It has been long observed that the infusion of tea made in silver, or polished metal tea-pots, is stronger than that which is produced in black, or other kinds of earthenware pots. This is explained on the principle, that polished surfaces retain heat much better than dark, rough surfaces, and that, consequently, the caloric being confined in the former case, must act more powerfully than in the latter.

It is further certain, that the silver or metal pot, when filled a second time, produces worse tea than the earthenware vessel; and that it is advisable to use the earthenware pot, unless a silver or metal one can be procured sufficiently large to contain at once all that may be required. These facts are readily explained by considering, that the action of heat retained by the silver vessel so far exhausts the herb as to leave very little soluble substance for a second infusion; whereas the reduced temperature of the water in the earthenware pot, by extracting only a small proportion at first, leaves some soluble matter for the action of a subsequent infusion.

The reason for pouring boiling water into the tea-pot before the infusion of the tea is made, is, that the vessel being previously warm, may abstract less heat from the mixture, and thus admit a more powerful action. Neither is it difficult to explain the fact why the infusion of tea is stronger if only a small quantity of boiling water be first used, and more be added some time afterwards; for if we consider that only the water immediately in contact with the herb can act upon it, and that it cools very rapidly, especially in earthenware vessels, it is clear that the effect will be greater where the heat is kept up by additions of boiling water, than where the vessel is filled at once, and the fluid suffered gradually to cool.

When the infusion has once been completed, it is found that any further addition of the herb only affords a very small increase in the strength, the water having cooled much below the boiling point, and consequently, acting very slightly.

Ibid.

THE NATURALIST

THE HUMAN EAR

The ear consists of three principal divisions, viz. the external, intermediate, and internal ear. The different parts of the first division, or external ear, are described by anatomists under the name of the helix, antihelix, tragus, antitragus, the lobe, cavitas innominata, the scapha, and the concha. In the middle of the external ear is the meatus, or passage, which varies in length in different individuals. The external or outward ear is designed by nature to stand prominent, and to bear its proportion in the symmetry of the head, but in Europe it is greatly flattened by the pressure of the dress; it consists chiefly of elastic cartilage, formed with different hollows, or sinuosities, all leading into each other, and finally terminating in the concha, or immediate opening into the tube of the ear. This form is admirably adapted for the reception of sound, for collecting and retaining it, so that it may not pass off, or be sent too rapidly to the seat of the impression. There have been a few instances of men who had the power of moving the external ear in a similar manner to that of animals; but these instances are very rare, and rather deviations from the general structure; nor did it appear in these instances that such individuals heard more acutely: a proof that such a structure would be of no advantage to the human subject. With respect to the external ear in man, whether it is completely removed either by accident or design, deafness ensues, although its partial removal is not attended with this inconvenience: the external ear, therefore, or something in its form to collect sound, is a necessary part of the organ.

The next division is the intermediate ear; it consists of the tympanum, mastoid cells, and Eustachian tube. The tympanum contains four small delicate bones, viz. the malleus, the incus, the stapes, and the os orbiculare, joined to the incus. The intermediate ear displays an irregular cavity, having a membrane, called the membrana tympani, stretched across its extremity; and this cavity has a communication with the external air, through the Eustachian tube, which leads into the fauces, or throat. The membrane of the tympanum is intended to carry the vibrations of the atmosphere, collected by the outward ear, to the chain of bones which form the peculiar mechanism of the tympanum. Besides the effect of the hard and bony parts of the ear in increasing the power of sound, the tension of the different membranes is also a requisite: thus various muscles are so situated as to put the membrane on the stretch, that the sound, striking upon it, may, from its tension, similar to that of the parchment of a drum-head, have full influence upon the sense. In respect to its tension, the membrane of the tympanum may be also compared, not unaptly, to the string of a violin, or musical instrument, even more properly than to a drum; as the state of tension and relaxation in such chords produces a variety of sound in the instrument, so, in the same manner, circumstances, which affect the tension and relaxation of the tympanum, vary most perceptibly its powers of action, and the customary agency of the organ. Its four bones act mechanically, in consequence of the power of the local muscles: they strike like the key of an instrument, and produce a percussion on the nerves of the tympanum. Not only may the membrane of the tympanum be partially destroyed, and hearing be preserved, but the small bones of the tympanum have been in certain cases lost, or have come away, from ulceration, and through a constitutional or other cause; but in such cases it appears that the stapes was, in most instances, left, and thus the openings of the fenestra ovata and fenestra rotunda were preserved, which prevented the escape of sound from the labyrinth and internal parts. With respect to the Eustachian tube, its aperture into the throat seems indispensable to hearing; and whenever closed, from malconfirmation or disease, deafness is the certain consequence.

The third division of the organ is the internal ear, which is called the labyrinth; it is divided into the vestibule, three semicircular canals, and the cochlea: the whole are incased within the petrous portion of the temporal bone. The internal ear may be considered as the actual seat of the organ; it consists of a nervous expansion of high sensibility, the sentient extremities of which spread in every direction, and in the most minute manner; inosculating with each other, and forming plexus, by which the auricular sense is increased. Here, also, sound is collected and retained by the mastoid cells and cochlea. To this apparatus is added the presence of a fluid, contained in sacs and membranes; as this fluid is in large quantities in some animals, there is no doubt it is intended as an additional means for enforcing the impression: the known influence of water, as a powerful medium or conductor of sound, strengthens this idea. The internal ear of man, therefore, has all the known varieties of apparatus, which are only partially present in other classes of the creation; and its perfection is best judged of, by considering the variety or form of the internal ear of other animals. The internal ear of some animals consists of little more than a sac of fluid, on which is expanded a small nervous pulp; according to the situation of this, whether the creature lives in water, or is partially exposed to the air, it has an external opening with the ear, or otherwise.—Lecture delivered at the Royal Institution, May 30, 1828—by J.H. Curtis, Esq.

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The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 376, June 20, 1829

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MAKING TEA

THE NATURALIST

THE HUMAN EAR

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