In 1880 Charles Hinton (inventor of the baseball gun) turned his attention to the fourth dimension, that unseen world whose behavior seems so baffling to ordinary thinkers.

In his 1888 book A New Era of Thought, he announced a unique way to think about it, a set of 81 colored cubes that correspond to the 81 parts of a 3 × 3 × 3 × 3 hypercube. By creating a set of wooden cubes, painting them according to Hinton’s instructions, and working through the prescribed exercises, the reader could learn to visualize the fourth dimension as intuitively as the third:

The square, in moving in the unknown direction, traces out a succession of squares, the assemblage of which makes the cube in layers. So also the cube, moving in the unknown direction, will at any point of its motion, still be a cube; and the assemblage of cubes thus placed constitutes the tessaract in layers. We suppose the cube to change its colour directly it begins to move. Its colour between 1 and 2 we can easily determine by finding what colours its different parts assume, as they move in the unknown direction.

Hinton’s method drew few adherents, but he was sure that it worked — he had proved it for himself. “The particular problem,” he wrote, “at which I have worked for more than ten years, has been completely solved. It is possible for the mind to acquire a conception of higher space as adequate as that of our three-dimensional space, and to use it in the same manner.”

He moved on to other things, but he’s left us one permanent calling card — Hinton coined the word tesseract.

Here’s a striking sign of the pervasive influence of the Industrial Revolution: It darkened England’s moths. Before 1811, the peppered moth, Biston betularia, had a white body. But as soot darkened trees, lighter-bodied insects became more visible to birds and other predators. By 1848 the frequency of dark-bodied moths in industrial regions had increased dramatically, one of the first documented instances of Darwin’s principle of natural selection. American geneticist Sewall Wright called it “the clearest case in which a conspicuous evolutionary process has actually been observed.”

Somewhat related: A curious wartime observation by Gertrude Stein, in Alsace, from The Autobiography of Alice B. Toklas:

Another thing that interested us enormously was how different the camouflage of the french looked from the camouflage of the germans, and then once we came across some very neat camouflage and it was american. The idea was the same but as after all it was different nationalities who did it the difference was inevitable. The colour schemes were different, the designs were different, the way of placing them was different, it made plain the whole theory of art and its inevitability.

In 1837 English journalist Albany Fonblanque wrote, “Sir Robert Peel was a smooth round peg, in a sharp-cornered square hole, and Lord Lyndenurst is a rectangular square-cut peg, in a smooth round hole.”

Which of these is the better fit? In other words, which is larger, the ratio of the area of a circle to a circumscribed square, or the area of a square to a circumscribed circle?

In two dimensions, these ratios work out to π/4 and 2/π, respectively, so a round peg fits better into a square hole than a square peg into a round hole.

But, strangely, Berkeley mathematician David Singmaster discovered in 1964 that this is true only in dimensions less than 9. For n ≥ 9 the n-dimensional unit cube fits more closely into the n-dimensional unit sphere than vice versa.

There’s a moral in there, but I don’t know what it is.

(David Singmaster, “On Round Pegs in Square Holes and Square Pegs in Round Holes,” Mathematics Magazine 37:5 [November 1964], 335-337.)

When a high voltage difference is applied, a liquid bridge of deionized water can sustain itself between two beakers even when they’re separated by 25 millimeters.

British engineer William Armstrong first reported this in an 1893 lecture. The phenomenon is known to be founded in surface polarization, but it’s still not completely understood.