHO'SIS (wofulpQaffis, a ' remodelling or change of form'), 

 LJ such a representation of an object that, except when viewed from a 

 particular point directly, or in a cylindrical mirror, or through a poly- 

 hedral lens, it will appear to be distorted, or disconnected, or to be a 

 view of something very different from the original object. Such 

 representations are only made for the amusement of young persons, 

 and therefore a very brief explanation of them may suffice ; but the 

 art of forming them lias been treated at length in the ' Thaumaturgus 

 Optima ' of Nicerou, and in the ' Perspectiva Horaria ' of Maignan. 



Distorted figures which are to appeal', when viewed directly from a 

 given point, in the just proportions which they have in an original 

 (hawing or print, may be easily traced in the following manner. Let 

 the original be covered with a network of squares, and imagine it to 

 stand vertically on paper laid on a table, the eye being iu a given 

 ii in its front ; then draw lines through the ground line, in the 

 directions in which planes passing through the eye and the vertical 

 lines drawn on in the original would cut the paper, and other lines 

 parallel to the ground line at places where pknes passing through the 

 eye and the horizontal lines on the original would cut the paper. If 

 within the trapezoidal areas thus formed the parta of the original 

 figure which fall in the corresponding squares be drawn, the figure 

 thus traced will be the distorted figure required ; and, when viewed 

 from the assumed place of the eye, it will evidently appear exactly as, 

 to an eye in the same point, the original would appear if it were placet! 

 in a vertical position with the base on the line which was drawn 

 to represent it; that is, it will appear to be an exact copy of the 

 original. 



A distorted representation of some object, which is to appear correct 

 on being viewed from a given point, and by reflection from a cylindrical 

 mirror whose curvature and position are also given, may be drawn 

 on a plane by means of a perspective representation, as already de- 

 1, or the squares drawn within a square circumscribing the 

 original print or drawing. Thus a circular arc being drawn with a 

 radius equal to that of the base of the cylinder, to intersect, between 

 the eye and the ground line, all the obh'que lines drawn iu forming 

 that representation ; let lines be drawn from the intersections, making 

 respectively equal angles with tangents to the circle, so as to represent 

 the reflections of those oblique lines ; and on the reflected lines set 

 distances from the circumference equal to the distances of the parallel 

 lines iu the former representation from the same points in the circum- 

 ference. Then curve lines connecting the points so determined will 

 form, with the reflected lines, spaces within which the parts of the 

 original figure are to be traced so as to correspond to those within the 

 squares first drawn. This distorted tracing being laid horizontally on 

 a table, and the mirror being set up vertically on the arc which repre- 

 sents its base, the reflected image will, to the eye, appear exactly 

 similar to the original figure. 



Distorted figures, which are to be seen corrected when viewed 

 through a polyhedral lens or multiplying glass, may be traced mecha- 

 nically thus : let the multiplying glass be placed in a tube, like the 

 eye-piece of a telescope, at a distance from the end to which the eye 

 is to be applied rather greater than the focal length of the glass, and 

 let a very small aperture be formed in the cover ;it that end : then, on 

 placing a lamp or candle before the aperture, the rays of light passing 

 tlif. ugh the faces of the lens will project, on a screen placed perpen- 

 rly to its axis, at any convenient distance beyond the focus, a 

 number of luminous spaces corresponding to the several faces of the 

 lens, with intervals between them. In these luminous spaces, whose 

 nullities should be traced with pencil before the light is removed, there 

 must be drawn by hand parts of a landscape or figure, so that, on 

 looking through the aperture, they shall seem to form a correct repre- 

 sentation of the intended object. 



The portions thus drawn, when viewed in any manner except 

 through the aperture, will be unconnected ; and the intervals may be 

 filled up with any objects at pleasure, so that the whole may appear 

 confused, or may represent something different from the original land- 

 scape or figure : then, on looking through the aperture, towards the 

 screen, the intervals before mentioned, and the objects drawn on them, 

 will be invisible ; and there will appear only the representation of the 

 formed by the junction of the parts within the outlines first 

 traced, that is, a correct copy of the original object. 



ANAPvEST, a foot in Greek and Latin metre, consisting of two 



syllables followed by a long, It was sometimes called Anti- 



dac^ylus, as being the opposite of the dactyle, which consists of a long 



syllable followed by two short. Assuming accent in English to be the 



thing with quantity in Greek and Latin, the word timporal 



would be an example of a dactyle, and the word mperddd of an 



anapeest. From the tendency of English enunciation to carry back 



the accent towards the beginning of polysyllables, there are not many 



single words which make anapaests in our language. But the foot 



frequently results from the union of two or more words : as in /> you 



f.et iiluae ; and sometimes it is found in irt of a single word ; 



as, for instance, in the three middle syllables of the word anticipation. 

 The predominance of dactyles in English, and of anapaests in French, 

 lorms one of the most marked distinctions between the musical cha- 

 racter of the one language, and that of the other. 



ANAP-iESTIC VERSE, a species of verse composed of a succession 

 of auapaests. Among the Greeks the anapaestic verse was freely used 

 ooth in tragedy and comedy. Some forms of it occur very often in 

 Aristophanes. Both in tragedy and comedy, the anaptestic verse 

 admits also dactyles and spondees. In English, only poems of the 

 lighter sort have been usually written in anapaestic verse. Anstey's 

 New Bath Guide ' may be quoted as a well-known example. The 

 line is often reduced to eleven syllables, by the retrenchment of the 

 first, or the substitution at the beginning of an iambus instead of the 

 anapaest. Thus, in the f ollowing lines from the work thus mentioned : 



" For I'm told the discourses of persons refin'd 

 Are better than hooks for improving the mind ; 

 But a great deal of judgment's requir'd in the skimming 

 The polite conversation of sensible women " 



it will be observed, that the first foot of the second line consists only 

 of one short or unaccented syllable followed by a long ; and a similar 

 retrenchment might be made of the commencing syllable of any of the 

 others, without spoiling ite prosody. 



ANARCHY properly means the entire absence of political govern- 

 ment ; the condition of a society or collection of human beings inha- 

 biting the same country, who are not subject to a common sovereign. 

 Every society of persons living in a ttate of nature (as it is termed) is 

 in a state of anarchy ; whether that state of nature should exist in a 

 society which has never known political rule, as a horde of savages, or 

 should arise in a political society in consequence of resistance on the 

 part of the subjects to the sovereign, by which the person or persons 

 in whom the sovereignty is lodged are forcibly deprived of that power. 

 Such intervals are commonly of short duration ; but after most revo- 

 lutions, by which a violent change of government has been effected, 

 there has been a short period during which there was no person or 

 body of persons who exercised the executive or legislative sovereignty, 

 that is to say, a period of anarchy. 



Anarchy is sometimes used in a transferred or improper sense to 

 signify the condition of a political society, in which, according to the 

 writer or speaker, there has been an undue reniissness or supineness 

 of the sovereign, and especially of those who wield the executive 

 sovereignty. In the former sense, anarchy means the state of a society 

 in which there is no political government ; in its second sense, it means 

 the state of a political society in which there has been a deficient 

 exercise of the sovereign power. As an insufficiency of government is 

 likely to lead to no government at all, the term anarchy has, by a 

 common exaggeration, been used to signify the small degree, where it 

 properly means the entire absence. [SOVEREIGNTY.] 



ANASTATIC PRINTING. In the year 1841, the proprietors of 

 the ' AtbenuHun ' received from a correspondent at Berlin a reprint of 

 four pages of a number of that journal which had been published in 

 London a few weeks earlier. The copy was so perfect a fac-simile, that 

 had it not come to hand under peculiar circumstances, it would have 

 been taken for two leaves out of a sheet actually printed in London ; 

 the observable difference was, that the impression was somewhat 

 lighter, and the body of ink less in quantity than usual. In reply to 

 further inquiries, the correspondent at Berlin could only discover that 

 the secret was said to be in the hands of a person at Erfurt. He had 

 seen a fac-simile of an Arabic MS. of the 13th century ; and another 

 fac-simile of a leaf of a book printed in 1483 both such close copies 

 as hardly to be detected from the originals, and both taken without 

 injury to the originals. It was also stated that a prospectus was issued 

 at Berlin, of a pirated edition of the ' Athen;euui, to be produced in a 

 similar way, and sold at a low price. 



In January 1845, the 'Athenjeum' was enabled to announce that 

 the inventor or discoverer of the method was a M. Baldermus, who 

 had communicated the discovery to a person in London ; and to con- 

 vince the proprietors of that journal of the reality of the method, a 

 page of ' L'lllustration,' French journal, was faithfully copied in a 

 quarter of an hour. The method became known by the name of 

 Anuftalif iirinlin;/ ; and many of the London journals directed attention 

 to the subject. In the 'Art Union,' for February, 1845, pages 40 and 

 41 of the number were printed from zinc plates obtained by the 

 Anastatic process. The compositors ' set-up ' in the usual way, suffi- 

 cient matter to fill two quarto pages of the work, leaving spaces for 

 three wood-cuts, three drawings, and a few lines of writing in pen 

 and ink, which were properly adjusted to the blanks left for them. 

 All were alike copied or transferred to the zinc plates, and then printed 

 from several thousand copies being taken. The impressions were 

 fainter and less distinct than those from the original types, but were 

 unquestionably remarkable. 



Professor Faraday explained the rationale of the Anastatic process 

 in 1845, at the Royal Institution. The process depends on a few 

 known properties of the articles employed. 1st. Water attracts water ; 

 oil attracts oil ; but each repels the other. 2nd. Metals are much 

 more easily wetted with oil than with water ; but they will readily be 

 moistened by a weak solution of gum. 3rd. The power of wetting 

 metals with water is greatly increased by the addition of phosphatic 



