ARGUS PHEASANT.
Another excellent case for investigation is offered by the ocelli on the wing-feathers of the Argus pheasant, which are shaded in so wonderful a manner as to resemble balls lying loose within sockets, and consequently differ from ordinary ocelli. No one, I presume, will attribute the shading, which has excited the admiration of many experienced artists, to chance--to the fortuitous concourse of atoms of colouring matter. That these ornaments should have been formed through the selection of many successive variations, not one of which was originally intended to produce the ball-and-socket effect, seems as incredible as that one of Raphael's Madonnas should have been formed by the selection of chance daubs of paint made by a long succession of young artists, not one of whom intended at first to draw the human figure. In order to discover how the ocelli have been developed, we cannot look to a long line of progenitors, nor to many closely-allied forms, for such do not now exist. But fortunately the several feathers on the wing suffice to give us a clue to the problem, and they prove to demonstration that a gradation is at least possible from a mere spot to a finished ball-and-socket ocellus.
The wing-feathers, bearing the ocelli, are covered with dark stripes (Fig. 57) or with rows of dark spots (Fig. 59), each stripe or row of spots running obliquely down the outer side of the shaft to one of the ocelli. The spots are generally elongated in a line transverse to the row in which they stand. They often become confluent either in the line of the row--and then they form a longitudinal stripe--or transversely, that is, with the spots in the adjoining rows, and then they form transverse stripes. A spot sometimes breaks up into smaller spots, which still stand in their proper places.
It will be convenient first to describe a perfect ball-and-socket ocellus. This consists of an intensely black circular ring, surrounding a space shaded so as exactly to resemble a ball. The figure here given has been admirably drawn by Mr. Ford and well engraved, but a woodcut cannot exhibit the exquisite shading of the original. The ring is almost always slightly broken or interrupted (Fig. 57) at a point in the upper half, a little to the right of and above the white shade on the enclosed ball; it is also sometimes broken towards the base on the right hand. These little breaks have an important meaning. The ring is always much thickened, with the edges ill-defined towards the left-hand upper corner, the feather being held erect, in the position in which it is here drawn. Beneath this thickened part there is on the surface of the ball an oblique almost pure- white mark, which shades off downwards into a pale-leaden hue, and this into yellowish and brown tints, which insensibly become darker and darker towards the lower part of the ball.
It is this shading which gives so admirably the effect of light shining on a convex surface. If one of the balls be examined, it will be seen that the lower part is of a brown tint and is indistinctly separated by a curved oblique line from the upper part, which is yellower and more leaden; this curved oblique line runs at right angles to the longer axis of the white patch of light, and indeed of all the shading; but this difference in colour, which cannot of course be shewn in the woodcut, does not in the least interfere with the perfect shading of the ball. It should be particularly observed that each ocellus stands in obvious connection either with a dark stripe, or with a longitudinal row of dark spots, for both occur indifferently on the same feather. Thus in Fig. 57 stripe A runs to ocellus a; B runs to ocellus b; stripe C is broken in the upper part, and runs down to the next succeeding ocellus, not represented in the woodcut; D to the next lower one, and so with the stripes E and F. Lastly, the several ocelli are separated from each other by a pale surface bearing irregular black marks.