Giulio Peruzzi

This study is a continuation of the authors’ previous work entitled “Helmholtz and the geometry of color space: gestation and development of Helmholtz’s line element” (Peruzzi and Roberti in Arch Hist Exact Sci. https://doi.org/10.1007/s00407-023-00304-2, 2023), which provides an account of the first metrically significant model of color space proposed by the German polymath Hermann von Helmholtz in 1891–1892. Helmholtz’s Riemannian line element for three-dimensional color space laid the foundation for all subsequent studies in the field of color metrics, although it was largely forgotten for almost three decades from the time of its first publication. The rediscovery of Helmholtz’s masterful work was due to one of the founders of quantum mechanics, Erwin Schrödinger. He established his color metric in three extended papers submitted in 1920 to the Annalen der Physik. Two memoirs were devoted to the so-called lower color metric, which laid the basis for the development of his higher color metric, exposed in the last paper. Schrödinger’s approach to the geometry of color space has been taken as a starting point for future elaborations of color metrics and allows a close examination of the current assumptions about the analysis of color-matching data. This paper presents an overall picture of Schrödinger’s works on color. His color theory developed a tradition first inaugurated by Newton and Young, and which acquired strong scientific ground with Grassmann’s, Maxwell’s, and Helmholtz’s contributions in the 1850s. Special focus will be given to Schrödinger’s account of color metric, which responded directly to Helmholtz’s hypothesis of a Riemannian line element for color space.

Modern color science finds its birth in the middle of the nineteenth century. Among the chief architects of the new color theory, the name of the polymath Hermann von Helmholtz stands out. A keen experimenter and profound expert of the latest developments of the fields of physiological optics, psychophysics, and geometry, he exploited his transdisciplinary knowledge to define the first non-Euclidean line element in color space, i.e., a three-dimensional mathematical model used to describe color differences in terms of color distances. Considered as the first step toward a metrically significant model of color space, his work inaugurated researches on higher color metrics, which describes how distance in the color space translates into perceptual difference. This paper focuses on the development of Helmholtz’s mathematical derivation of the line element. Starting from the first experimental evidence which opened the door to his reflections about the geometry of color space, it will be highlighted the pivotal role played by the studies conducted by his assistants in Berlin, which provided precious material for the elaboration of the final model proposed by Helmholtz in three papers published between 1891 and 1892. Although fallen into oblivion for about three decades, Helmholtz’s masterful work was rediscovered by Schrödinger and, since the 1920s, it has provided the basis for all subsequent studies on the geometry of color spaces up to the present time.

Before the discovery of the expanding universe, one of the challenges faced in early relativistic cosmology was the determination of the finite and constant curvature radius of space-time by using astronomical observations. Great interest in this specific question was shown by de Sitter, Silberstein, and Lundmark. Their ideas and methods for measuring the cosmic curvature radius, at that time interpreted as equivalent to the size of the universe, contributed to the development of the empirical approach to relativistic cosmology. Their works are a noteworthy example of the efforts made by modern cosmologists toward the understanding of the universe as a whole, its properties, and its content.

In this paper we consider the prehistory of quantum gravity (1916–1930) from two perspectives. First, we investigate how this research field constituted itself and we propose for the first time a red thread to trace its evolution in this earliest period. Second, we focus on a case study: the earliest work of Léon Rosenfeld. In 1927 he tried to merge wave mechanics with general relativity in the context of a five‐dimensional universe. We describe how Oskar Klein, Louis de Broglie, and Théophile De Donder influenced Rosenfeld's work and analyze how and why Rosenfeld attempted to reconcile Einstein's theory with quantum phenomena. We argue that Rosenfeld investigated for the first time the corrections to a classical space‐time metric generated by a quantum source. As far as we know, Rosenfeld's approach has been largely ignored until today: he himself considered it “an accident.” After having reconsidered its connection with de Broglie's ideas and Rosenfeld's interpretation of the wave function in 1927, we argue that Rosenfeld's work can be interpreted as a first attempt to introduce the pilot‐wave theory in the context of quantum gravity and we infer that this was one of the reasons that ruled it out.

The property of fundamental mechanical theories which allows to treat compound objects as particles under suitable conditions is considered. It is argued that such a property, called compoundation invariance, is a nonreleasable property of any mechanical theory not declaring to which elementary constituents it applies. Compoundation invariance is discussed in the framework of Bohmian mechanics. It is found that standard Bohmian mechanics satisfies the requirement of compoundation invariance, with some reservation in the case of compound objects with spin. On the contrary that requirement is violated when additional terms are added to the standard velocity