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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..52be6d4 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #55817 (https://www.gutenberg.org/ebooks/55817) diff --git a/old/55817-0.txt b/old/55817-0.txt deleted file mode 100644 index 57a1876..0000000 --- a/old/55817-0.txt +++ /dev/null @@ -1,2509 +0,0 @@ -The Project Gutenberg EBook of Automata Old and New, by Conrad William Cooke - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: Automata Old and New - -Author: Conrad William Cooke - -Release Date: October 26, 2017 [EBook #55817] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK AUTOMATA OLD AND NEW *** - - - - -Produced by deaurider, Paul Marshall and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -Transcriber's Notes: - - Underscores "_" before and after a word or phrase indicate _italics_ - in the original text. - Equal signs "=" before and after a word or phrase indicate =bold= - in the original text. - Carat symbol "^" designates a superscript. - Small capitals have been converted to SOLID capitals. - Illustrations have been moved so they do not break up paragraphs. - Old or antiquated spellings have been preserved. - Typographical errors have been silently corrected but other variations - in spelling and punctuation remain unaltered. - -[Illustration] - - PRIVATELY PRINTED OPUSCULA. - - _ISSUED TO MEMBERS OF THE SETTE - OF ODD VOLUMES_. - - No. XXIX. - - AUTOMATA OLD AND NEW. - -[Illustration] - -[Illustration: [_See page 54_.] - - - - - Automata Old and New - - BY - CONRAD WILLIAM COOKE, M.INST.E.E. - - _Mechanick_ to the Sette of - Odd Volumes - -[Illustration] - - _Delivered at a Meeting of the Sette held at - Limmer’s Hotel, on Friday, - November 6th_, 1891 - -[Illustration] - - LONDON - IMPRINTED AT THE CHISWICK PRESS - MDCCCXCIII - - TO THEIR ODDSHIPS - CHARLES HOLME, F.L.S. - (_Pilgrim_), - PRESIDENT, 1890. - - GEORGE CHARLES HAITÉ, R.B.A., F.L.S. - (_Art Critic_), - PRESIDENT, 1891. - - AND - - WILLIAM MURRELL, M.D. - (_Leech_), - PRESIDENT, 1892. - - DURING WHOSE YEARS OF OFFICE - THE FOLLOWING NOTES ON - AUTOMATA - WERE RESPECTIVELY - PREPARED, PRESENTED AND PRINTED, - THIS LITTLE BOOK - IS DEDICATED BY - CONRAD W. COOKE, - _Mechanick to ye Sette of Odd Volumes_. - -[Illustration] - - _This edition is limited to 255 copies, and - is imprinted for private circulation only._ - -[Illustration] - -[Illustration] - -[Illustration] - - - - -AUTOMATA OLD AND NEW. - - -May it please your Oddship, Brethren and Guests of Y^e Sette of Odd -Volumes. The origin of this little paper is very simple. Just eleven -months ago we had the delight of listening to the very interesting and -instructive communication upon the work of that wonderful mechanical -genius, electrician, and _prestidigitateur_, Robert-Houdin, presented -to us by my very good friend, our revered Seer, Brother Manning. With -the object of contributing something to the discussion which followed -that paper, I began to make a few notes upon Automata, with which -subject the name of Robert-Houdin must for ever be associated; I soon -found, however, that the subject was so comprehensive and went back -into such remote periods of antiquity, that to do it even the most -scanty justice would require a paper devoted to itself alone; and, as -our esteemed Pilgrim and Past-President, Brother Holme, was at that -time pressing me for a paper with that persistency and importunity -which characterized his presidentship and gave it so much of its -success, I, as a loyal Odd Volume, felt bound to obey the mandate of -his Oddship; and, holding the honourable office of _Mechanick_ to the -Sette, I have chosen “Automata Old and New” for the subject of this -communication. - -The word Automaton would in its strictest and most comprehensive sense -include all apparently self-moving machines or devices which contain -within themselves their own motive power, and in this sense such -machines as clocks and watches, and even locomotives and steamships -might be included. I shall, however, throughout this paper limit -myself to the more restricted and more ordinarily accepted meaning of -the term, namely, such self-moving machines as are made either in the -forms of men or of animals, or by which animal motions and functions -are more or less imitated. - -As mechanics, next to mathematics and astronomy, is the most ancient -of sciences, and as the scientific knowledge of the ancients was ever -shrouded in mystery to conceal it from the eyes of the vulgar, and to -confer upon the initiated power and profit by working on the credulity -of the ignorant, it was but only to be expected that mechanical -science should be early applied in the ancient mysteries by which the -philosophers and the priests of antiquity maintained so much of their -supremacy. - -One of the very earliest allusions to mysterious self-moving machines -is to be found in the eighteenth book of the “Iliad,” wherein we are -told of Vulcan that - - “Full twenty tripods for his hall he fram’d, - That, placed on living wheels of massy gold - (Wondrous to tell) instinct with spirit roll’d - From place to place, around the bless’d abodes, - Self-mov’d, obedient to the beck of gods.”[1] - -Several others of the ancient poets besides Homer have sung about -the wonderful mechanical devices of Vulcan, among which were golden -statues, the semblances of living maids, which not only appeared to be -endued with life, but which walked by his side and bore him up as he -walked. Aristotle also refers to self-moving tripods, and Philostratus -states that Appolonius of Tyana saw similar pieces of mechanism among -the Brahmins of India; but this must have been nearly four hundred -years after Aristotle wrote, and some nine hundred years after the time -of Homer. - -Then again we hear of Dædalus making self-moving statues, small figures -of the gods, of which Plato in his “Menos” says that unless they were -fastened they would of themselves run away, and he puts this into the -mouth of Socrates, who uses it as a figure to illustrate the importance -of not only acquiring but of holding fast scientific truth that it may -not fly away from us. Aristotle in referring to these statues affirms -that Dædalus accomplished his object by putting into them quicksilver, -but the learned mechanician Bishop Wilkins points out that “this would -have been too grosse a way for so excellent an artificer; it is more -likely that he did it with wheels and weights.”[2] We are moreover told -by Macrobius[3] that in the temple of Hieropolis at Antium there were -moving statues. - -A contemporary of Plato and, it is said, his master, was Archytas -of Tarentum, the celebrated Pythagorean philosopher, mathematician, -cosmographer, and mechanician, to whom is accredited the invention -of the screw and of the crane. Archytas is said to have constructed -of wood a pigeon that could fly about, but which could not rise again -after it had settled; and Aulus Gellius (who lived in the reigns of -Trajan, Hadrian, Antoninus Pius, and Marcus Aurelius), tells us in -his “Noctes Atticæ,” that “many men of eminence among the Greeks, and -Favonius, the philosopher, a most vigilant searcher into antiquity, -have in a most positive manner assured us that the model of a pigeon, -formed in wood by Archytas, was so contrived as by a certain mechanical -art and power to fly; so nicely was it balanced by weights and put -in motion by hidden and inclosed air. In a matter so very improbable -we may be allowed to add the words of Favonius himself: ‘Archytas of -Tarentum, being both a philosopher and skilled in mechanics, made a -wooden pigeon which had it ever settled would not have risen again till -now.’”[4] And I am bound to admit that in this point I agree with him. - -From the above description it would appear that a still greater -invention than a flying automaton was made by Archytas, for in an -apparatus “_so nicely balanced by weights and put in motion by hidden -and inclosed air_,” we have a very fair forecast of the modern aërostat -or balloon, filled with gas and balanced by ballast. There cannot be -any doubt but that the accounts of these very early machines (if such -ever existed at all), have been greatly exaggerated during the process -of being handed down through long ages of ignorance and credulity; but -we may now enter upon surer ground although still very ancient. In the -reign of Ptolemy Euergetes II. (Ptolemy VII.), about 150 years B.C., -there lived at Alexandria that great genius of mechanical science, -Hero; and his remarkable book “Spiritalia,” of which I am able to show -you several copies to-night, is itself a great storehouse of ingenuity -in the construction of automata of very various forms and principles. -This remarkable man was, if not the inventor, the first describer -of the siphon in both its typical forms, the syringe, the well-known -portable shower-bath, the clack valve, the fire engine, even with that -mechanical refinement, an air vessel for insuring a continuous stream, -a self-trimming lamp, the steam blowpipe, the pneumatic fountain -called after his name, a steam engine, and last if not least, the -penny-in-the-slot automatic machine for obtaining a drink, or, may be, -a charge of scent. - -I propose now to show you on the screen some photographic reproductions -of pages in his book, some taken from the Latin edition of Commandinus, -published at Urbino in 1575, and some from the Italian edition of -Alessandro Georgi, printed at the same place in 1592, some from the -fine edition of Aleotti, published in 1589, and others from the -Amsterdam version of 1680, all of which editions I am able to show you. -I have, moreover, copied some from manuscripts in the British Museum, -of the fifteenth and sixteenth centuries, of which there are four in -the National Library, _i.e._, two in the Harley Collection and two -among the Burney manuscripts. - -[Illustration: Fig. 1.] - -The first illustration I shall show you from Hero’s work is a bird -which, by means of a stream of water, is caused to pipe or sing. This -little automaton consists of a pedestal (A B C D) (Fig. 1), which is in -reality a water-tight tank fitted with a funnel (E), the stem of which -reaches nearly to the bottom; to the right of this there is a little -bush on which sits a bird, and a tube (G H) leads up from the roof of -the tank and terminates in a little whistle, the end of which dips into -a cup (L) containing water. When water is poured into the funnel, the -air in the tank is driven out through the tube and whistle (G H) and, -bubbling through the water, sounds as if the bird were singing. Thus -the well-known bubbling bird-whistle dates back to a century and a half -before the Christian era or earlier. - -The next illustration (Fig. 2) shows a more elaborate arrangement, in -which there are four small birds being watched by an owl; the moment -the owl’s back is turned the birds begin to sing, but cease as soon as -he turns towards them. In this apparatus the birds are made to sing -in precisely the same way as in the last illustration, namely, by the -displacement by water of the air in the tank, but as soon as the level -of the water in the tank reaches the top of a concentric siphon (F G) -the water is discharged into a bucket, the birds cease to sing, and -the bucket, owing to its increased weight, lifts the counterbalance -weight (Z), and in doing so turns the spindle (P M) which supports the -owl (R S). When the bucket is full its contents are discharged by a -small siphon within it and it is drawn up by the weight (Z) the owl -turns its back to the birds, and the cycle of operations is repeated. - -[Illustration: Fig. 2.] - -In the next figure a still more elaborate effect is produced. Here is a -pedestal upon which are four little bushes each having a bird sitting -in its branches; when water is allowed to flow into the funnel the -first bird begins to whistle, and after a few minutes leaves off, when -the next bird begins, and when he has finished the third bird sings, -after a little time the fourth takes up the song, and when he has -finished the first begins again, and so on as long as water is flowing -into the funnel. These effects are produced in the simplest possible -manner, by a combination of as many superposed tanks as there are birds -to sing, the one emptying into the other by siphons. The illustration -explains itself. - -[Illustration: Fig. 3.] - -In the next device (Fig. 4) we have a bird whose singing is -_intermittent_. In this case the water flows into a little cup which -topples over the moment it is full, emptying itself into the funnel and -immediately righting itself (being loaded at its bottom), the sound is -produced by the displaced air escaping through a whistle in the manner -already described. - -[Illustration: Fig. 4.] - -[Illustration: Fig. 5.] - -We now come to a different class, in which heat is employed for -obtaining an increase of air pressure whereby certain automatic -actions are produced. Here we have a priest and priestess officiating -at an altar; and the effect of lighting the fire thereon is to cause -the two figures to pour libations onto the sacrifice. In this case -the altar consists of an air-tight metallic box in communication, -by means of a central tube, with a larger box forming the pedestal. -Into this lower reservoir is poured the wine or other liquid through -the hole marked M. When the fire is lighted the air in the altar is -expanded, and pressing on the surface of the liquid in the pedestal, -forces some of it through the tubes which pass through the body and -down the right arm of each figure. In the next view (Fig. 6) we see -how this principle was employed by Hero for the opening of the doors -of a temple, the tradition being that when a sacrifice was offered on -her altar the goddess Isis showed her invisible presence by throwing -open the doors of her sanctuary. In this case the altar consists of an -air-tight metallic box communicating by means of a tube (F G) with a -spherical vessel (H) partly filled with water. When the altar becomes -hot the contained air is expanded, thereby increasing the pressure on -the surface of the water, some of which is therefore forced through -the bent tube (L) into the bucket (M), which descends by its increased -weight, thereby unwinding the cords from the two spindles that perform -the function of hinges to the temple doors, at the same time winding -up the counterweight (R) on the left. When the fire goes out the -altar cools, assuming its ordinary atmospheric pressure, and the water -in the bucket is forced back into the vessel (H), and the weight -counterbalancing the empty bucket, closes again the doors. - -[Illustration: Fig. 6.] - -Like many other geniuses who have lived before their time, Hero had his -plagiarists, his devices having been adopted and described by later -writers without one word of acknowledgment as to their authorship. From -the middle to the end of the seventeenth century several books appeared -which to a great extent were simply bad and erroneous copies of Hero’s -inventions, and not even intelligently copied. Here for instance (Fig. -7) is a _facsimile_ of an illustration in a curious old book, “The -Mysteries of Nature and Art,” by John Bate, published in 1635; this -is poor Bate’s attempt to steal Hero’s device for the temple doors, -showing an altogether impossible scheme. In the first place the doors -could not open at all, for the ropes are so coiled as to neutralize -each other’s action, and, secondly, the counterweight to the right has -its cord simply looped round the spindle and therefore is absolutely -useless; the accompanying description is even more absurd, for it -explains the action of the apparatus as follows: “The fier on the Altar -will cause the water to distill out of the Ball into the Bucket, which -when (by reason of the water) it is become heavier than the waight, it -will draw it up and so open the sayd gates or little doores.” - -[Illustration: Fig. 7.] - -Again, in one of Hero’s illustrations a revolving disc carrying little -figures was made to rotate upon the reaction principle of his own -Æolipile, or steam engine. By a little bit of bad perspective the ends -of the cross tubes were shown as turning alternately up and down, and -Bate not only repeats this error, but goes out of his way to point out -that “in the middest” there must be “a hollow pipe spreading itself -into foure severall branches at the bottom: _the ends of two of the -branches must turn up and the ends of two must turn down_,” thus making -any rotative action impossible. - -But Bate was not the only pirate of Hero’s work; a few years after Bate -had written, that is, in 1659, there appeared another curious book by -Isaak de Caus, upon Water Works,[5] and in that book we find our old -friend the owl keeping the small birds in order, the only difference -being that this is a more indulgent owl, or perhaps he is a teacher of -singing, for in this case the birds sing while he is looking at them -and cease the moment he turns his back. - -[Illustration: Fig. 8.] - -Another pretty conceit of Hero’s is shown in Fig. 8, in which there is -a bird which not only makes a noise but at certain times will drink any -liquid which is presented to it. The flow of water being intermittent, -the cistern forming the pedestal is alternately filled and emptied. -While it is being filled the air escapes through a whistle and causes -the bird to sing, and when it is being emptied, by means of a siphon, -a partial vacuum is produced and liquid presented to it is drawn up -through the beak. - -[Illustration: Fig. 9.] - -The next automaton from Hero is very ingenious and interesting, because -it combines hydraulic, pneumatic, and mechanical actions. Here (Fig. -9) is a figure of Hercules armed with a bow and arrow; there is also -a dragon under an apple tree, from which an apple has fallen to the -ground. Upon the apple being lifted, Hercules discharges the arrow -at the dragon, which begins to hiss and continues to do so for some -minutes. In this apparatus there is a double tank having a connection -by a valve (H), which is attached by a cord to the apple (K), another -cord, passing over a pulley, connects the apple with a trigger in -the right hand of Hercules. Upon lifting the apple the trigger is -released, and at the same time the valve is opened, allowing the water -in the upper tank to flow into the lower, by which means air is forced -through a tube (Z) into the dragon’s mouth, producing a hissing sound, -and this will continue until the upper tank is empty. Here (Fig. 10) is -Bate’s version of the same device, but very inferior to that from which -it was taken. - -[Illustration: Fig. 10.] - -The next photograph is taken from another work of Hero’s, “_Quatro -theoremi aggiunti a gli artifitiosi spiriti_,” a copy of which I have -here (Fig. 11), and which was printed at Ferrara in 1589. - -[Illustration: Fig. 11.] - -This figure illustrates a very elaborate automaton, representing one -of Vulcan’s workshops in which you will see a smith forging a piece of -iron, and assisted by three hammermen. The smith first puts his iron -in the fire and then lays it on the anvil when the hammermen begin -to hammer it; then they leave off, and the smith turns round again -to the fire. All these effects are produced by the machinery below -the floor, and shown in the illustration. A shaft (A B) is driven by -means of a water-wheel on the right, and on this shaft are projections -or cambs which, by striking the ends of three levers (T, X, and V), -pull the chains by which the arms of the hammermen are lifted. While -this is going on the bucket (marked 20) is slowly filling, and when -a sufficient weight of water has accumulated in it, it lifts the -counterweight (17), and, in doing so, rotates the vertical shaft to -which the figure of the smith is attached, turning him round to the -fire, and at the same time, by swinging round the conduit pipe (H I), -cuts off the water from the wheel, and the hammermen cease to work -until the smith is again ready for them. I think you will agree with me -that this machine offers very fair evidence of the mechanical ingenuity -of a man who flourished more than 2,000 years ago. - -The last automaton of Hero to which I shall refer is perhaps the most -ingenious of all, and it is one that those who were present when -Brother Manning gave us his discourse on Robert-Houdin have already -seen, I mean the little figure whose head cannot be severed from his -body no matter how many times a knife be passed through his neck. -Thanks to the kindness of my good friend I can show you one of these -beautiful figures presented to me by him, and it will, I think, be -of interest to him and to you to know that this device was invented -nearly 2,000 years before Robert-Houdin was born, and a description -of it with accompanying figures may be seen to-day in the British -Museum in a Greek manuscript of the fifteenth century, which is a copy -of Hero’s Σπειριταλια, and I now throw on the screen a carefully made -facsimile (Fig. 12) of the figure given in that manuscript (which is -known as No. 5605 of the Harleian Collection). - -[Illustration:-HARLEIAN MANUSCRIPT-(FIFTEENTH CENTURY)-Fig. 12.] - -The head of this figure, which is otherwise separate from it, is -attached to it by a peculiar shaped wheel pivotted between the -shoulders of the body. This wheel may be described as a circular -disc having an expanded rim so that a section taken through a radius -would be of the form of the letter =T=, out of this wheel three -nearly semicircular gaps are cut, each occupying sixty degrees of the -circumference, and therefore leaving three portions of the rim, each -also of sixty degrees. The neck attached to the head is fitted with a -hollow =T= shaped circular groove into which the =T= ended arms of -the wheel pass in succession as the wheel is rotated. As the groove in -the head occupies nearly sixty degrees it follows that as the wheel -is rotated the rim of one arm can never leave the groove before the -rim of the following arm has entered it, and so the head is attached -to the body in every position of the wheel. When the knife is passed -between the head and the body it strikes against one of the spokes of -the wheel, moving it forward and pushing one of the arms out of the -groove in the head, while, at the same time, another, following behind -the knife, takes its place, and thus the head can never be detached -from the body. Such an automaton is the little negro which I hold -in my hand, for which I am indebted to the fraternal generosity of -Brother Manning. Hero’s description, however, carries the ingenuity of -the device considerably farther, for in his automaton, not only is it -impossible to sever the head from the body by passing a knife through -the neck, but the figure can actually drink both before and after the -operation. The illustration on the screen (Fig. 13) is a sort of modern -restoration of the Harley drawing, showing the disposition of the -various parts of the mechanism. (A) represents the wheel by which the -head is held on to the body, and it will be noticed that a tube D D -leads from the mouth to the neck and another, E, from the neck through -the body; these two tubes, marked respectively D D and E, are connected -by the sliding tube F, which is attached to the two racks F and G, -into which are geared the two toothed wheels B and C. When the knife -is passed from P to O it first rotates the holding-on wheel A, and then -strikes against the radial face of the wheel C, turning it through -a small arc, thereby moving the racks, and, sliding the connecting -tube F out of D, allowing the knife to pass, which next strikes the -radial face of the wheel B, and, by turning it, restores the sliding -connecting tube F into D, and thus recompletes the connection. The -sucking-up the liquid being accomplished in a similar manner to that in -the drinking bird already described.[6] - -[Illustration: Fig. 13.] - -I have now done with Hero of Alexandria, but, before passing to another -period, I cannot resist showing you an invention of his which although -not an automaton is too interesting in the light of modern civilization -to omit. This (Fig. 14) is Hero’s automatic penny-in-the-slot machine -for giving a drink in exchange for a coin. If a “coin of five -drachmas” be dropped into the slot it falls on a little plate at the -end of a lever thereby opening a valve and allowing the liquid to -escape through the nozzle. - -[Illustration: Fig. 14.] - -It is more than probable that Hero was not himself the inventor of all -the devices he describes, it is possible that many are due to Ctesibius -whose pupil he was, and it is clear, from his own writings, that he -was acquainted with the writings of Philo and of Archimedes. He was, -however, the first to _describe_ these inventions, and therefore it is -only fair, in the absence of other evidence, to give him the credit. - -[Illustration: Fig. 15.] - -There can be no doubt that puppets or dolls are of great antiquity; -they were common with the ancient Egyptians, and here (Fig. 15) is an -illustration of a doll from Thebes which is now in the British Museum, -and you will notice that the head is covered with holes which served -for the insertion of strings of beads to represent hair. Puppets were -also in use with the Greeks, and afterwards found their way to Rome, -and it is an interesting fact that, about three years ago, while the -ground was being excavated for the foundations of the new Palais de -Justice at Rome, at a spot not far from the Vatican, a stone coffin -was discovered containing the skeleton of a young girl of about -fifteen years of age, who had teeth of great beauty, and in her arms -was a beautifully modelled wooden doll with jointed limbs which was -dressed in a rich material. The interment had taken place in the time -of Pliny, who refers to the child, and mentions that she was engaged -to be married, a statement which is supported by the fact that on one -of the fingers is a doubly-linked gold ring, besides other ornaments. -The coffin, with its contents as they were found, is now in the museum -in the Capitol and it is, I believe, the only instance of an ancient -doll having been found in Rome, although moving puppets or marionettes -were known in very ancient times, and are referred to by Xenophon, -Aristotle, Horace, Antoninus, Galen, and Aulus Gellius. - -The next figure is an illustration of what I suppose must be the very -earliest moving doll in existence to-day; it is now in the Museum -van Oudheden at Leyden, and is a toy which belonged to a child of -ancient Egypt; I have constructed a model of it by which you will -see that it is worked by pulling a thread; and here I must make a -passing reference to the notorious phallic figures which were carried -in procession during the festivals of Osiris and in the Dionysia -of Bacchus. We are told by Lucian[7] that “Among the several sorts -of Phalloi which the Greeks set up in honour of Bacchus there were -figures of dwarfs with moving parts actuated by strings, which were -called ‘Νευροσπαστα’.” In so eminently proper a community as We are -in Ye Sette of Odd Volumes, I am unable to describe these figures in -detail, or to exhibit them in action, but those who are _curious_ as -well as _odd_ will find abundant evidence of them in the writings -of Herodotus, of Lucian, of Pausanias, of Athenæus, of Plutarch, of -Gyraldus, and of several other writers. - -[Illustration: Fig. 16.] - -The earliest forms of moving puppets were set in motion by strings -pulled by hand which were afterwards supplanted by cylinders turned by -a winch, and the transition from that arrangement to the use of weights -and springs was inevitable and was only a question of time. - -From the time of Hero I have found nothing worth recording for nearly -a thousand years, until the time of Charlemagne, to which monarch was -presented by the Kalif Haroun al Raschid a most elaborate water clock. -In front of the dial, and corresponding to the hours, were twelve -little doors, and the time was shown by these doors opening one after -another, each releasing a little brass ball which fell upon a small -bell; after all the hours had struck, that is, at noon, another door -opened, twelve little knights rode out, and, after careering round -the dial, they closed the doors and retired. The eminent mechanician -Gerbert who occupied the papal chair in A.D. 1000, reigning under the -name of Silvester II., is said to have constructed a speaking head -of brass, and was in consequence arrested for practising magic, and -Albertus Magnus, who flourished in the thirteenth century, spent, -according to his own account, thirty years in the construction of -an automaton of clay which not only spoke but walked and answered -questions and solved problems submitted to it. It is recorded that his -pupil, the celebrated St. Thomas Aquinas was so horrified when he saw -and heard this figure that (believing it to be the work of his Satanic -Majesty), he broke it into pieces, when Albertus cried aloud: “Sic -periit opus triginta annorum.” I deeply regret this mischievous act of -St. Thomas Aquinas, because it renders it impossible for me to show it -to the Brethren and our guests this evening. Roger Bacon also is said -to have made a similar automaton. - -Records of speaking androides or talking heads reach us from very -early times. At Lesbos there was a head of Orpheus which delivered -oracles and predicted to Cyrus his violent death, and we have it on -the authority of Philostratus that the head was so celebrated for its -oracular utterances, among both the Greeks and the Persians that even -Apollo became jealous of its fame. - -Then again the mighty Odin had among his mystical possessions a -speaking head, believed to be that of Minos, which Odin preserved by -encasing it in solid gold. He is said to have consulted it on all -occasions, and its utterances were regarded as oracles. - -Mention might here be made of the colossal figure of Amunoph III. on -the plain of Thebes, and which is commonly known as the “vocal Memnon,” -of which a photograph is now before you; it is the more eastern of the -two Colossi, and, when the first rays of the morning sun fell on it, -it emitted a sound which has been described as similar to that of the -snapping of a harp string, but it has been silent since the time of -Severus. It is a seated figure nearly sixty feet in height, and is in -no sense an automaton, but I mention it here because it was believed to -utter sentences which the ancient priests of Egypt alone, for the very -best of reasons, knew how to interpret. - -In more modern times we hear of the eminent Dr. Wilkins, Bishop of -Chester (who married the sister of Oliver Cromwell, and who may be -regarded as the founder of the Royal Society), experimenting upon -the transmission of sound; and Evelyn, in his “Diary,” writing on -the 13th of July, 1654, says, “We all dined at that most obliging -and universally curious Dr. Wilkins’s, at Wadham College. He had -contrived a hollow statue, which gave a voice and uttered words”; and -in his “Mathematicall Magick,” (a copy of which I have here) which -was published in 1648, Wilkins refers to the speaking figures of the -ancients. - -A contemporary of Wilkins was the celebrated Edward Somerset, Marquis -of Worcester, who in his “Century of Inventions” gives as his 88th -device: “How to make a Brazen or Stone-head in the midst of a great -Field or Garden, so artificial and natural that though a man speak -never so softly, and even whispers into the eare thereof, it will -presently open its mouth, and resolve the Question in French, Latine, -Welsh, Irish or English, in good terms uttering it out of his mouth, -and then shut it untill the next Question be asked.”—But, unhappily, he -does not tell us how it may be done. - -The great period for the construction of automata began at the close -of the fourteenth century, and reached its climax at the end of the -seventeenth and beginning of the eighteenth century. One of the -earliest mechanicians who devoted his skill to automata was Johann -Müller, of Königsberg, commonly known as Regiomontanus. This eminent -mathematician and astronomer made of iron a fly which is said to have -left his hand and, after flying to each of the guests in the room, -returned to its master, alighting on his hand. Müller made also a still -more wonderful machine; this was an artificial eagle which, on the -authority of Peter Ramus, flew to meet the Emperor Maximilian on his -entry into Nuremberg on the 7th of June, 1470. After soaring aloft in -the air, Ramus informs us, the eagle met the emperor at some distance -from the city, then returned and perched upon the city gate where it -awaited the emperor’s approach. On his arrival the bird stretched out -its wings and saluted him by bowing. - -It is a remarkable fact that not one of Müller’s contemporaries, who -often refer to this learned man and to his great accomplishments, -makes any reference to these pieces of mechanism, and Peter Ramus -was not born until forty-five years after, but they are referred to -by Baptista Porta, Gassendi, Lana, and Bishop Wilkins, who, however, -differ considerably in their dates. Strada, in his “De Bello Belgico,” -tells us that the Emperor Charles V., after his abdication in 1556, -took a most keen interest in automata of various kinds, and he employed -a very skilful artist, Janellus Turrianus, of Cremona, to construct -them for him. This mechanic made figures of horsemen which marched -along the table, played upon flutes and drums, and entered into combat -with one another, and he exhibited wooden birds which flew up to their -nests (they must, I think, have been _wood pigeons_). This Janellus -Turrianus was evidently a very wonderful man, for he made a corn-mill -so small that it could be concealed in a glove, and yet could grind in -a day as much corn as would supply eight men with food. I never saw -this machine myself, and I cannot help thinking that either the glove -must have been rather large or the appetites of the men must have been -rather small. Apart, however, from the exaggeration of the genius -of this man, he was undoubtedly a most skilful mechanician, for he -repaired and considerably improved a most complex clock constructed -by Wilhelm Zelandin for the city of Padua, in which moving figures and -astronomical phenomena were represented. - -The addition to clocks of automata set in motion by the train was a -very favourite occupation of the horologists of the sixteenth century. -Of these clocks perhaps the most celebrated was that at Strasburg, -which was constructed by Conrad Dasypodius. This clock was finished in -the year 1573. Apart from its interesting representations of various -celestial phenomena, it is remarkable for the number of moving figures -which embellish it, and which perform various functions; above the dial -the four ages of man are represented by symbolical figures; one passes -every quarter of an hour, marking the quarter by striking on a bell; -the first quarter is struck by a child with an apple, the second by a -youth with an arrow, the third by a man with his staff, and the fourth -by an old man with his crutch. After these follows the figure of Death, -who, after sounding the hour on a large bell, is expelled by a figure -representing Christ, while two small angels are set into motion, the -one striking a bell with a sceptre, while the other turns over an -hour-glass at the expiration of an hour. There are, besides, various -animals, and among them a cock, which flaps its wings and crows just -before the clock strikes the hour. - -The great clock at Lyons, the work of Lippius of Basle, is hardly -less interesting. Besides exhibiting mechanical illustrations of -astronomical phenomena, a complete cycle of operations representing -scriptural events is performed. Before each hour strikes a cock comes -forward and crows three times, after which angels appear, who by -striking upon a gamut of bells ring out the air of a hymn, and this is -followed by a moving group illustrating the Annunciation of the Virgin -and the descent of a dove, and the cycle is completed by the striking -of the hour. - -In the Royal Palace of Versailles there was a very curious clock, the -work of Martinot, a clockmaker of the seventeenth century. Before it -struck the hour two cocks flapped their wings and crowed alternately, -then two little doors opened and a figure came out of each carrying a -gong which was struck by armed guards with their clubs. These figures -having retired, a door in the centre opened and an equestrian figure -of Louis XIV. came out. At the same time a group of clouds separated -giving passage to the figure of Fame which hovered over the head of the -king. An air was then chimed upon the bells, after which the figures -retired; the two guards raised their clubs and the hour was struck. - -In the year 1788, Agostino Ramelli published his important work “_Le -diverse ed artificiose Machine_,” and I have reproduced some of the -plates in that beautiful book, a copy of which is before me (one of -which, Fig. 17, see _Frontispiece_, I have chosen to adorn the menu -which is on the table, for no other reason than that it appeared -especially appropriate as figurative of the desire of your humble -Mechanick to be for ever associated with Ye Sette of Odd Volumes). - -[Illustration: Fig. 18.] - -In the next illustration (Fig. 18) we have a beautiful plate from -Ramelli, in which another of Hero’s inventions, the group of singing -birds is introduced as an ornament in an elaborately furnished room -of the period. In this case the water is in the first instance lifted -by air being blown in through a pipe by a person concealed behind the -wall which in the drawing is broken away to show a mediæval old buffer -engaged in this manly performance. - -About the middle of the seventeenth century magnetism began to be -employed for producing the effects of magic, and that extraordinary -versatile all-round Odd Volume, Athanasius Kircher, in his “Magnes -sive de Arte Magnetica,” which was published in 1641 (a copy of which -I have here), describes and illustrates several automata which depend -for their action upon magnetism. Here, for example (Fig. 19), he gives -a representation of the Dove of Archytas, which by the action of a -revolving loadstone, is made to fly around a dial and mark the hours by -pointing to the figures on its edge. - -[Illustration: Fig. 20.] - -Time will not permit me to say as much about this curious old book -as its quaintness and terribly bad science deserve, I will only show -you one more illustration from it in which a wheel is driven round -by two Æolipiles in the form of human heads, which blow out jets of -steam against the cellular periphery of the wheel, and in the lower -figure the little boilers (C and D) which the heads inclose, are shown -separately, the nozzle of one pointing upwards, while that of the other -has a downward direction. - -[Illustration: Fig. 19.] - -When Kircher’s book was published Louis XIV. was a child, and it is -stated by several authorities that both Père Truchet and Camus made the -most elaborate automata for his boyish amusement, but as Louis XIV. was -forty years old when Truchet came of age and fifty-five When Camus was -twenty-one it is difficult to reconcile these statements with facts. - -Putting aside, however, the question of the period of life when the -king amused himself with such things, it is well authenticated that -Père Truchet, towards the end of the seventeenth century, constructed -for him moving pictures which exhibited extraordinary mechanical skill. -One of these was the representation of a five-act opera, the scenery of -which was automatically changed between the acts. The actors came on -and went off, and performed their parts in pantomime. The proscenium -was about sixteen inches in breadth and thirteen in height, and the -whole of the machinery with the scenery occupied a space only an inch -and a quarter in depth.[8] - -The account given by Camus of a toy he constructed for this baby king -of fifty summers is very wonderful. This elaborate automaton consisted -of a small coach drawn by two horses and which contained the figure of -a lady with a footman and a page behind. When this little coach was -placed on the edge of a suitable table the coachman smacked his whip -and the horses immediately started, moving their legs in a most natural -manner; when they reached the opposite edge of the table they turned -sharply at right angles and proceeded along that edge. As soon as the -carriage arrived opposite the king it stopped and both the footman and -page got down and opened the door, the lady alighted, and, curtseying -to the king, presented a petition. After waiting a few minutes she -bowed again to the king and re-entered the carriage, the page got up -again behind, the coachman whipped up his horses and drove on, and the -footman running after the carriage jumped up into his former place. In -the account given by M. de Camus he does not attempt to describe the -mechanism of the machine and we have his word alone for the account of -its performance. - -The great philosopher Descartes formed the theory that all animals -are merely automata of a high degree of perfection, and, to prove his -notion, he is said to have constructed an automaton in the form of -a young girl to which he gave the name of “Ma fille Francine.” This -figure came unhappily to a watery grave, for during a voyage by sea -the captain of the vessel in which it was travelling had the curiosity -to open the case in which Francine was packed and, in his astonishment -at the movements of the automaton, which were so wonderfully natural, -he threw the whole thing overboard, believing it to be the work of the -devil. - -I now come to what are, if not the most extraordinary _pieces of -mechanism_, certainly the most wonderful _automata_ the world has ever -seen. In the year 1738 that great mechanical genius M. Vaucanson, a -member of the Académie des Sciences exhibited at Paris three very -remarkable automata which were, a flute-player, a figure which played -the shepherd’s pipe of Provence and the drum, and an artificial duck. -The first of these, the flute-player, he described in a Memoir read -before the Académie on the 30th of April, 1738. This automaton was a -wooden figure six feet six inches in height, representing a well-known -antique statue of a Faun, sitting on a rock and mounted on a square -pedestal four feet six from the ground. It was capable of performing -twelve pieces of music on a German flute, the instrument being really -played as a man would play it by blowing across the embouchure -and projecting the air with variable force by movable lips, which -imitated in their action those of a living player, employing a tongue -to regulate the opening, and producing the notes by the tips of the -fingers closing or opening the holes. - -The mechanical devices in this automaton are so beautiful and so -scientifically thought out, that I am only sorry that time will not -permit me to describe them in detail, but I will try and make its -general principles clear. - -Within the pedestal was a train of wheel-work driven by a weight, which -set into motion a small shaft on which were six cranks disposed at -equal angular distances around it; to these six cranks as many pairs -of bellows were attached (their inlet valves being mechanically opened -and closed so as to make them silent in action). The air supplied by -these bellows was conveyed to three different wind chests, one loaded -with a weight of four pounds, one with a weight of two pounds, and -the last having only the weight of its upper board. These wind chests -communicated with three little chambers in the body of the figure, and -these chambers were all connected with the windpipe which passed up the -throat to the cavity of the mouth and terminated in the two movable -lips which, between them, formed an orifice that could be protruded or -drawn back, and might be further modified by the action of the tongue. - -The train of wheels also set into motion a cylinder twenty inches in -diameter and two feet six inches long; on this were fixed a number -of brass bars of different lengths and thicknesses which in their -revolution acted upon a row of fifteen keys or levers; three of these -corresponded to the three little wind chambers containing air at -different pressures, and, by means of little chains, operated their -respective valves. There were seven levers set apart for operating the -fingers, their respective chains making bends at the shoulders and -elbows of the automaton, and terminated at the wrist in the ends of -what I may call metacarpal levers attached to the fingers which were -armed at their tips with leather to imitate the flesh of the natural -hand. - -The motion of the mouth was controlled by four of the levers, one to -open the lips so as to give to the wind a greater issue, one to bring -them closer together, and so contract the passage, a third to draw the -lips backward and away from the flute, and the fourth to push them -forward over the edge of the embouchure. - -The last of the fifteen levers is the cleverest of all, for it has -the power of controlling the tongue, an accomplishment which I think -everyone (unless he be an Odd Volume) will agree with me is a very -difficult one to acquire. - -The barrel worked upon a screwed bearing (similar to that of the -cylinder of a phonograph), so that in its revolution all the levers -described a spiral line sixty-four inches long, and, as the barrel -during the performance made twelve revolutions it followed that the -levers passed over a distance of no less than 768 inches in going -through its performance of twelve tunes. - -In a Memoir read before the Académie des Sciences, M. Vaucanson -described the very beautiful methods by which the barrel was set out, -and by which the positions of the bars were determined on its surface -so as to regulate the supply of air and to control the actions of the -fingers, the motion of the lips and the movements of the tongue; and he -gave a most interesting analysis of the acoustics of wind instruments; -but time will not permit me to make more than this passing reference to -them. - -The picture on the screen (Fig. 21) is a photographic reproduction of -the plate attached to M. Vaucanson’s Memoir (a somewhat rare little -tract published in 1738) in which his three automata are shown, and I -hold in my hand a copy of the translation by Dr. Desaguliers, published -in London in 1742, which, the imprint tells us, was “_sold at the long -room at the Opera House in the Haymarket, where the mechanical figures -are to be seen at 1, 2, 5, and 7 o’clock in the afternoon_.” - -[Illustration: Fig. 21.] - -The second of Vaucanson’s automata was his celebrated model of a duck, -which he himself described in a letter to the Abbé de la Fontaine in -1738. This extraordinary automaton (according to the inventor’s own -account of it), exhibited a considerable amount of physiological and -anatomical knowledge and the most profound mechanical skill, for in it -the operation of eating, drinking, and digestion, were very closely -imitated. The duck stretched out its neck to take corn from the -hand, it swallowed it and discharged it in a digested condition, the -digestion being effected not by trituration, but by dissolution, and -(to quote the quaint expressions of the inventor), “The matter digested -in the stomach is conducted by pipes (as in an animal by the guts), -quite to the anus, where there is a sphincter that lets it out. I don’t -pretend,” he says, “to give this as a perfect _digestion_, capable of -producing blood and nutritive particles for the support of the animal. -I hope nobody will be so unkind as to upbraid me with pretending to any -such thing. I only pretend to imitate the mechanism of their action in -these things, _i.e._, first, to swallow the corn; secondly, macerate or -dissolve it; thirdly, to make it come out sensibly changed from what -it was.” But (on the same authority), besides being furnished with a -digestive system, the wings were anatomical imitations of nature; not -only was every bone imitated, but all the processes and eminences of -each bone, and the joints were articulated as in a real animal. - -After having been wound up, the duck ate and drank, played in the water -with his bill, making what is described as a “gugling” sound, rose -up on its legs and sat down, flapped its wings, dressed its feathers -with its bill, and performed all these different operations without -requiring to be touched again. - -It is important, however, to point out that this digestion story can -only be “digested” _cum grano salis_, and this is supplied in the -sequel which furnishes the explanation. In the year 1840 the automaton -was found hidden away in a garret in Berlin; it was very much out of -order, and a mechanician of the name of Georges Tiets undertook to -repair it. It was taken to Paris, and in the year 1844 was exhibited in -the Place du Palais Royal. In the course of this exhibition one of the -wings became deranged, and it was put into the hands of Robert-Houdin -for repairs. Robert-Houdin took advantage of this opportunity for -examining the so-called digestive system of the automaton, and he thus -describes its action: - -“On présentait à l’animal un vase dans lequel était de la graine -baignant dans l’eau. Le mouvement que faisait le bec en barbotant -divisait la nourriture et en facilitait l’introduction dans un tuyau -placé sous le bec inférieur du canard; l’eau et la graine, ainsi -aspirés tombaient dans une boîte placée sous le ventre de _l’automate_, -laquelle se vidait toutes les trois ou quatre séances. L’évacuation -était chose préparée à l’avance; une espèce de boullie, composée de -mie de pain colorée de vert, était poussée par un coup de pompe et -soigneusement reçue, sur un plateau en argent, comme produit d’une -digestion artificielle,” so that, after all, this wonderful digestion -of Vaucanson’s duck was nothing more than a clever trick. - -The third automaton of Vaucanson was a figure that played on a -shepherd’s pipe with one hand while it beat a drum with the other. The -instrument played upon was a little pipe with only three holes, and -the different notes were produced by a greater or less pressure of air -and a more or less closing of the holes, and every note, no matter how -rapid was the succession, had to be modified by the tongue. In this -machine there were provided as many different pressures of air as there -were notes to be sounded, and the mechanism by which these operations -and the fingering of the keys were effected reflects the greatest -credit on the memory of this remarkable man.[9] - -The Automaton duck of Vaucanson was, to a certain extent, anticipated -by the Comte de Gennes, Governor of the Island of Saint Christopher, -who, we are told by Père Labat, constructed a peacock which could walk -about and pick up grains of corn, which it swallowed and digested. I -have no means of determining whether or not Vaucanson took the idea of -his duck from this automaton, but that Vaucanson had imitators there is -abundant evidence to prove. In the year 1752, Du Moulin, a silversmith, -travelled all over Europe with automata similar to those of Vaucanson, -and they were afterwards purchased in Nuremberg, by Bereis, a -counsellor of Helmstadt, at whose place they were seen by Beckmann in -1754. - -In the year 1760, there was a writing automaton exhibited in Vienna, -which was constructed by Friedrich von Knaus, and about the same time -a number of very curious automata were made by Le Droz, of Chaux de -Fonds, in Neufchatel. One of these was a clock, presented to the King -of Spain, which had, in addition to several moving figures, a sheep -that bleated in a very natural way, and a dog mounting guard over -a basket of fruit; if anyone attempted to touch the basket the dog -barked and growled, and if any of the fruit were taken away the barking -continued until it was restored. - -The son of this man (who lived at Geneva), was no less skilful a -mechanician, for he made a gold snuffbox about 4-1/2 inches long by 3 -inches broad, in which when a spring was touched a little door flew -open and a beautifully modelled bird of green enamelled gold rose -up, fluttered its wings and tail, and commenced a trilling song of -great beauty and power, its beak keeping time with the notes. Such a -snuffbox was exhibited in the Great Exhibition of 1851, proving as -great a popular attraction as the Koh-i-nur diamond, and (owing to the -kindness of my friend Mr. Tripplin the well-known horologist) I am now -able to show you one of these very beautiful triumphs of mechanical -skill. - -Another of the younger Le Droz’s inventions was his celebrated drawing -automaton, which was a life-size figure of a man sitting behind a table -and holding a style in his hand. A sheet of vellum was placed on the -table, and the figure began to draw portraits of well-known persons -with extraordinary correctness. This automaton was shown in London, and -attracted considerable attention at the time. - -[Illustration: Fig. 22.] - -I must now re-introduce to you another old friend, first shown here by -Brother Manning. Here he is! a little acrobat that turns somersaults -backwards down stairs. This is not, as many have thought, an invention -of that great mechanical genius, Robert-Houdin, for it is figured and -described in Musschenbroeck’s “Introductio ad philosophiam naturalem,” -which was published in Leyden in 1762 (a year after the author’s -death), and half a century before Robert-Houdin was born, and on the -screen you have a facsimile (Fig. 22) of Musschenbroeck’s illustration -of this mechanical toy, which he refers to as “an old invention of -the Chinese.” It is also described by Ozanam in his “Recréations -Mathématiques et Physiques,” the first edition of which was published -in 1694. The figure I now throw on the screen (Fig. 23), is taken from -the second edition of this work which was edited by Montucla in 1790. -The principle is exceedingly simple; the whole thing depends upon the -centre of gravity being suddenly changed by a shifting weight. Within -a tube contained within the body, is a small quantity of mercury, and -the moment that this tube is inclined to the horizon the mercury flows -to the lower end tilting one figure over the other, and with such force -that it is carried over by its inertia far enough to tilt the tubes, -and cause the mercury to flow to the opposite end, and the process -is repeated as long as there are stairs to descend; by a very simple -arrangement of strings passing over pulleys, the legs and arms are -always brought into suitable positions to support the figure in every -position of its descent. - -[Illustration: Fig. 23.] - -I now come to the automaton which for some years was the wonder of -every country in Europe, the automaton chess-player of the Baron -Wolfgang von Kempelen, constructed in 1776. This automaton was a -life-size sitting figure dressed as a Turk, and having before it a -large rectangular chest or cabinet, 3 feet 6 inches long, 2 feet deep, -and 2 feet 6 inches high, on the top of which was a chessboard and -a set of men. The seat on which the figure sat, was attached to the -cabinet and the whole was on castors, so that it could be wheeled -about the floor. When the automaton was exhibited, the exhibitor began -operations by opening the doors of the cabinet so as to show its -contents, and here I will throw on the screen a copy (Fig. 24) of one -of the plates in a curious pamphlet,[10] printed anonymously in 1821, -but probably by Professor Willis. It must, however, be recollected -that these doors were opened in succession, and never all at the same -time, but whichever door was opened, nothing could be seen but wheels, -levers, connecting rods, strings and cylinders. After this the doors -were closed and locked, the machinery was wound up, and the figure was -ready to play a game of chess with any one who would challenge him. On -commencing the game the figure moved its head, and seemed to look at -every part of the board. When it checked the king, it nodded its head -three times, and when it threatened the queen, it nodded twice. It also -shook its head when its adversary made a false move, and replaced the -offending piece. It nearly always won the game, but occasionally lost. - -When it was completed, it was exhibited in Riga, Moscow, St. -Petersburg, Berlin, Presburg and Vienna, coming to London in 1783, and -having been seen by many thousands during those years with out its -secret being discovered, but in the year 1789, a book was published -by Mr. Freyherre of Dresden, in which he showed that “a well taught -boy very thin and tall of his age, (sufficiently so that he could be -concealed in a drawer below the chessboard,) agitated the whole.” In -the plate before you, you will see that the author has shown in dotted -lines, the position a boy might take when the left hand door was -opened. - -[Illustration: Fig. 24.] - -The real story of this most ingenious and successful scientific fraud -is so interesting that I must tell it here, although it puts for -ever Baron von Kempelen’s chess-player outside the circle of true -automata. In the year 1776, a regiment, half Russian and half Polish, -mutinied at Riga. The mutineers were defeated, and their chief officer, -Worouski, fell, having had both his thighs fractured by a cannon ball. -He hid himself in a ditch until after dark, when he dragged himself -to the neighbouring house of a doctor named Osloff, a man of great -benevolence, who took him in and concealed him, but he had to amputate -both his legs. During the time of Worouski’s illness, Osloff was -visited by his intimate friend the Baron von Kempelen, and after many -consultations and much thought, Kempelen hit upon the idea of conveying -him out of the country by devising this automaton (as Worouski was a -great chess-player), and in three months the figure was finished. - -In order to avoid suspicion he gave performances _en route_ to the -frontier. The first performance was given at Toula, on the 6th of -November, 1777 (that is to say exactly 114 years ago to-day). The -machine and Worouski were packed in a case and started for Prussia, but -when they reached Riga, orders came from the Empress Katherine II., -for Baron von Kempelen to go to St. Petersburg with his automaton. -The Empress played several games with him, but was always beaten, and -then she wanted to buy the figure. This was an awkward situation for -Kempelen, and he was at his wits’ end to know how to wriggle out of -it. He declared that his own presence was absolutely necessary for the -working of the machine, and that it was quite impossible for him to -sell it, and, after some further discussion, he was allowed to proceed -on his journey. - -This chess-player was, in the same year, purchased by Mons. Anthon, who -took it all over Europe. At his death it came into the hands of Johann -Maelzel, the inventor of the Metronome, who sent it to the United -States. It was afterwards sent back to Europe, and in the year 1844 was -in the possession of a mechanician of Belleville, named Croizier. - -Maelzel himself was a mechanician of very considerable skill, and he -constructed an automaton trumpeter, which was exhibited at Vienna -about the year 1804, which played the Austrian and French cavalry -marches, and marches and allegros by Weigl, Dussek, and Pleyel. -Maelzel was, after that, appointed mechanician to the Austrian Court, -and constructed an automatic orchestra, in which trumpets, flutes, -clarionets, violins, violoncellos, drums, cymbals, and a triangle, were -introduced, and this attracted very great interest in the Austrian -capital at the time. - -In the year 1772 there was in Spring Gardens, near Charing Cross, -a most remarkable collection of automata exhibited in a place of -entertainment known as Cox’s Museum, and here I have an original copy -of the “_Descriptive catalogue, of the several superb and magnificent -pieces of mechanism and jewellery exhibited in Mr. Cox’s Museum, at -Spring Gardens, Charing Cross_.” To which this footnote is added, -“_Hours of Admission, 11, 2, and 7, every day (Sundays excepted), -tickets Half a Guinea each, admitting one person, to be had at Mr. -Cox’s, No. 103, Shoe Lane_.” This was a very extraordinary exhibition, -and contained upwards of twenty large and elaborate automata, several -of them being adorned with gold and precious stones. Some were -complicated clocks, some were large groups of animals, and figures with -fountains and cascades around them. None of these objects was less -than nine feet high, and some were as high as sixteen feet. I can find -nothing important enough from a Mechanick’s point of view, to describe -in detail, but it was the precursor in the same place of the exhibition -of Monsieur Maillardet, which was one of the London attractions at the -beginning of the present century. - -M. Maillardet exhibited a bird automaton (similar to that already -referred to which was made by Le Droz), and whose performance lasted -four minutes with one winding up. He constructed also a spider, -entirely of steel, which imitated all the actions of the real animal, -it ran round and round the table in a spiral line, tending towards the -centre. Maillardet made automata representing a caterpillar, a mouse, -a lizard, and a serpent; the last crawled about all over the table, -darted its tongue in and out, and produced a hissing sound. - -Maillardet’s most important automata were, however, his drawing and -writing figure, and his pianoforte player. The former was a kneeling -boy, who wrote in ink with an ordinary pen, sentences in English -and in French, and drew landscapes. The pianist was a figure of a -lady, who performed eighteen pieces of music. She began by bowing -to the audience, her bosom heaved, and her eyes first looked at the -music, and then followed the motion of her fingers, and the music -was produced by the keys being played on by the fingers; but the -most remarkable of M. Maillardet’s machines, was a magician, or -fortune-teller, which gave answers to some twenty given questions, -which were inscribed on as many counters or medallions. One of these -medallions having been put into a drawer, the figure arose from his -seat, bowed to the audience, and described mystic circles in the air -with his wand; after appearing to consult his book of mysteries, he -struck a little door behind him, which flew open, and exhibited an -appropriate answer to the question on the medallion. - -The general principle upon which this automaton’s power of selection -was founded lay in the fact that in the edge of each medallion there -was a small hole drilled, but no two holes were drilled to the same -depth, and, by an exceedingly delicate mechanism, the varying depth -to which a pin could be thrust into the edge of a disc, was caused to -control the mechanism by which the various answers were selected, and -which were exhibited when the little door flew open. - -The next great master of automaton design and construction, was that -wonderful genius Robert-Houdin (about whom our worthy Secretary and -Seer discoursed to us so pleasantly and so instructively nearly a year -ago). Brother Manning’s paper was so complete in itself, and that part -of it which dealt with automata was so ably illustrated, that it will -be quite unnecessary for me to add to the length of this communication, -by going over that ground again, so I will merely enumerate the -automata of that interesting man and pass on to still more recent times. - -The first of the automata of Robert-Houdin was a confectioner’s shop, -in which a pastry-cook came out of the door when requested and offered -to the spectators patisserie, bonbons, and refreshments of every -description, and within the shop might be seen the assistants making -pastry, rolling out the dough, and putting it into the oven. Then he -made two clowns, known as Auriol and Débureau. The first of these -performed a number of acrobatic feats upon a chair which was held at -arm’s length by the other. After this, the figure of Auriol smoked a -pipe, and accompanied on the flageolet an air played by the orchestra. - -Another was an acrobat which performed tricks on the trapèze, and the -last to which I shall refer, was his celebrated writing figure, which -is illustrated in Brother Manning’s “Opusculum,” No. XXIV., to which I -must refer you for a great deal of interesting information respecting -that remarkable man. - -A contemporary of Robert-Houdin was Mons. Mareppe, who constructed a -very wonderful automaton violin player, and which was exhibited at the -Conservatoire at Paris, in the year 1838, and which performed on the -violin by bowing and fingering the strings, and in an account of the -performance which was published at the time in “Galignani’s Messenger,” -it is stated that the musical execution was so perfect as to bring -tears into the eyes of the audience. - -Coming to our own period, from the time of Robert-Houdin, there have -been no great automata which will live in the history of the subject, -until the year 1875, when Mr. J. N. Maskelyne (who, I am happy to -tell you, is honouring us with his presence to-night) exhibited at -the Egyptian Hall his marvellous “Psycho.” This was a seated figure, -supported by a cylindrical pedestal of glass which stood upon a little -platform, and, being on castors, could be wheeled about the floor. This -automaton can actually play a game of whist, selecting the cards from a -rack in front of it, and playing a most skilful game. The machine works -apparently without any mechanical connection with anything outside, -and the delicacy and precision of its actions, display the most -consummate skill in design, and give to its inventor a high position -for mechanical science. This automaton also works out arithmetical -calculations, with numbers from one to a hundred millions, showing the -result behind a door which opens in front of its box. - -Another of Mr. Maskelyne’s automata, is the celebrated “Zoe” of 1877, -a sitting figure supported like the last on a glass pedestal so as to -exclude the possibility of an electrical system of communication. A -sheet of paper is fastened on to the table in front, and the figure -traces out very fair portraits of public characters chosen by the -audience out of a list of some two hundred names. - -In respect to these most beautiful machines I must refrain from -revealing to you the secrets of their working, and that for two -reasons, first, because I do not know them myself; and second, because -Mr. Maskelyne is here and is doubtless only impatient to jump up when I -sit down and tell us all about them. - -I do not intend to say anything about speaking machines or to do -more than make a passing reference to the very interesting work and -researches of Kircher in 1650, Van Helmont, 1667, Kratzenstein, in -1780, L’Abbé Mical, in 1783, Von Kempelen in 1791, Willis in 1829, -Wheatstone in 1837, or of Faber in 1862. All these mechanicians and -physicists studied the philosophy of speech and produced machines or -parts of machines, which could utter vowels, words or even sentences, -but these machines were operated by keys and stops and were, in no -sense of the term, automata. - -I must, however, refer to one of the greatest marvels of modern -science, the phonograph which Mr. Edison has applied in the -construction of his talking dolls. Edison’s talking doll is a figure, -within which a little phonograph, driven by a little winch, is -concealed, and which repeats in a clear voice any sentence or rhyme -which may have been spoken against its recording cylinder or disc. -I am deeply disappointed to be unable to show you one of these most -interesting automata to-night, for one is on its way to me across the -Atlantic. Colonel Gourand very kindly sent for one that I might show -it to you this evening, and I deeply regret that it has not arrived in -time, for the Odd Volumes would, otherwise, have been the first to hear -its voice in Europe.[11] - -In the phonograph, that splendid triumph of acoustical and mechanical -science, we have literally fulfilled, the prediction made by Sir David -Brewster in 1883, when he wrote “I have no doubt that before another -century is completed, a talking and a singing Machine will be numbered -among the conquests of Science.” - -No one who is familiar with any of the great European capitals can -have failed to notice in the windows of the higher class of toy-shops, -clock-work automata of various kinds. We have jugglers and rope -dancers, conjurers, pianists, violinists, harpists and trumpeters, -dancing niggers, figures fighting, knitting, sewing, writing, and -engaged in almost every occupation performed by human beings, but none -that I have seen are fit for comparison with the wonderful mechanical -works of Vaucanson, Robert-Houdin or Maskelyne; mechanically they are -nearly identical with one another, and differ only in the external -application of the internal machinery. At International Exhibitions one -sees one or two of superior merit, but I have not recently seen any of -sufficient importance to bring before you this evening. The pianists -and other musicians merely move their hands on their instruments, -but the music (save the mark) whether it be a violin or a trumpet, -comes from a musical snuffbox inside which is generally wound up by -a different key. These figures are usually very costly, and I am -always puzzled to know who are the people who purchase them. The best -are generally those mechanical toys which represent the movements of -animals, and here I have a mechanical bear which is rather amusing, -and it is ingenious because by a very simple combination of clock work -with cranks and strings a number of different motions is obtained; we -have the mouth opening and shutting, the head going from side to side, -the lips moving and the whole animal bowing to the spectators. - -Within the last few years a most extraordinary amount of mechanical -ingenuity has been brought to bear upon the construction of small -automatic toys, which are sold in the streets for a few pence, and -I think, even more than the extraordinarily simple and ingenious -contrivances by which the various effects are produced, the great -inventive merit consists in a design and method of manufacture by which -they can be turned out, with a profit, at so insignificant a cost. I -have brought together a few examples, a very minute fraction of the -hundreds of forms that exist, but selected merely to illustrate the -different types of principle of action. - -A very favourite motive power is a wound up spring, consisting of -strands of vulcanized india-rubber, and here I have one of the -well-known butterflies which come out in Paris in 1878, where they -filled the air of the Avenue de l’Opera, the shops of which were then -occupied chiefly by hawkers of toys. The motive power of this toy -is nothing more than a light screw propeller or fan rotated by the -untwisting of a spring, while on the body of the machine are two fixed -wings or fins to prevent the whole machine from rotating. The action is -wonderfully like that of an animal, perhaps most like that of a bat. -Here again the same principle is applied in a running mouse, and this -is especially interesting from the fact that the machine winds itself -up the moment the tension of the cord is relaxed, and as the spindle of -the wheels is the flexible rubber itself the peculiar scuttling action -of a mouse is well imitated. - -There is again a large class of mechanical toys in which there is a -combination of a rubber spring with a wheel and escapement, the pallets -of which by their reciprocating motion producing whatever effect may -be desired; the swimming fish is one of them, the wagging of the tail -being produced in the way I have described. Here is another displaying -considerable ingenuity. In this case an escapement wheel works a crutch -which by a pair of cranks linked together causes each of two pugilists -to turn a little way backwards and forwards on one heel, and the arms -being hung loosely to the shoulders by rubber hinges give to the -figures the appearance of hitting out vigorously. - -I have here a couple of figures which I admit do not contain their -motive power within themselves but they require so little aid from -outside and do so much for themselves that I have been tempted to -bring them in. Here is a monkey climbing a rope, and its progression -is insured by the simplest possible device, the string passes over one -pin and under another in his posterior hands while the anterior pair of -hands grip the rope with a slight degree of friction: if the string be -tightened the lower hands act as a lever which pushes the body up, but -when it is slack it slips round the pins and does no work, in other -words the grip of the hands is greater than that of the feet when the -cord is slack but less when it is tight. - -In this little animated skeleton, we have an immense effect produced by -an extraordinarily small external motion. The squeeze that I give to -this U shaped spring, by varying the tension of the twisted strings, on -which the skeleton is suspended, is almost infinitesimal—but it gives -to the skeleton considerably more energy than is usually to be found in -skeletons. - -Here we have a walking figure whose action depends upon gravity, but -his progression is checked by the friction of his feet on the board on -which he performs, first one foot catches and then another, and each -time his inertia turns him round, which gives him an appearance of -having been in the company of teetotallers, or can he have been dining -with the Sette of Odd Volumes? - -A familiar form of mechanical or automatic toys is in the form of a -box or frame having a glass front, behind which figures of acrobats, -rope-dancers and moving groups are set into motion by sand falling on -a wheel within the case; and it is an ingenious feature of these toys -that they are “wound up” by simply rolling the box over on its edge -through one revolution, which has the effect of lifting the fallen sand -back into the upper reservoir. - -The last great class of mechanical figures, to which I shall refer, -includes those which depend for their action upon the spinning of a top -or fly-wheel, and some of them are particularly pretty and ingenious. - -Here, for example, is a couple of figures, which the gentleman who -sold it to me told me was “a Narry and a Narriet walking hout on -‘Ampstead ’Eath.” In this case the ruling spirit and go is as usual -in the _lady_, and the man has to follow whither she leads, the legs -of the man are connected together at the hips by a pair of cranks so -disposed, that if one leg be pushed back, the other is thereby thrown -forward. Now the heels are so cut that they catch in the ground when -in a forward position and can slide forward when behind; in being urged -along, the forward leg catching in the ground is relatively pushed back -and the other leg comes forward, which in its turn catches, and the -effect of walking is produced. - -And here we have (Fig. 25) another on precisely the same principle, in -which an ostrich appears to draw a cart, which in reality, is pushing -him along, but the effect of the ostrich’s strut is delightfully -reproduced. - -[Illustration: Fig. 25.] - -Here is another in which several very curious motions are reproduced. -This beautiful little mechanical toy (Fig. 26) represents a circus -girl riding round the ring, and occasionally leaping over a bar or -bowing to the audience, while the prancing action of the horse is -ingeniously imitated. The motive power is derived from the spinning of -a top or fly-wheel, supported in a frame attached to the bar to which -the horse is fixed; and, as the spindle of the top spins on the -bevel edge of the circular base, the horse is caused to gallop round -in a circle, and, being supported on the table by a roller mounted -eccentrically on its axis, it prances up and down as it runs. The -equestrienne is attached to a light lever pivotted on the rotating -frame and revolving with it. Twice in its revolution this lever is -lifted by a cam, forming part of the base; the first lift causes the -figure to give a little bow, and the second, which is much greater, -makes her leap over the bar under which the horse runs. This little -machine is one of the most mechanically ingenious of the modern -automaton toys, and it is made at the cost of only a few pence. - -[Illustration: Fig. 26.] - -The last I shall show you is this elephant. In this little machine we -have a fly-wheel, which with its vertical shaft looks like an umbrella -over the Nabob who sits on the top, the vertical shaft passes into -the body of the elephant, and there by a simple frictional gearing, -rotates a couple of cranks to which the legs are connected. The effect -of spinning the umbrella is therefore merely to move the legs backwards -and forwards; and, if that were all, no progression could be effected; -but each foot rests on a little wheel or roller, which can only rotate -in one direction so that while it catches the ground in its backward -stroke it rolls freely over it while it is moving forward, and thus -each leg in its turn contributes to the progressive movement of the toy. - -Now I have come to the end, and it only remains to me to thank you all -for having supported me by your presence in such numbers to-night, and -to say to you in the words of Othello: - - “It gives me wonder great as my content, - To see you here before me.” - -[Illustration] - - Footnotes: - -[1] The “Iliad” of Homer, translated by Alexander Pope, xviii. 440-444. - -[2] “_Mathematicall Magick_, or the Wonders that may be performed by -Mechanicall Geometry.” London, printed by _M. E._ for _Sa: Gellibrand_ -at the Brasen Serpent in _Paul’s_ Churchyard, 1648 (page 173). - -[3] “Saturnaliorum Conviviorum,” Lib. I. cap. xxiii. - -[4] Aulus Gellius, “Noctes Atticæ.” Lib. X. cap. xii. - -[5] “_New and Rare Inventions of Water Workes_, shewing the easiest -waies to raise water higher than the spring. By which invention the -Perpetual Motion is proposed, many hard labours performed And variety -of Motions and Sounds produced. First written in French by Isaak de -Caus a late famous engineer; and now translated into English by John -Leak. London, Printed by Joseph Moxon. Folio. 1659.” - -[6] See page 30. - -[7] “De Syria Dea.” - -[8] Mem. Acad. Sc. Paris, 1729. - -[9] Beckmann in his “History of Inventions,” says that these automata -found their way to St. Petersburg, and that in 1764, he himself saw -them at the Palace of Zarsko-Selo, where he learnt that they had been -purchased from Vaucanson, but they were not, at that time, in working -order. - -[10] “An Attempt to Analyse the Automaton Chess Player of Mr. de -Kempelen, with an easy method of imitating the movements of that -celebrated figure. Illustrated by original drawings. 8vo. London. 1821.” - -[11] The author exhibited Edison’s talking doll at the Conversazione of -the Sette of Odd Volumes which was held the following month. - - - - -THE FOLLOWING EDITIONS OF OLD WORKS, IN ILLUSTRATION OF THE PAPER, WERE -EXHIBITED BY THE AUTHOR. - - - 1. John Wilkins, (Bishop of Chester,) _Mathematicall Magick_. - (First Edition.) Sm. 8vo. London, 1648. - - 2. —— _Ditto_. (Third Edition.) Sm. 8vo. London, 1680. - - 3. —— _Ditto_. (Fourth Edition.) Sm. 8vo. London, 1691. - - 4. Aulus Gellius, _Noctes Atticæ_. Folio. Paris, 1530. - - 5. —— _Ditto_. Sm. 8vo. Lyons, 1546. - - 6. —— _Ditto_. 12mo. (Elzevir.) Amsterdam, 1651. - - 7. Hero, of Alexandria. _Spiritalia_. (Commandinus Edition.) - Sm. 4to. Urbino, 1575. - - 8. —— _Ditto_. (Aleotti Edition.) Sm. 4to. Ferrara, 1589. - - 9. —— _Ditto_. (Georgi Edition.) 4to. Urbino, 1592. - - 10. —— _Ditto_. (Aleotti Edition.) Sm. 4to. Amsterdam, 1680. - - 11. —— _De gli automati overo machine se movente_. Sm. 4to. - Venice, 1589. - - 12. —— _Quatro theoremi aggiunti a gli artifitiosi Spiriti_. - Sm. 4to. Ferrara, 1589. - - 13. John Bate, _The Mysteries of Nature and Art_. Sm. 4to. - London, 1654. - 14. Edward Somerset (Marquis of Worcester). _A Century of the Names - and Scantlings of such Inventions, as at present I can - call to mind_. 12mo. London, 1746. - - 15. Agostino Ramelli. _Le Diverse et artificiose Machine_. Folio. - Paris, 1588. - - 16. Athanasius Kircher. _Magnes sive de Arte Magnetica_. Folio. - Rome, 1641. - - 17. Vaucanson. _An Account of the Mechanism of Automaton or image - playing on the German Flute_. 4to. London, 1742. - - 18. Peter van Musschenbroeck. _Introductio ad Philosophiam - Naturalem_. 4to. Padua, 1768. - - 19. Jacques Ozanam. _Recréations Mathématiques et physiques_. - 8vo. Paris, 1696. - - 20. Anonymous, (believed to be by Thomas Powell, D.D.) _Humane - Industry, or a History of most Manual Arts_. - Sm. 8vo. London, 1661. - - 21. Anonymous, (probably Professor Willis.) _An attempt to Analyse - the Automaton Chess player of Mr. de Kempelen_. 8vo. - London, 1821. - - 22. Cox’s Museum. _Descriptive Catalogue of the Superb and - Magnificent pieces of Mechanism and Jewellery in Cox’s - Museum_. Sm. 4to. London, 1772. - - 23. Henry Van Etten, _Mathematicall Recreations_. 12mo. London, - 1633. - -[Illustration] - -[Illustration] - - - - - O. V. - - A - BIBLIOGRAPHY - OF THE - PRIVATELY PRINTED OPUSCULA - - _Issued to the Members of the Sette of Odd Volumes_. - - “Books that can be held in the hand, and carried to the fireside, - are the best after all.”—_Samuel Johnson_. - - “The writings of the wise are the only riches our posterity cannot - squander.”—_Charles Lamb_. - - - 1. =B. Q.= - A Biographical and Bibliographical Fragment. 22 Pages. Presented - on November the 5th, 1880, by His Oddship C. W. H. WYMAN. 1st - Edition limited to 25 copies. - (Subsequently enlarged to 50 copies.) - - 2. =Glossographia Anglicana=. - By the late J. TROTTER BROCKETT, F.S.A., London and Newcastle, - author of “Glossary of North Country Words,” to which is - prefixed a Biographical Sketch of the Author by FREDERICK - BLOOMER. (pp. 94.) Presented on July the 7th, 1882, by His - Oddship BERNARD QUARITCH. - Edition limited to 150 copies. - - 3. =Ye Boke of Ye Odd Volumes=, - from 1878 to 1883. Carefvlly _Compiled_ and painsfvlly _Edited_ - by ye vnworthy Historiographer to ye Sette, _Brother_ and - _Vice-President_ WILLIAM MORT THOMPSON, and produced by ye order - and at ye charges of Hys Oddship ye President and Librarian of - ye Sette, Bro. BERNARD QUARITCH. (pp. 136.) Presented on April - the 13th, 1883, by his Oddship BERNARD QUARITCH. - Edition limited to 150 copies. - - 4. =Love’s Garland;= - Or Posies for Rings, Hand-kerchers, & Gloves, and such pretty - Tokens that Lovers send their Loves. London, 1674. A Reprint. - And Ye Garland of Ye Odd Volumes, (pp. 102.) Presented on - October the 12th, 1883, by Bro. JAMES ROBERTS BROWN. - Edition limited to 250 copies. - - 5. =Queen Anne Musick=. - A brief Accompt of ye genuine Article, those who performed ye - same, and ye Masters in ye facultie. From 1702 to 1714. (pp. 40.) - Presented on July the 13th, 1883, by Bro. BURNHAM W. HORNER. - Edition limited to 100 copies. - - 6. =A Very Odd Dream=. - Related by His Oddship W. M. THOMPSON, President of the Sette of - Odd Volumes, at the Freemasons’ Tavern, Great Queen Street, on - June 1st, 1883. (pp. 26.) Presented on July the 13th, 1883, by - His Oddship W. MORT THOMPSON. - Edition limited to 250 copies. - - 7. =Codex Chiromantiae=. - Being a Compleate Manualle of ye Science and Arte of Expoundynge - ye Past, ye Presente, ye Future, and ye Charactere, by ye - Scrutinie of ye Hande, ye Gestures thereof, and ye Chirographie. - _Codicillus I_.—CHIROGNOMY. (pp. 118.) Presented on November the - 2nd, 1883, by Bro. ED. HERON-ALLEN. - Edition limited to 133 copies. - - 8. =Intaglio Engraving: Past and Present=. - An Address, by Bro. EDWARD RENTON, delivered at the Freemasons’ - Tavern, Great Queen Street, on December 5th, 1884. (pp. 74.) - Presented to the Sette by His Oddship EDWARD F. WYMAN. - Edition limited to 200 copies. - - 9. =The Rights, Duties, Obligations, and Advantages of Hospitality=. - An Address by Bro. CORNELIUS WALFORD, F.I.A, F.S.S., F.R. Hist. - Soc., Barrister-at-Law, Master of the Rolls in the Sette of - Odd Volumes, delivered at the Freemasons’ Tavern, Great Queen - Street, on Friday, February 5th, 1885. (pp. 72.) Presented to - the Sette by His Oddship EDWARD F. WYMAN. - Edition limited to 133 copies. - - 10. =“Pens, Ink, and Paper:” a Discourse upon Caligraphy=. - The Implements and Practice of Writing, both Ancient and Modern, - with Curiosa, and an Appendix of famous English Penmen, by Bro. - DANIEL W. KETTLE, F.R.G.S., Cosmographer; delivered at the - Freemasons’ Tavern, Great Queen Street, on Friday, November 6th, - 1885. (pp. 104.) Presented to the Sette on January 8th, 1886, by - Bro. DANIEL W. KETTLE. - Edition limited to 233 copies. - - 11. =On Some of the Books for Children of the Last Century=. - With a few Words on the Philanthropic Publisher of St. Paul’s - Churchyard. A paper read at a Meeting of the Sette of Odd - Volumes by Brother CHARLES WELSH, Chapman of the Sette, at the - Freemasons’ Tavern, on Friday, the 8th day of January, 1886. - (pp. 108.) Presented to the Sette by Bro. CHARLES WELSH. - Edition limited to 250 copies. - - 12. =Frost Fairs on the Thames=. - An Address by Bro. EDWARD WALFORD, M.A., Rhymer to the Sette - of the Odd Volumes, delivered at Willis’s Rooms, on Friday, - December 3rd, 1886. (pp. 76.) Presented to the Sette by His - Oddship GEORGE CLULOW. - Edition limited to 133 copies. - - 13. =On Coloured Books for Children=. - By Bro. CHARLES WELSH, Chapman to the Sette. Read before the - Sette, at Willis’s Rooms, on Friday, the 6th May, 1887. With a - Catalogue of the Books Exhibited. (pp. 60.) Presented to the - Sette by Bro. JAMES ROBERTS BROWN. - Edition limited to 255 copies. - - 14. =A Short Sketch of Liturgical History and Literature=. - Illustrated by Examples Manuscript and Printed. A Paper read at - a Meeting of the Sette of Odd Volumes by Bro. BERNARD QUARITCH, - Librarian and First President of the Sette, at Willis’s Rooms, - on Friday, June 10th, 1887. (pp. 86.) Presented to the Sette by - Bro. BERNARD QUARITCH. - - 15. =Cornelius Walford: In Memoriam=. - By his Kinsman, EDWARD WALFORD, M.A., Rhymer to the Sette of Odd - Volumes. Read before the Sette at Willis’s Rooms, on Friday, - October 21st, 1887. (pp. 60.) Presented to the Sette by Bro. - EDWARD WALFORD, M.A. - Edition limited to 255 copies. - - 16. =The Sweating Sickness=. - By FREDERICK H. GERVIS, M.R.C.S., Apothecary to the Sette of Odd - Volumes, delivered at Willis’s Rooms, on Friday, November 4th, - 1887. (pp. 48.) Presented to the Sette by Bro. FRED. H. GERVIS. - Edition limited to 133 copies. - - 17. =New Year’s Day in Japan=. - By Bro. CHARLES HOLME, Pilgrim of the Sette of Odd Volumes. Read - before the Sette at Willis’s Rooms on Friday, January 6th, 1888. - (pp. 46.) Presented to the Sette by Bro. CHARLES HOLME. - Edition limited to 133 copies. - - 18. =Ye Seconde Boke of Ye Odd Volumes=, - from 1883 to 1888. Carefvlly _Compiled_ and painsfvlly _Edited_ - by ye vnworthy Historiographer to ye Sette, Bro. WILLIAM MORT - THOMPSON, and produced by ye order and at ye charges of ye - Sette. (pp. 157.) - Edition limited to 115 copies. - - 19. =Repeats and Plagiarisms in Art, 1888=. - By Bro. JAMES ORROCK, R.I., Connoisseur to the Sette of Odd - Volumes. Read before the Sette at Willis’s Rooms, St. James’s, - on Friday, January 4th, 1889. (pp. 33.) Presented to the Sette - by Bro. JAMES ORROCK, R.I. - Edition limited to 133 copies. - - 20. =How Dreams Come True=. - A Dramatic Sketch by Bro. J. TODHUNTER, Bard of the Sette of - Odd Volumes. Performed at a Conversazione of the Sette at the - Grosvenor Gallery, on Thursday, July 17th, 1890. (pp. 46.) - Presented to the Sette by His Oddship Bro. CHARLES HOLME. - Edition limited to 600 copies. - - 21. =The Drama in England during the last Three Centuries=. - By Bro. WALTER HAMILTON, F.R.G.S., Parodist to the Sette of Odd - Volumes. Read before the Sette at Limmer’s Hotel, on Wednesday, - January 8th, 1890. (pp. 80.) Presented to the Sette by Bro. - WALTER HAMILTON. - Edition limited to 201 copies. - - 22. =Gilbert, of Colchester=. - By Bro. SILVANUS P. THOMPSON, D.Sc., B.A., Magnetizer to the - Sette of Odd Volumes. Read before the Sette at Limmer’s Hotel, - on Friday, July 4th, 1890. (pp. 63.) Presented to the Sette by - Bro. SILVANUS P. THOMPSON. - Edition limited to 249 copies. - - 23. =Neglected Frescoes in Northern Italy=. - By Bro. DOUGLAS H. GORDON, Remembrancer to the Sette of Odd - Volumes. Read before the Sette at Limmer’s Hotel, on Friday, - December 6th, 1889. (pp. 48.) Presented to the Sette by Bro. - DOUGLAS H. GORDON. - Edition limited to 133 copies. - - 24. =Recollections of Robert-Houdin=. - By Bro. WILLIAM MANNING. Seer to the Sette of Odd Volumes. - Delivered at a Meeting of the Sette held at Limmer’s Hotel, on - Friday, December 7th, 1890. (pp. 81.) Presented to the Sette by - Bro. WILLIAM MANNING. - Edition limited to 205 copies. - - 25. =Scottish Witchcraft Trials=. - By Bro. J. W. BRODIE INNES, Master of the Rolls to the Sette of - Odd Volumes. Read before the Sette at a Meeting held at Limmer’s - Hotel, on Friday, November 7th, 1890. (pp. 66.) Presented to the - Sette by Bro. ALDERMAN TYLER. - Edition limited to 245 copies. - - 26. =Blue and White China=. - By Bro. ALEXANDER T. HOLLINGSWORTH, Artificer to the Sette - of Odd Volumes. Delivered at a Meeting of the Sette held at - Limmer’s Hotel, on Friday, February 6th, 1891. (pp. 70.) - Presented to the Sette by Bro. ALEXANDER T. HOLLINGSWORTH. - Edition limited to 245 copies. - - 27. =Reading a Poem=. - A Forgotten Sketch by WM. M. THACKERAY. Communicated by Bro. - CHAS. PLUMPTRE JOHNSON (Clerke-atte-Lawe to the Sette of Odd - Volumes), to the Sette at Limmer’s Hotel, on Friday, May 1st, - 1891. (pp. xi and 66.) Presented to the Sette by Bro. CHAS. - PLUMPTRE JOHNSON. - Edition limited to 321 copies. - - 28. =The Ballades of a Blasé Man=, - to which are added some Rondeaux of his Rejuvenescence, - laboriously constructed by the Necromancer to the Sette of - Odd Volumes, (pp. 88.) Presented to the Sette by Bro. EDWARD - HERON-ALLEN, in October, 1891. - Edition limited to 99 copies. - - 29. =Automata Old and New=. - By Bro. CONRAD W. COOKE, Mechanick to the Sette of Odd Volumes. - Read before the Sette at a Meeting held at Limmer’s Hotel, on - Friday, November 6th, 1891. (pp. 118). Presented to the Sette by - Bro. CONRAD W. COOKE. - Edition limited to 255 copies. - - - - -YEAR-BOKES. - - - I. =The Year-Boke of the Odd Volumes: An Annual Record of the - Transactions of the Sette. Eleventh Year, 1888-9=. - - Written and compiled by Bro. W. MORT THOMPSON, - Historiographer to the Sette. Issued November 29th, 1890. - - - II. =The Year-Boke of the Odd Volumes: An Annual Record of the - Transactions of the Sette. Twelfth Year, 1889-90=. - - III. =The Year-Boke of the Odd Volumes: An Annual Record of the - Transactions of the Sette. Thirteenth Year, 1890-1=. - - Compiled mainly from the Minute Book of the Sette, and - imprynted for private circulation only. - Edition limited to 133 copies. - -[Illustration] - - - - -FOLIA. - - - ORIGINATED BY BROTHER HOLME, _Pilgrim_, WHO - PRESENTED EACH BROTHER WITH A - SPECIAL PORTFOLIO. - - - =1. The Victualling Crew=. Presented by Bro. HENRY - MOORE, A.R.A., _Ancient Mariner_. - - =2. Proud Maisie=, from a drawing by Frederick Sandys. - Presented by Bro. TODHUNTER, _Playwright_. - - =3. A Rainy Day in Hakone, Japan=. Presented by - Bro. ALFRED EAST, _Landscape Painter_. - - =4. The Shelley Memorial=. Photogravure from the - original Statue. Presented by E. ONSLOW FORD, - A.R.A., _Sculptor_. - -[Illustration] - -[Illustration] - - - - -MISCELLANIES. - - - 1. =Inaugural Address= - of His Oddship, W. M. THOMPSON, Fourth President of the Sette - of Odd Volumes, delivered at the Freemasons’ Tavern, Great - Queen Street, on his taking office on April 13th, &c. (pp. 31.) - Printed by order of Ye Sette, and issued on May the 4th, 1883. - Edition limited to 250 copies. - - 2. =Codex Chiromantiae=. - _Appendix A_. Dactylomancy, or Finger-ring Magic, Ancient, - Mediæval, and Modern, (pp. 34.) Presented on October the 12th, - 1883, by Bro. ED. HERON-ALLEN. - Edition limited to 133 copies. - - 3. =A President’s Persiflage=. - Spoken by His Oddship W. M. THOMPSON, Fourth President of the - Sette of Odd Volumes, at the Freemasons’ Tavern, Great Queen - Street, at the Fifty-eighth Meeting of the Sette, on December - 7th, 1883. (pp. 15.) - Edition limited to 250 copies. - - 4. =Inaugural Address= - of His Oddship EDWARD F. WYMAN, Fifth President of the Sette of - Odd Volumes, delivered at the Freemasons’ Tavern, Great Queen - Street, on his taking office, on April 4th, 1884, &c. (pp. 56.) - Presented to the Sette by His Oddship EDWARD F. WYMAN. - Edition limited to 133 copies. - - 5. =Musical London a Century Ago=. - Compiled from the Raw Material, by Brother BURNHAM W. HORNER, - F.R.S.L., F.R. Hist. S., Organist of the Sette of Odd Volumes, - delivered at the Freemasons’ Tavern, Great Queen Street, on - June 6th, 1884. (pp. 32.) Presented to the Sette by His Oddship - EDWARD F. WYMAN. - Edition limited to 133 copies. - - 6. =The Unfinished Renaissance;= - Or, Fifty Years of English Art. By Bro. GEORGE C. HAITÉ, Author - of “Plant Studies,” &c. Delivered at the Freemasons’ Tavern, - Friday, July 11th, 1884. (pp. 40.) Presented to the Sette by His - Oddship EDWARD F. WYMAN. - Edition limited to 133 copies. - - 7. =The Pre-Shakespearian Drama=. - By Bro. FRANK IRESON. Delivered at the Freemasons’ Tavern, - Friday, January 2nd, 1885. (pp. 34.) Presented to the Sette by - His Oddship EDWARD F. WYMAN. - Edition limited to 133 copies. - - 8. =Inaugural Address= - of His Oddship, Brother JAMES ROBERTS BROWN, Sixth President of - the Sette of Odd Volumes, delivered at the Freemasons’ Tavern, - Great Queen Street, on his taking office, on April 17th, 1885, - &c. (pp. 56.) Presented to the Sette by His Oddship JAMES - ROBERTS BROWN. - Edition limited to 133 copies. - - 9. =Catalogue of Works of Art= - Exhibited at the Freemasons’ Tavern, Great Queen Street, on - Friday, July 11th, 1884. Lent by Members of the Sette of Odd - Volumes. Presented to the Sette by His Oddship EDWARD F. WYMAN. - Edition limited to 255 copies. - - 10. =Catalogue of Manuscripts and Early-Printed Books= - Exhibited and Described by Bro. B. QUARITCH, the Librarian of - the Sette of Odd Volumes, at the Freemasons’ Tavern, Great Queen - Street, June 5th, 1885. Presented to the Sette by His Oddship - JAMES ROBERTS BROWN. - Edition limited to 255 copies. - - 11. =Catalogue of Old Organ Music= - Exhibited by Bro. BURNHAM W. HORNER, F.R.S.L., F.R.Hist.S., - Organist of the Sette of Odd Volumes, at the Freemasons’ Tavern, - Great Queen Street, on Friday, February 5th, 1886. Presented to - the Sette by His Oddship JAMES ROBERTS BROWN. - Edition limited to 133 copies. - - 12. =Inaugural Address= - of His Oddship Bro. GEORGE CLULOW, Seventh President of the - Sette of Odd Volumes, delivered at the Freemasons’ Tavern, Great - Queen Street, on his taking office, on April 2nd, 1886, &c. - (pp. 64.) Presented to the Sette by His Oddship GEORGE CLULOW. - Edition limited to 133 copies. - - 13. =A Few Notes about Arabs=. - By Bro. CHARLES HOLME, Pilgrim of the Sette of Odd Volumes. Read - at a Meeting of the “Sette” at Willis’s Rooms, on Friday, May - 7th, 1886. (pp. 46.) Presented to the Sette of Odd Volumes by - Bro. CHAS. HOLME. - Edition limited to 133 copies. - - 14. =Account of the Great Learned Societies and Associations, and of - the Chief Printing Clubs of Great Britain and Ireland= Delivered - by Bro. BERNARD QUARITCH, Librarian of the Sette of Odd Volumes, - at Willis’s Rooms on Tuesday, June 8th, 1886. (pp. 66.) - Presented to the Sette by His Oddship GEORGE CLULOW. - Edition limited to 255 copies. - - 15. =Report of a Conversazione= - Given at Willis’s Rooms, King Street, St. James’s, on Tuesday, - June 8th, 1886, by his Oddship Bro. GEORGE CLULOW, _President_; - with a summary of an Address on “LEARNED SOCIETIES AND PRINTING - CLUBS,” then delivered by Bro. BERNARD QUARITCH, _Librarian_. By - Bro. W. M. THOMPSON, _Historiographer_. Presented to the Sette - by His Oddship GEORGE CLULOW. - Edition limited to 255 copies. - - 16. =Codex Chiromantiae=. - _Appendix B_.—A DISCOURSE CONCERNING AUTOGRAPHS AND THEIR - SIGNIFICATIONS. Spoken in valediction at Willis’s Rooms, on - October the 8th, 1886, by Bro. EDWARD HERON-ALLEN. (pp. 45.) - Presented to the Sette by His Oddship GEORGE CLULOW. - Edition limited to 133 copies. - - 17. =Inaugural Address= - of His Oddship ALFRED J. DAVIES, Eighth President of the Sette - of Odd Volumes, delivered at Willis’s Rooms, on his taking - office on April 4th, 1887. (pp. 64.) Presented to the Sette by - His Oddship ALFRED J. DAVIES. - Edition limited to 133 copies. - - 18. =Inaugural Address= - of His Oddship Bro. T. C. VENABLES, Ninth President of the Sette - of Odd Volumes, delivered at Willis’s Rooms, on his taking - office on April 6th, 1888. (pp. 54.) Presented to the Sette by - His Oddship T. C. VENABLES. - Edition limited to 133 copies. - - 19. =Ye Papyrus Roll-Scroll of Ye Sette of Odd Volumes=. - By Bro. J. BRODIE-INNES, Master of the Rolls to the Sette of Odd - Volumes, delivered at Willis’s Rooms, May 4th, 1888. (pp. 39.) - Presented to the Sette by His Oddship T. C. VENABLES. - Edition limited to 133 copies. - - 20. =Inaugural Address= - of His Oddship Bro. H. J. GORDON ROSS, Tenth President of the - Sette of Odd Volumes, delivered at Willis’s Rooms. King Street, - St. James’s Square, on his taking office, April 5th, 1889. - Edition limited to 255 copies. - -[Illustration] - - - - - =WORKS DEDICATED TO THE SETTE=. - - - =The Ancestry of the Violin=. - London, 1882. EDWARD HERON-ALLEN. - - =An Odd Volume for Smokers=. - London, 1889. WALTER HAMILTON. - - =The Blue Friars=. - London, 1889. W. H. K. WRIGHT. - - =Quatrains=. - London, 1892. W. WILSEY MARTIN. - -[Illustration] - - - - -=Ye Sette of Odd Volumes=. - - - Original Member. 1878. BERNARD QUARITCH, _Librarian_, - 15, Piccadilly, W. - (President, 1878, 1879, and 1882). - - Original Member. 1878. EDWARD RENTON, _Herald_, - 44, South Hill Park, Hampstead, N.W. - (Vice-President, 1880; Secretary, 1882). - - Original Member. 1878. W. MORT THOMPSON, _Historiographer_, - 16, Carlyle Square, Chelsea, S.W. - (Vice-President, 1882; President, 1883). - - Original Member. 1878. CHARLES W. H. WYMAN, _Typographer_, - 103, King Henry’s Road, Primrose Hill, N.W. - (Vice-President, 1878 and 1879; President, - 1880). - - Original Member. 1878. EDWARD F. WYMAN, _Treasurer_, - 19, Blomfield Road, Maida Vale, W. - (Secretary, 1878 and 1879; President, 1884). - - 1878. ALFRED J. DAVIES, _Attorney-General_, - Fairlight, Uxbridge Road, Ealing, W. - (Vice-President, 1881; Secretary, 1884; - President, 1887). - - 1878. G. R. TYLER, Alderman, late High Sheriff of - the City of London, _Stationer_, - 17, Penywern Road, South Kensington, W. - (Vice-President, 1886). - - 1879. T. C. VENABLES, _Antiquary_, - 9, Marlborough Place, N.W. - (President, 1888). - - 1879. JAMES ROBERTS BROWN, _Alchymist_, - 44, Tregunter Road, South Kensington, W. - (Secretary, 1880; Vice-President, 1883; - President, 1885). - - 1880. BURNHAM W. HORNER, F.R.S.L., _Organist_, - Matson Red House, Richmond Park, Richmond, S.W. - (Vice-President, 1889). - - 1882. WILLIAM MURRELL, M.D., _Leech_ (President), - 17, Welbeck Street, Cavendish Square, W. - (Secretary, 1883; Vice-President, 1885). - - 1883. HENRY GEORGE LILEY, _Art Director_, - Radnor House, Radnor Place, Hyde Park, W. - - 1883. GEORGE CHARLES HAITÉ, F.L.S., _Art Critic_, - Ormsby Lodge, The Avenue, Bedford Park, W. - (Vice-President, 1887; President, 1891). - - 1883. EDWARD HERON-ALLEN, _Necromancer_, - (Vice-President), - 3, Northwick Terrace, N.W. (Secretary, 1885). - - 1884. WILFRID BALL, R. P. E., _Painter-Etcher_, - 4, Albemarle Street, W. - (Master of Ceremonies, 1890; Vice-President, - 1891). - - 1884. DANIEL W. KETTLE, F.R.G.S., _Cosmographer_, - Hayes Common, near Beckenham, Kent - (Secretary, 1886). - - 1884. CHARLES WELSH, _Chapman_, - The Poplars, Forest Lane, Walthamstow - (Vice-President, 1888). - - 1886. CHARLES HOLME, F.L.S., _Pilgrim_, - The Red House, Bexley Heath, Kent - (Secretary, 1887; President, 1890). - - 1886. FREDK. H. GERVIS, M. R.C.S., _Apothecary_, - 1, Fellows Road, Haverstock Hill, N.W. - - 1887. JOHN W. BRODIE-INNES, _Master of the Rolls_, - 14, Dublin Street, Edinburgh - (Secretary, 1888). - - 1887. HENRY MOORE, A.R.A., _Ancient Mariner_, - Collingham, Maresfield Gardens, N.W. - -[Illustration] - -[Illustration] - - - - - Supplemental Odd Volumes. - - - 1887. JAMES ORROCK, R.I., _Connoisseur_, - 48, Bedford Square, W.C. - - 1888. ALFRED EAST, R.I., _Landscape Painter_; - 14, Adamson Road, Belsize Park, N.W. - - 1888. WALTER HAMILTON, _Parodist_, - Keeper of the Archives, - Ellarbee, Elms Road, Clapham Common, S.W. - - 1888. DOUGLAS H. GORDON, _Remembrancer_, - (Master of Ceremonies), - 41, Tedworth Square, S.W. (Secretary, 1889). - - 1888. ALEXANDER T. HOLLINGSWORTH, _Artificer_, - 172, Sutherland Avenue, Maida Vale, W. - (Vice-President, 1890). - - 1888. JOHN LANE, _Bibliographer_, - 37, Southwick Street, Hyde Park, W. - (Odd Councillor, 1891; Secretary, 1890; - Master of Ceremonies, 1891). - - 1888. JOHN TODHUNTER, M.D., _Playwright_ (Secretary), - Orchard Croft, The Orchard, Bedford Park, W. - - 1889. FRANCIS ELGAR, LL.D., _Shipwright_, - 113, Cannon Street, E.C. - - 1889. WILLIAM MANNING, _Seer_, - 21, Redcliffe Gardens, S.W. - (Secretary, 1891; Odd Councillor). - - 1890. SILVANUS P. THOMPSON, D.Sc., F.R.S., _Magnetizer_, - Morland, Chislett Road, N.W. - - 1890. CONRAD W. COOKE, _Mechanick_, - The Lindens, Larkhall Rise, S.W. - - 1890. E. ONSLOW FORD, A.R.A., _Sculptor_, - 62, Acacia Road, N.W. - - 1891. CHARLES PLUMPTRE JOHNSON, _Clerke at Law_ (Auditor), - 23, Cork Street, W. - - 1891. FREDERIC VILLIERS, _War Correspondent_, Mashrabeyah, - 65, Chancery Lane, W.C. - - 1891. MARCUS B. HUISH, LL.B., _Arts-man_, - 21, Essex Villas, Phillimore Gardens, W. - - 1892. W. WILSEY MARTIN, F.R.G.S., _Laureate_, - 15, Delamere Terrace, W. - - 1892. HERBERT WARD, _Wanderer_, - Shepherd Hill House, near Rickmansworth. - - 1892. FREDERICK YORK POWELL, _Ignoramus_, - The Corner, Priory Road, Bedford Park, W. - - 1892. ERNEST CLARKE, _Yeoman_, - 10, Addison Road, Bedford Park, W. - - 1892. PAUL BEVAN, _Ready Reckoner_, - 46, Queen’s Gate Terrace, S.W. - - 1892. MAX PEMBERTON, _Hack_, - 34, Clifton Hill, St. John’s Wood, N.W. - - -[Illustration] - -[Illustration] - - CHISWICK PRESS:——C. WHITTINGHAM AND CO., - TOOKS COURT, CHANCERY LANE. - - - - - -End of Project Gutenberg's Automata Old and New, by Conrad William Cooke - -*** END OF THIS PROJECT GUTENBERG EBOOK AUTOMATA OLD AND NEW *** - -***** This file should be named 55817-0.txt or 55817-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/5/8/1/55817/ - -Produced by deaurider, Paul Marshall and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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- margin-right: 10%; -} - -.covernote {visibility: hidden; display: none;} -div.chapter {page-break-before: always;} - -h1,h2 { text-align: center; clear: both; } -h1 {page-break-before: always; } -h2 {page-break-before: avoid;} - -p { margin-top: .51em; text-align: justify; text-indent: 1.5em; margin-bottom: .49em; } -p.no-indent { margin-top: .51em; text-align: justify; text-indent: 0em; margin-bottom: .49em;} -p.neg-indent { margin-top: .51em; text-align: justify; text-indent: -3em; margin-bottom: .49em; padding-left: 3em;} -p.neg-indent_big { margin-top: .51em; text-align: justify; text-indent: -12em; margin-bottom: .49em; padding-left: 12em;} -p.author { margin-top: 1em; margin-right: 5%; text-align: right;} -p.indent { text-indent: 1.5em;} -p.f90 { font-size: 90%; text-align: center; text-indent: 0em; } -p.f110 { font-size: 110%; text-align: center; text-indent: 0em; } -p.f120 { font-size: 120%; text-align: center; text-indent: 0em; } -p.f150 { font-size: 150%; text-align: center; 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padding-left: 6em;} -.ws10 {display: inline; margin-left: 0em; padding-left: 10em;} - -@media screen, print -{ - img.drop-cap - { float: left; - margin: 0 0.5em 0 0; - } - p.drop-cap:first-letter - { color: transparent; - visibility: hidden; - margin-left: -0.9em; - } -} - - @media handheld { .pagenum {display:none;} - .covernote {visibility: visible; display: block;} - img.drop-cap - { display: none; } - p.drop-cap:first-letter - { color: inherit; - visibility: visible; - margin-left: 0; - } -} - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of Automata Old and New, by Conrad William Cooke - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: Automata Old and New - -Author: Conrad William Cooke - -Release Date: October 26, 2017 [EBook #55817] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK AUTOMATA OLD AND NEW *** - - - - -Produced by deaurider, Paul Marshall and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - -<div class="figcenter covernote"> - <img src="images/cover.jpg" alt="Book Cover." width="600" height="671" /> -</div> -<hr class="r5" /> -<div class="figcenter"> - <img src="images/deco01.jpg" alt="_" width="400" height="57" /> -</div> - -<p class="f200"><b>PRIVATELY PRINTED OPUSCULA.</b></p> - -<p class="f150"><i><span class="smcap">Issued to Members of the Sette of Odd Volumes</span></i>.</p> - -<p class="f120">No. XXIX.</p> - -<hr class="r25" /> -<h1>AUTOMATA OLD AND NEW.</h1> - -<div class="figcenter"> - <img src="images/deco02.jpg" alt="_" width="100" height="38" /> -</div> -<hr class="r25" /> -<div class="figcenter"> - <a name="Fig_17" id="Fig_17"></a> - <img src="images/i_002.jpg" alt="_" width="500" height="721" /> - <p class="author">[<a href="#Page_54"><i>See page 54</i></a>.  </p> -</div> -<hr class="chap" /> -<div class="figcenter"> - <img src="images/title.jpg" alt="_" width="600" height="85" /> -</div> -<p class="center"><small>BY</small><br /><big><b>CONRAD WILLIAM COOKE, <span class="smcap">M.Inst.E.E.</span></b></big></p> - -<p class="f120"><i>Mechanick</i> to the Sette of Odd Volumes</p> -<hr class="r5" /> - -<p class="center space-below2"><i>Delivered at a Meeting of the Sette held at<br /> -Limmer’s Hotel, on Friday,<br />November 6th</i>, 1891</p> - -<div class="figcenter"> - <img src="images/deco06.jpg" alt="_" width="200" height="129" /> -</div> - -<p class="center space-above2">LONDON<br />IMPRINTED AT THE CHISWICK PRESS<br />MDCCCXCIII</p> - -<hr class="chap" /> -<p class="center"><span class="smcap">To their Oddships</span></p> - -<p class="center"><big><b>CHARLES HOLME, F.L.S.</b></big><br /> -(<i>Pilgrim</i>),<br /><b><span class="smcap">President</span>, 1890.</b></p> - -<p class="center space-above1"><big><b>GEORGE CHARLES HAITÉ, R.B.A., F.L.S.</b></big><br /> -(<i>Art Critic</i>),<br /><b><span class="smcap">President</span>, 1891.</b></p> - -<p class="center"><span class="smcap">and</span></p> - -<p class="center space-above1"><big><b>WILLIAM MURRELL, M.D.</b></big><br /> -(<i>Leech</i>),<br /><b><span class="smcap">President</span>, 1892.</b></p> - -<p class="f120 space-above2">DURING WHOSE YEARS OF OFFICE<br />THE FOLLOWING NOTES ON<br /> -<big>AUTOMATA</big><br />WERE RESPECTIVELY<br />PREPARED, PRESENTED AND PRINTED,<br /> -<big>THIS LITTLE BOOK</big><br />IS DEDICATED BY<br /> -<span class="ws10"> </span><big><span class="smcap">Conrad W. Cooke,</span></big><br /> -<span class="ws6"> </span><i>Mechanick to ye Sette of Odd Volumes</i>.</p> -<hr class="r5" /> -<div class="figcenter"> - <img src="images/deco03.jpg" alt="_" width="200" height="30" /> -</div> - -<p class="f120 space-below2"><i>This edition is limited to 255 copies, and<br /> -is imprinted for private circulation only.</i></p> - -<div class="figcenter"> - <img src="images/i_007.jpg" alt="_" width="500" height="178" /> -</div> - -<div class="figcenter"> - <img src="images/deco04.jpg" alt="_" width="100" height="48" /> -</div> - -<p><span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span></p> - -<div class="figcenter"> - <img src="images/i_010.jpg" alt="_" width="600" height="754" /> -</div> -<hr class="full" /> -<div class="chapter"> -<div class="figcenter"> - <img src="images/deco05.jpg" alt="_" width="600" height="140" /> -</div> -<h2>AUTOMATA OLD AND NEW.</h2></div> - -<div> - <img class="drop-cap" src="images/letter_m.jpg" width="80" height="82" alt="" /> -</div> - -<p class="drop-cap no-indent">May it please your Oddship, Brethren and Guests of -Y<sup>e</sup> Sette of Odd Volumes. The origin of this little paper is -very simple. Just eleven months ago we had the delight of listening to -the very interesting and instructive communication upon the work of -that wonderful mechanical genius, electrician, and <i>prestidigitateur</i>, -Robert-Houdin, presented to us by my very good friend, our revered -Seer, Brother Manning. With the object of contributing something to the -discussion which followed that paper, I began to make a few notes upon -Automata, with which subject the name of Robert-Houdin must for ever be -<span class="pagenum"><a name="Page_12" id="Page_12">  [12]</a></span> -associated; I soon found, however, that the subject was so -comprehensive and went back into such remote periods of antiquity, that -to do it even the most scanty justice would require a paper devoted to -itself alone; and, as our esteemed Pilgrim and Past-President, Brother -Holme, was at that time pressing me for a paper with that persistency -and importunity which characterized his presidentship and gave it so -much of its success, I, as a loyal Odd Volume, felt bound to obey -the mandate of his Oddship; and, holding the honourable office of -<i>Mechanick</i> to the Sette, I have chosen “Automata Old and New” for -the subject of this communication.</p> - -<p>The word Automaton would in its strictest and most comprehensive sense -include all apparently self-moving machines or devices which contain -within themselves their own motive power, and in this sense such -machines as clocks and watches, and even locomotives and steamships -might be included. I shall, however, throughout this paper limit myself -<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -to the more restricted and more ordinarily accepted meaning of the -term, namely, such self-moving machines as are made either in the forms -of men or of animals, or by which animal motions and functions are more -or less imitated.</p> - -<p>As mechanics, next to mathematics and astronomy, is the most ancient -of sciences, and as the scientific knowledge of the ancients was ever -shrouded in mystery to conceal it from the eyes of the vulgar, and to -confer upon the initiated power and profit by working on the credulity -of the ignorant, it was but only to be expected that mechanical -science should be early applied in the ancient mysteries by which the -philosophers and the priests of antiquity maintained so much of their -supremacy.</p> - -<p>One of the very earliest allusions to mysterious self-moving machines -is to be found in the eighteenth book of the “Iliad,” wherein we are -told of Vulcan that -<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span></p> - -<div class="poetry-container"><div class="poem"><div class="stanza"> -<span class="i0">“Full twenty tripods for his hall he fram’d,</span> -<span class="i0">That, placed on living wheels of massy gold</span> -<span class="i0">(Wondrous to tell) instinct with spirit roll’d</span> -<span class="i0">From place to place, around the bless’d abodes,</span> -<span class="i0">Self-mov’d, obedient to the beck of gods.”<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></span> -</div></div></div> - -<p>Several others of the ancient poets besides Homer have sung about -the wonderful mechanical devices of Vulcan, among which were golden -statues, the semblances of living maids, which not only appeared to be -endued with life, but which walked by his side and bore him up as he -walked. Aristotle also refers to self-moving tripods, and Philostratus -states that Appolonius of Tyana saw similar pieces of mechanism among -the Brahmins of India; but this must have been nearly four hundred -years after Aristotle wrote, and some nine hundred years after the time -of Homer.</p> - -<p>Then again we hear of Dædalus making self-moving statues, small figures -of the gods, of which Plato in his “Menos” says that unless they were -<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -fastened they would of themselves run away, and he puts this into the -mouth of Socrates, who uses it as a figure to illustrate the importance -of not only acquiring but of holding fast scientific truth that it may -not fly away from us. Aristotle in referring to these statues affirms -that Dædalus accomplished his object by putting into them quicksilver, -but the learned mechanician Bishop Wilkins points out that “this would -have been too grosse a way for so excellent an artificer; it is more -likely that he did it with wheels and weights.”<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> -We are moreover told by Macrobius<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> -that in the temple of Hieropolis at Antium there were moving statues.</p> - -<p>A contemporary of Plato and, it is said, his master, was Archytas -of Tarentum, the celebrated Pythagorean philosopher, mathematician, -cosmographer, and mechanician, to whom is accredited the invention of -<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -the screw and of the crane. Archytas is said to have constructed of -wood a pigeon that could fly about, but which could not rise again -after it had settled; and Aulus Gellius (who lived in the reigns of -Trajan, Hadrian, Antoninus Pius, and Marcus Aurelius), tells us in -his “Noctes Atticæ,” that “many men of eminence among the Greeks, and -Favonius, the philosopher, a most vigilant searcher into antiquity, -have in a most positive manner assured us that the model of a pigeon, -formed in wood by Archytas, was so contrived as by a certain mechanical -art and power to fly; so nicely was it balanced by weights and put -in motion by hidden and inclosed air. In a matter so very improbable -we may be allowed to add the words of Favonius himself: ‘Archytas of -Tarentum, being both a philosopher and skilled in mechanics, made a -wooden pigeon which had it ever settled would not have risen again till -now.’”<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> -And I am bound to admit that in this point I agree with him. -<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span></p> - -<p>From the above description it would appear that a still greater -invention than a flying automaton was made by Archytas, for in an -apparatus “<i>so nicely balanced by weights and put in motion by hidden -and inclosed air</i>,” we have a very fair forecast of the modern -aërostat or balloon, filled with gas and balanced by ballast. There -cannot be any doubt but that the accounts of these very early machines -(if such ever existed at all), have been greatly exaggerated during -the process of being handed down through long ages of ignorance and -credulity; but we may now enter upon surer ground although still very -ancient. In the reign of Ptolemy Euergetes II. (Ptolemy VII.), about -150 years <span class="smcap">b.c.</span>, there lived at Alexandria that great -genius of mechanical science, Hero; and his remarkable book “Spiritalia,” of -which I am able to show you several copies to-night, is itself a great -storehouse of ingenuity in the construction of automata of very various -forms and principles. This remarkable man was, if not the inventor, the -<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -first describer of the siphon in both its typical forms, the syringe, -the well-known portable shower-bath, the clack valve, the fire engine, -even with that mechanical refinement, an air vessel for insuring a -continuous stream, a self-trimming lamp, the steam blowpipe, the -pneumatic fountain called after his name, a steam engine, and last if -not least, the penny-in-the-slot automatic machine for obtaining a -drink, or, may be, a charge of scent.</p> - -<p>I propose now to show you on the screen some photographic reproductions -of pages in his book, some taken from the Latin edition of Commandinus, -published at Urbino in 1575, and some from the Italian edition of -Alessandro Georgi, printed at the same place in 1592, some from the -fine edition of Aleotti, published in 1589, and others from the -Amsterdam version of 1680, all of which editions I am able to show you. -I have, moreover, copied some from manuscripts in the British Museum, -<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -of the fifteenth and sixteenth centuries, of which there are four in -the National Library, <i>i.e.</i>, two in the Harley Collection and two -among the Burney manuscripts.</p> - -<div class="figcenter"> - <a name="Fig_1" id="Fig_1"></a> - <img src="images/i_019.jpg" alt="_" width="600" height="437" /> - <p class="f110"><b>Fig. 1.</b></p> -</div> - -<p>The first illustration I shall show you from Hero’s work is a bird -which, by means of a stream of water, is caused to pipe or sing. This -little automaton consists of a pedestal (A B C D) (<a href="#Fig_1">Fig. 1</a>), which is in -reality a water-tight tank fitted with a funnel (E), the stem of which -reaches nearly to the bottom; to the right of this there is a little -<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -bush on which sits a bird, and a tube (G H) leads up from the roof of -the tank and terminates in a little whistle, the end of which dips into -a cup (L) containing water. When water is poured into the funnel, the -air in the tank is driven out through the tube and whistle (G H) and, -bubbling through the water, sounds as if the bird were singing. Thus -the well-known bubbling bird-whistle dates back to a century and a half -before the Christian era or earlier.</p> - -<p>The next illustration (<a href="#Fig_2">Fig. 2</a>) shows a more elaborate arrangement, in -which there are four small birds being watched by an owl; the moment -the owl’s back is turned the birds begin to sing, but cease as soon as -he turns towards them. In this apparatus the birds are made to sing -in precisely the same way as in the last illustration, namely, by the -displacement by water of the air in the tank, but as soon as the level -of the water in the tank reaches the top of a concentric siphon (F G) -the water is discharged into a bucket, the birds cease to sing, and the -<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -bucket, owing to its increased weight, lifts the counterbalance weight -(Z), and in doing so turns the spindle (P M) which supports the owl -(R S). When the bucket is full its contents are discharged by a small -siphon within it and it is drawn up by the weight (Z) the owl turns its -back to the birds, and the cycle of operations is repeated.</p> - -<div class="figcenter"> - <a name="Fig_2" id="Fig_2"></a> - <img src="images/i_021.jpg" alt="_" width="600" height="599" /> - <p class="f110"><b>Fig. 2.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -In the next figure a still more elaborate effect is produced. Here is a -pedestal upon which are four little bushes each having a bird sitting -in its branches; when water is allowed to flow into the funnel the -first bird begins to whistle, and after a few minutes leaves off, when -<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> -the next bird begins, and when he has finished the third bird sings, -after a little time the fourth takes up the song, and when he has -finished the first begins again, and so on as long as water is flowing -into the funnel. These effects are produced in the simplest possible -manner, by a combination of as many superposed tanks as there are birds -to sing, the one emptying into the other by siphons. The illustration -explains itself.</p> - -<div class="figcenter"> - <a name="Fig_3" id="Fig_3"></a> - <img src="images/i_022.jpg" alt="_" width="500" height="629" /> - <p class="f110"><b>Fig. 3.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -In the next device (<a href="#Fig_4">Fig. 4</a>) we have a bird whose singing is -<i>intermittent</i>. In this case the water flows into a little cup which -topples over the moment it is full, emptying itself into the funnel and -immediately righting itself (being loaded at its bottom), the sound is -produced by the displaced air escaping through a whistle in the manner -already described.</p> - -<div class="figcenter"> - <a name="Fig_4" id="Fig_4"></a> - <img src="images/i_023.jpg" alt="_" width="600" height="586" /> - <p class="f110"><b>Fig. 4.</b></p> -</div> -<hr class="chap" /> -<div class="figcenter"> - <a name="Fig_5" id="Fig_5"></a> - <img src="images/i_025.jpg" alt="_" width="600" height="505" /> - <p class="f110"><b>Fig. 5.</b></p> -</div> - -<p>We now come to a different class, in which heat is employed for -obtaining an increase of air pressure whereby certain automatic actions -are produced. Here we have a priest and priestess officiating at an -altar; and the effect of lighting the fire thereon is to cause the two -figures to pour libations onto the sacrifice. In this case the altar -consists of an air-tight metallic box in communication, by means of a -central tube, with a larger box forming the pedestal. Into this lower -reservoir is poured the wine or other liquid through the hole marked -M. When the fire is lighted the air in the altar is expanded, -and pressing on the surface of the liquid in the pedestal, forces some -of it through the tubes which pass through the body and down the right -<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -arm of each figure. In the next view (<a href="#Fig_6">Fig. 6</a>) we see how this principle -was employed by Hero for the opening of the doors of a temple, the -tradition being that when a sacrifice was offered on her altar the -goddess Isis showed her invisible presence by throwing open the doors -of her sanctuary. In this case the altar consists of an air-tight -<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -metallic box communicating by means of a tube (F G) with a spherical -vessel (H) partly filled with water. When the altar becomes hot the -contained air is expanded, thereby increasing the pressure on the -surface of the water, some of which is therefore forced through the -bent tube (L) into the bucket (M), which descends by its increased -weight, thereby unwinding the cords from the two spindles that perform -the function of hinges to the temple doors, at the same time winding up -<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -the counterweight (R) on the left. When the fire goes out the altar -cools, assuming its ordinary atmospheric pressure, and the water -in the bucket is forced back into the vessel (H), and the weight -counterbalancing the empty bucket, closes again the doors.</p> - -<div class="figcenter"> - <a name="Fig_6" id="Fig_6"></a> - <img src="images/i_026.jpg" alt="_" width="600" height="442" /> - <p class="f110"><b>Fig. 6.</b></p> -</div> - -<p>Like many other geniuses who have lived before their time, Hero had his -plagiarists, his devices having been adopted and described by later -writers without one word of acknowledgment as to their authorship. From -the middle to the end of the seventeenth century several books appeared -which to a great extent were simply bad and erroneous copies of Hero’s -inventions, and not even intelligently copied. Here for instance (<a href="#Fig_7">Fig. 7</a>) -is a <i>facsimile</i> of an illustration in a curious old book, “The -Mysteries of Nature and Art,” by John Bate, published in 1635; this -is poor Bate’s attempt to steal Hero’s device for the temple doors, -showing an altogether impossible scheme. In the first place the doors -could not open at all, for the ropes are so coiled as to neutralize -<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> -each other’s action, and, secondly, the counterweight to the right has -its cord simply looped round the spindle and therefore is absolutely -useless; the accompanying description is even more absurd, for it -explains the action of the apparatus as follows: “The fier on the Altar -will cause the water to distill out of the Ball into the Bucket, which -when (by reason of the water) it is become heavier than the waight, it -will draw it up and so open the sayd gates or little doores.”</p> - -<div class="figcenter"> - <a name="Fig_7" id="Fig_7"></a> - <img src="images/i_028.jpg" alt="_" width="600" height="437" /> - <p class="f110"><b>Fig. 7.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> -Again, in one of Hero’s illustrations a revolving disc carrying little -figures was made to rotate upon the reaction principle of his own -Æolipile, or steam engine. By a little bit of bad perspective the ends -of the cross tubes were shown as turning alternately up and down, and -Bate not only repeats this error, but goes out of his way to point out -that “in the middest” there must be “a hollow pipe spreading itself -into foure severall branches at the bottom: <i>the ends of two of the -branches must turn up and the ends of two must turn down</i>,” thus making -any rotative action impossible.</p> - -<p>But Bate was not the only pirate of Hero’s work; a few years after Bate -had written, that is, in 1659, there appeared another curious book by -Isaak de Caus, upon Water Works,<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> -and in that book we find our old -<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> -friend the owl keeping the small birds in order, the only difference -being that this is a more indulgent owl, or perhaps he is a teacher of -singing, for in this case the birds sing while he is looking at them -and cease the moment he turns his back.</p> - -<div class="figcenter"> - <a name="Fig_8" id="Fig_8"></a> - <img src="images/i_030.jpg" alt="_" width="600" height="629" /> - <p class="f110"><b>Fig. 8.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> -Another pretty conceit of Hero’s is shown in <a href="#Fig_8">Fig. 8</a>, in which there is -a bird which not only makes a noise but at certain times will drink any -liquid which is presented to it. The flow of water being intermittent, -the cistern forming the pedestal is alternately filled and emptied. -While it is being filled the air escapes through a whistle and causes -the bird to sing, and when it is being emptied, by means of a siphon, -a partial vacuum is produced and liquid presented to it is drawn up -through the beak.</p> - -<div class="figcenter"> - <a name="Fig_9" id="Fig_9"></a> - <img src="images/i_032.jpg" alt="_" width="500" height="583" /> - <p class="f110"><b>Fig. 9.</b></p> -</div> - -<p>The next automaton from Hero is very ingenious and interesting, because -it combines hydraulic, pneumatic, and mechanical actions. Here (<a href="#Fig_9">Fig. 9</a>) -is a figure of Hercules armed with a bow and arrow; there is also -a dragon under an apple tree, from which an apple has fallen to the -ground. Upon the apple being lifted, Hercules discharges the arrow -at the dragon, which begins to hiss and continues to do so for some -minutes. In this apparatus there is a double tank having a connection -<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span> -by a valve (H), which is attached by a cord to the apple (K), -another cord, passing over a pulley, connects the apple with a trigger -in the right hand of Hercules. Upon lifting the apple the trigger is -<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span> -released, and at the same time the valve is opened, allowing the water -in the upper tank to flow into the lower, by which means air is forced -through a tube (Z) into the dragon’s mouth, producing a hissing sound, -and this will continue until the upper tank is empty. Here (<a href="#Fig_10">Fig. 10</a>) -is Bate’s version of the same device, but very inferior to that from which -it was taken.</p> - -<div class="figcenter"> - <a name="Fig_10" id="Fig_10"></a> - <img src="images/i_033.jpg" alt="_" width="600" height="520" /> - <p class="f110"><b>Fig. 10.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -The next photograph is taken from another work of Hero’s, “<i>Quatro -theoremi aggiunti a gli artifitiosi spiriti</i>,” a copy of which I have -here (<a href="#Fig_11">Fig. 11</a>), and which was printed at Ferrara in 1589.</p> - -<div class="figcenter"> - <a name="Fig_11" id="Fig_11"></a> - <img src="images/i_034.jpg" alt="_" width="600" height="571" /> - <p class="f110"><b>Fig. 11.</b></p> -</div> - -<p>This figure illustrates a very elaborate automaton, representing one -of Vulcan’s workshops in which you will see a smith forging a piece of -iron, and assisted by three hammermen. The smith first puts his iron -in the fire and then lays it on the anvil when the hammermen begin -to hammer it; then they leave off, and the smith turns round again -to the fire. All these effects are produced by the machinery below -the floor, and shown in the illustration. A shaft (A B) is driven by -means of a water-wheel on the right, and on this shaft are projections -or cambs which, by striking the ends of three levers (T, X, and V), -pull the chains by which the arms of the hammermen are lifted. While -this is going on the bucket (marked 20) is slowly filling, and when -a sufficient weight of water has accumulated in it, it lifts the -counterweight (17), and, in doing so, rotates the vertical shaft to -<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> -which the figure of the smith is attached, turning him round to the -fire, and at the same time, by swinging round the conduit pipe (H I), -cuts off the water from the wheel, and the hammermen cease to work -until the smith is again ready for them. I think you will agree with me -that this machine offers very fair evidence of the mechanical ingenuity -of a man who flourished more than 2,000 years ago.</p> - -<p>The last automaton of Hero to which I shall refer is perhaps the most -ingenious of all, and it is one that those who were present when -Brother Manning gave us his discourse on Robert-Houdin have already -seen, I mean the little figure whose head cannot be severed from his -body no matter how many times a knife be passed through his neck. -Thanks to the kindness of my good friend I can show you one of these -beautiful figures presented to me by him, and it will, I think, be of -interest to him and to you to know that this device was invented nearly -<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -2,000 years before Robert-Houdin was born, and a description of it -with accompanying figures may be seen to-day in the British Museum in -a Greek manuscript of the fifteenth century, which is a copy of Hero’s -Σπειριταλια, and I now throw on the screen a carefully made facsimile -(<a href="#Fig_12">Fig. 12</a>) of the figure given in that manuscript -(which is known as No. 5605 of the Harleian Collection).</p> - -<div class="figcenter"> - <a name="Fig_12" id="Fig_12"></a> - <p class="f120"><b>-HARLEIAN MANUSCRIPT<br />-(FIFTEENTH CENTURY)-</b></p> - <img src="images/i_037.jpg" alt="_" width="600" height="590" /> - <p class="f110"><b>Fig. 12.</b></p> -</div> - -<p>The head of this figure, which is otherwise separate from it, is -attached to it by a peculiar shaped wheel pivotted between the -shoulders of the body. This wheel may be described as a circular -disc having an expanded rim so that a section taken through a radius -would be of the form of the letter <big><b>T</b></big>, out of this wheel three -nearly semicircular gaps are cut, each occupying sixty degrees of the -circumference, and therefore leaving three portions of the rim, each -also of sixty degrees. The neck attached to the head is fitted with a -hollow <big><b>T</b></big> shaped circular groove into which the <big><b>T</b></big> ended -<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> -arms of the wheel pass in succession as the wheel is rotated. As the -groove in the head occupies nearly sixty degrees it follows that as the -wheel is rotated the rim of one arm can never leave the groove before -<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -the rim of the following arm has entered it, and so the head is -attached to the body in every position of the wheel. When the knife -is passed between the head and the body it strikes against one of the -spokes of the wheel, moving it forward and pushing one of the arms out -of the groove in the head, while, at the same time, another, following -behind the knife, takes its place, and thus the head can never be -detached from the body. Such an automaton is the little negro which I -hold in my hand, for which I am indebted to the fraternal generosity of -Brother Manning. Hero’s description, however, carries the ingenuity of -the device considerably farther, for in his automaton, not only is it -impossible to sever the head from the body by passing a knife through -the neck, but the figure can actually drink both before and after -the operation. The illustration on the screen (<a href="#Fig_13">Fig. 13</a>) -is a sort of modern restoration of the Harley drawing, showing the disposition -of the various parts of the mechanism. (A) represents the wheel by which the -<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -head is held on to the body, and it will be noticed that a tube D D -leads from the mouth to the neck and another, E, from the neck through -the body; these two tubes, marked respectively D D and E, are connected -by the sliding tube F, which is attached to the two racks F and G, into -<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -which are geared the two toothed wheels B and C. When the knife is -passed from P to O it first rotates the holding-on wheel A, and then -strikes against the radial face of the wheel C, turning it through -a small arc, thereby moving the racks, and, sliding the connecting -tube F out of D, allowing the knife to pass, which next strikes the -radial face of the wheel B, and, by turning it, restores the sliding -connecting tube F into D, and thus recompletes the connection. The -sucking-up the liquid being accomplished in a similar manner to that in -the drinking bird already described.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p> - -<div class="figcenter"> - <a name="Fig_13" id="Fig_13"></a> - <img src="images/i_039.jpg" alt="_" width="600" height="561" /> - <p class="f110"><b>Fig. 13.</b></p> -</div> - -<p>I have now done with Hero of Alexandria, but, before passing to another -period, I cannot resist showing you an invention of his which although -not an automaton is too interesting in the light of modern civilization -to omit. This (<a href="#Fig_14">Fig. 14</a>) is Hero’s automatic penny-in-the-slot -machine for giving a drink in exchange for a coin. If a “coin of five drachmas” -<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -be dropped into the slot it falls on a little plate at the end of a -lever thereby opening a valve and allowing the liquid to escape through -the nozzle.</p> - -<div class="figcenter"> - <a name="Fig_14" id="Fig_14"></a> - <img src="images/i_041.jpg" alt="_" width="500" height="624" /> - <p class="f110"><b>Fig. 14.</b></p> -</div> - -<p>It is more than probable that Hero was not himself the inventor of all -the devices he describes, it is possible that many are due to Ctesibius -whose pupil he was, and it is clear, from his own writings, that he -was acquainted with the writings of Philo and of Archimedes. He was, -<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -however, the first to <i>describe</i> these inventions, and therefore it is -only fair, in the absence of other evidence, to give him the credit.</p> - -<div class="figleft"> - <a name="Fig_15" id="Fig_15"></a> - <img src="images/i_042.jpg" alt="_" width="150" height="382" /> - <p class="f110"><b>Fig. 15.</b></p> -</div> - -<p>There can be no doubt that puppets or dolls are of great antiquity; -they were common with the ancient Egyptians, and here (<a href="#Fig_15">Fig. 15</a>) -is an illustration of a doll from Thebes which is now in the British Museum, -and you will notice that the head is covered with holes which served -for the insertion of strings of beads to represent hair. Puppets were -also in use with the Greeks, and afterwards found their way to Rome, -and it is an interesting fact that, about three years ago, while the -ground was being excavated for the foundations of the new Palais de -Justice at Rome, at a spot not far from the Vatican, a stone coffin was -discovered containing the skeleton of a young girl of about fifteen -years of age, who had teeth of great beauty, and in her arms was a -<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -beautifully modelled wooden doll with jointed limbs which was dressed -in a rich material. The interment had taken place in the time of -Pliny, who refers to the child, and mentions that she was engaged to -be married, a statement which is supported by the fact that on one of -the fingers is a doubly-linked gold ring, besides other ornaments. The -coffin, with its contents as they were found, is now in the museum -in the Capitol and it is, I believe, the only instance of an ancient -doll having been found in Rome, although moving puppets or marionettes -were known in very ancient times, and are referred to by Xenophon, -Aristotle, Horace, Antoninus, Galen, and Aulus Gellius.</p> - -<p>The next figure is an illustration of what I suppose must be the very -earliest moving doll in existence to-day; it is now in the Museum van -Oudheden at Leyden, and is a toy which belonged to a child of ancient -Egypt; I have constructed a model of it by which you will see that it -is worked by pulling a thread; and here I must make a passing reference -<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> -to the notorious phallic figures which were carried in procession -during the festivals of Osiris and in the Dionysia of Bacchus. We are -told by Lucian<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> -that “Among the several sorts of Phalloi which the -Greeks set up in honour of Bacchus there were figures of dwarfs with -moving parts actuated by strings, which were called <b>‘Νευροσπαστα’</b>.” In -so eminently proper a community as We are in Ye Sette of Odd Volumes, -I am unable to describe these figures in detail, or to exhibit them in -action, but those who are <i>curious</i> as well as <i>odd</i> will find -<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> -abundant evidence of them in the writings of Herodotus, of Lucian, of -Pausanias, of Athenæus, of Plutarch, of Gyraldus, and of several other writers.</p> - -<div class="figcenter"> - <a name="Fig_16" id="Fig_16"></a> - <img src="images/i_044.jpg" alt="_" width="600" height="301" /> - <p class="f110"><b>Fig. 16.</b></p> -</div> - -<p>The earliest forms of moving puppets were set in motion by strings -pulled by hand which were afterwards supplanted by cylinders turned by -a winch, and the transition from that arrangement to the use of weights -and springs was inevitable and was only a question of time.</p> - -<p>From the time of Hero I have found nothing worth recording for nearly -a thousand years, until the time of Charlemagne, to which monarch was -presented by the Kalif Haroun al Raschid a most elaborate water clock. -In front of the dial, and corresponding to the hours, were twelve -little doors, and the time was shown by these doors opening one after -another, each releasing a little brass ball which fell upon a small -bell; after all the hours had struck, that is, at noon, another door -opened, twelve little knights rode out, and, after careering round the -<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> -dial, they closed the doors and retired. The eminent mechanician -Gerbert who occupied the papal chair in <span class="smcap">a.d.</span> 1000, -reigning under the name of Silvester II., is said to have constructed a -speaking head of brass, and was in consequence arrested for practising -magic, and Albertus Magnus, who flourished in the thirteenth century, -spent, according to his own account, thirty years in the construction -of an automaton of clay which not only spoke but walked and answered -questions and solved problems submitted to it. It is recorded that his -pupil, the celebrated St. Thomas Aquinas was so horrified when he saw -and heard this figure that (believing it to be the work of his Satanic -Majesty), he broke it into pieces, when Albertus cried aloud: “Sic -periit opus triginta annorum.” I deeply regret this mischievous act of -St. Thomas Aquinas, because it renders it impossible for me to show it -to the Brethren and our guests this evening. Roger Bacon also is said -to have made a similar automaton. -<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span></p> - -<p>Records of speaking androides or talking heads reach us from very -early times. At Lesbos there was a head of Orpheus which delivered -oracles and predicted to Cyrus his violent death, and we have it on -the authority of Philostratus that the head was so celebrated for its -oracular utterances, among both the Greeks and the Persians that even -Apollo became jealous of its fame.</p> - -<p>Then again the mighty Odin had among his mystical possessions a -speaking head, believed to be that of Minos, which Odin preserved by -encasing it in solid gold. He is said to have consulted it on all -occasions, and its utterances were regarded as oracles.</p> - -<p>Mention might here be made of the colossal figure of Amunoph III. on -the plain of Thebes, and which is commonly known as the “vocal Memnon,” -of which a photograph is now before you; it is the more eastern of the -two Colossi, and, when the first rays of the morning sun fell on it, it -<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> -emitted a sound which has been described as similar to that of the -snapping of a harp string, but it has been silent since the time of -Severus. It is a seated figure nearly sixty feet in height, and is in -no sense an automaton, but I mention it here because it was believed to -utter sentences which the ancient priests of Egypt alone, for the very -best of reasons, knew how to interpret.</p> - -<p>In more modern times we hear of the eminent Dr. Wilkins, Bishop of -Chester (who married the sister of Oliver Cromwell, and who may be -regarded as the founder of the Royal Society), experimenting upon -the transmission of sound; and Evelyn, in his “Diary,” writing on -the 13th of July, 1654, says, “We all dined at that most obliging -and universally curious Dr. Wilkins’s, at Wadham College. He had -contrived a hollow statue, which gave a voice and uttered words”; and -in his “Mathematicall Magick,” (a copy of which I have here) which was -published in 1648, Wilkins refers to the speaking figures of the ancients. -<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p> - -<p>A contemporary of Wilkins was the celebrated Edward Somerset, Marquis -of Worcester, who in his “Century of Inventions” gives as his 88th -device: “How to make a Brazen or Stone-head in the midst of a great -Field or Garden, so artificial and natural that though a man speak -never so softly, and even whispers into the eare thereof, it will -presently open its mouth, and resolve the Question in French, Latine, -Welsh, Irish or English, in good terms uttering it out of his mouth, -and then shut it untill the next Question be asked.”—But, unhappily, -he does not tell us how it may be done.</p> - -<p>The great period for the construction of automata began at the close -of the fourteenth century, and reached its climax at the end of the -seventeenth and beginning of the eighteenth century. One of the -earliest mechanicians who devoted his skill to automata was Johann -Müller, of Königsberg, commonly known as Regiomontanus. This eminent -mathematician and astronomer made of iron a fly which is said to have -<span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span> -left his hand and, after flying to each of the guests in the room, -returned to its master, alighting on his hand. Müller made also a still -more wonderful machine; this was an artificial eagle which, on the -authority of Peter Ramus, flew to meet the Emperor Maximilian on his -entry into Nuremberg on the 7th of June, 1470. After soaring aloft in -the air, Ramus informs us, the eagle met the emperor at some distance -from the city, then returned and perched upon the city gate where it -awaited the emperor’s approach. On his arrival the bird stretched out -its wings and saluted him by bowing.</p> - -<p>It is a remarkable fact that not one of Müller’s contemporaries, who -often refer to this learned man and to his great accomplishments, makes -any reference to these pieces of mechanism, and Peter Ramus was not -born until forty-five years after, but they are referred to by Baptista -Porta, Gassendi, Lana, and Bishop Wilkins, who, however, differ -considerably in their dates. Strada, in his “De Bello Belgico,” tells -<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -us that the Emperor Charles V., after his abdication in 1556, took a -most keen interest in automata of various kinds, and he employed a very -skilful artist, Janellus Turrianus, of Cremona, to construct them for -him. This mechanic made figures of horsemen which marched along the -table, played upon flutes and drums, and entered into combat with one -another, and he exhibited wooden birds which flew up to their nests -(they must, I think, have been <i>wood pigeons</i>). This Janellus Turrianus -was evidently a very wonderful man, for he made a corn-mill so small -that it could be concealed in a glove, and yet could grind in a day as -much corn as would supply eight men with food. I never saw this machine -myself, and I cannot help thinking that either the glove must have -been rather large or the appetites of the men must have been rather -small. Apart, however, from the exaggeration of the genius of this man, -he was undoubtedly a most skilful mechanician, for he repaired and -<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> -considerably improved a most complex clock constructed by Wilhelm -Zelandin for the city of Padua, in which moving figures and -astronomical phenomena were represented.</p> - -<p>The addition to clocks of automata set in motion by the train was a -very favourite occupation of the horologists of the sixteenth century. -Of these clocks perhaps the most celebrated was that at Strasburg, -which was constructed by Conrad Dasypodius. This clock was finished in -the year 1573. Apart from its interesting representations of various -celestial phenomena, it is remarkable for the number of moving figures -which embellish it, and which perform various functions; above the dial -the four ages of man are represented by symbolical figures; one passes -every quarter of an hour, marking the quarter by striking on a bell; -the first quarter is struck by a child with an apple, the second by a -youth with an arrow, the third by a man with his staff, and the fourth -<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> -by an old man with his crutch. After these follows the figure of Death, -who, after sounding the hour on a large bell, is expelled by a figure -representing Christ, while two small angels are set into motion, the -one striking a bell with a sceptre, while the other turns over an -hour-glass at the expiration of an hour. There are, besides, various -animals, and among them a cock, which flaps its wings and crows just -before the clock strikes the hour.</p> - -<p>The great clock at Lyons, the work of Lippius of Basle, is hardly -less interesting. Besides exhibiting mechanical illustrations of -astronomical phenomena, a complete cycle of operations representing -scriptural events is performed. Before each hour strikes a cock comes -forward and crows three times, after which angels appear, who by -striking upon a gamut of bells ring out the air of a hymn, and this is -followed by a moving group illustrating the Annunciation of the Virgin and the -descent of a dove, and the cycle is completed by the striking of the hour. -<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p> - -<p>In the Royal Palace of Versailles there was a very curious clock, the -work of Martinot, a clockmaker of the seventeenth century. Before it -struck the hour two cocks flapped their wings and crowed alternately, -then two little doors opened and a figure came out of each carrying a -gong which was struck by armed guards with their clubs. These figures -having retired, a door in the centre opened and an equestrian figure -of Louis XIV. came out. At the same time a group of clouds separated -giving passage to the figure of Fame which hovered over the head of the -king. An air was then chimed upon the bells, after which the figures -retired; the two guards raised their clubs and the hour was struck.</p> - -<p>In the year 1788, Agostino Ramelli published his important work “<i>Le -diverse ed artificiose Machine</i>,” and I have reproduced some of the -plates in that beautiful book, a copy of which is before me (one of -which, <a href="#Fig_17">Fig. 17, see <i>Frontispiece</i></a>, I have chosen -to adorn the menu which is on the table, for no other reason than that it -appeared especially appropriate as figurative of the desire of your humble -Mechanick to be for ever associated with Ye Sette of Odd Volumes).</p> - -<div class="figcenter"> - <a name="Fig_18" id="Fig_18"></a> - <img src="images/i_054.jpg" alt="_" width="500" height="738" /> - <p class="f110"><b>Fig. 18.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> -In the next illustration (<a href="#Fig_18">Fig. 18</a>) we have a beautiful -plate from Ramelli, in which another of Hero’s inventions, the group of singing -birds is introduced as an ornament in an elaborately furnished room -of the period. In this case the water is in the first instance lifted -by air being blown in through a pipe by a person concealed behind the -wall which in the drawing is broken away to show a mediæval old buffer -engaged in this manly performance.</p> - -<p>About the middle of the seventeenth century magnetism began to be -employed for producing the effects of magic, and that extraordinary -versatile all-round Odd Volume, Athanasius Kircher, in his “Magnes sive -de Arte Magnetica,” which was published in 1641 (a copy of which I have -here), describes and illustrates several automata which depend for -<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> -their action upon magnetism. Here, for example (<a href="#Fig_19">Fig. 19</a>), -he gives a representation of the Dove of Archytas, which by the action of a -revolving loadstone, is made to fly around a dial and mark the hours by -pointing to the figures on its edge.</p> - -<div class="figcenter"> - <a name="Fig_20" id="Fig_20"></a> - <img src="images/i_056.jpg" alt="_" width="600" height="434" /> - <p class="f110"><b>Fig. 20.</b></p> -</div> - -<p>Time will not permit me to say as much about this curious old book -as its quaintness and terribly bad science deserve, I will only show -you one more illustration from it in which a wheel is driven round -by two Æolipiles in the form of human heads, which blow out jets of -steam against the cellular periphery of the wheel, and in the lower -figure the little boilers (C and D) which the heads inclose, are shown -separately, the nozzle of one pointing upwards, while that of the other -has a downward direction.</p> - -<div class="figcenter"> - <a name="Fig_19" id="Fig_19"></a> - <img src="images/i_056a.jpg" alt="_" width="500" height="746" /> - <p class="f110"><b>Fig. 19.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> -When Kircher’s book was published Louis XIV. was a child, and it is -stated by several authorities that both Père Truchet and Camus made the -most elaborate automata for his boyish amusement, but as Louis XIV. was -forty years old when Truchet came of age and fifty-five When Camus was -twenty-one it is difficult to reconcile these statements with facts.</p> - -<p>Putting aside, however, the question of the period of life when the -king amused himself with such things, it is well authenticated that -Père Truchet, towards the end of the seventeenth century, constructed -for him moving pictures which exhibited extraordinary mechanical skill. -One of these was the representation of a five-act opera, the scenery of -which was automatically changed between the acts. The actors came on -and went off, and performed their parts in pantomime. The proscenium was -<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> -about sixteen inches in breadth and thirteen in height, and the whole -of the machinery with the scenery occupied a space only an inch and a -quarter in depth.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p> - -<p>The account given by Camus of a toy he constructed for this baby king -of fifty summers is very wonderful. This elaborate automaton consisted -of a small coach drawn by two horses and which contained the figure of -a lady with a footman and a page behind. When this little coach was -placed on the edge of a suitable table the coachman smacked his whip -and the horses immediately started, moving their legs in a most natural -manner; when they reached the opposite edge of the table they turned -sharply at right angles and proceeded along that edge. As soon as the -carriage arrived opposite the king it stopped and both the footman and -page got down and opened the door, the lady alighted, and, curtseying -to the king, presented a petition. After waiting a few minutes she bowed -<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> -again to the king and re-entered the carriage, the page got up again -behind, the coachman whipped up his horses and drove on, and the -footman running after the carriage jumped up into his former place. In -the account given by M. de Camus he does not attempt to describe the -mechanism of the machine and we have his word alone for the account of -its performance.</p> - -<p>The great philosopher Descartes formed the theory that all animals -are merely automata of a high degree of perfection, and, to prove his -notion, he is said to have constructed an automaton in the form of -a young girl to which he gave the name of “Ma fille Francine.” This -figure came unhappily to a watery grave, for during a voyage by sea -the captain of the vessel in which it was travelling had the curiosity -to open the case in which Francine was packed and, in his astonishment -at the movements of the automaton, which were so wonderfully natural, he -threw the whole thing overboard, believing it to be the work of the devil. -<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span></p> - -<p>I now come to what are, if not the most extraordinary <i>pieces of -mechanism</i>, certainly the most wonderful <i>automata</i> the world has ever -seen. In the year 1738 that great mechanical genius M. Vaucanson, a -member of the Académie des Sciences exhibited at Paris three very -remarkable automata which were, a flute-player, a figure which played -the shepherd’s pipe of Provence and the drum, and an artificial duck. -The first of these, the flute-player, he described in a Memoir read -before the Académie on the 30th of April, 1738. This automaton was a -wooden figure six feet six inches in height, representing a well-known -antique statue of a Faun, sitting on a rock and mounted on a square -pedestal four feet six from the ground. It was capable of performing -twelve pieces of music on a German flute, the instrument being really -played as a man would play it by blowing across the embouchure and -projecting the air with variable force by movable lips, which imitated -<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> -in their action those of a living player, employing a tongue to -regulate the opening, and producing the notes by the tips of the -fingers closing or opening the holes.</p> - -<p>The mechanical devices in this automaton are so beautiful and so -scientifically thought out, that I am only sorry that time will not -permit me to describe them in detail, but I will try and make its -general principles clear.</p> - -<p>Within the pedestal was a train of wheel-work driven by a weight, which -set into motion a small shaft on which were six cranks disposed at -equal angular distances around it; to these six cranks as many pairs -of bellows were attached (their inlet valves being mechanically opened -and closed so as to make them silent in action). The air supplied by -these bellows was conveyed to three different wind chests, one loaded -with a weight of four pounds, one with a weight of two pounds, and -the last having only the weight of its upper board. These wind chests -communicated with three little chambers in the body of the figure, and -<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> -these chambers were all connected with the windpipe which passed up the -throat to the cavity of the mouth and terminated in the two movable -lips which, between them, formed an orifice that could be protruded or -drawn back, and might be further modified by the action of the tongue.</p> - -<p>The train of wheels also set into motion a cylinder twenty inches in -diameter and two feet six inches long; on this were fixed a number -of brass bars of different lengths and thicknesses which in their -revolution acted upon a row of fifteen keys or levers; three of these -corresponded to the three little wind chambers containing air at -different pressures, and, by means of little chains, operated their -respective valves. There were seven levers set apart for operating the -fingers, their respective chains making bends at the shoulders and -elbows of the automaton, and terminated at the wrist in the ends of -what I may call metacarpal levers attached to the fingers which were -armed at their tips with leather to imitate the flesh of the natural hand. -<span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> - -<p>The motion of the mouth was controlled by four of the levers, one to -open the lips so as to give to the wind a greater issue, one to bring -them closer together, and so contract the passage, a third to draw the -lips backward and away from the flute, and the fourth to push them -forward over the edge of the embouchure.</p> - -<p>The last of the fifteen levers is the cleverest of all, for it has -the power of controlling the tongue, an accomplishment which I think -everyone (unless he be an Odd Volume) will agree with me is a very -difficult one to acquire.</p> - -<p>The barrel worked upon a screwed bearing (similar to that of the -cylinder of a phonograph), so that in its revolution all the levers -described a spiral line sixty-four inches long, and, as the barrel -during the performance made twelve revolutions it followed that the -levers passed over a distance of no less than 768 inches in going -through its performance of twelve tunes. -<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span></p> - -<p>In a Memoir read before the Académie des Sciences, M. Vaucanson -described the very beautiful methods by which the barrel was set out, -and by which the positions of the bars were determined on its surface -so as to regulate the supply of air and to control the actions of the -fingers, the motion of the lips and the movements of the tongue; and he -gave a most interesting analysis of the acoustics of wind instruments; -but time will not permit me to make more than this passing reference to them.</p> - -<p>The picture on the screen (<a href="#Fig_21">Fig. 21</a>) is a photographic -reproduction of the plate attached to M. Vaucanson’s Memoir (a somewhat rare -little tract published in 1738) in which his three automata are shown, and I -hold in my hand a copy of the translation by Dr. Desaguliers, published -in London in 1742, which, the imprint tells us, was “<i>sold at the long -room at the Opera House in the Haymarket, where the mechanical figures -are to be seen at 1, 2, 5, and 7 o’clock in the afternoon</i>.”</p> - -<div class="figcenter"> - <a name="Fig_21" id="Fig_21"></a> - <img src="images/i_064.jpg" alt="_" width="500" height="688" /> - <p class="f110"><b>Fig. 21.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> -The second of Vaucanson’s automata was his celebrated model of a duck, -which he himself described in a letter to the Abbé de la Fontaine in -1738. This extraordinary automaton (according to the inventor’s own -account of it), exhibited a considerable amount of physiological and -anatomical knowledge and the most profound mechanical skill, for in it -the operation of eating, drinking, and digestion, were very closely -imitated. The duck stretched out its neck to take corn from the -hand, it swallowed it and discharged it in a digested condition, the -digestion being effected not by trituration, but by dissolution, and -(to quote the quaint expressions of the inventor), “The matter digested -in the stomach is conducted by pipes (as in an animal by the guts), -quite to the anus, where there is a sphincter that lets it out. I don’t -pretend,” he says, “to give this as a perfect <i>digestion</i>, capable of -producing blood and nutritive particles for the support of the animal. -I hope nobody will be so unkind as to upbraid me with pretending to -any such thing. I only pretend to imitate the mechanism of their action -<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> -in these things, <i>i.e.</i>, first, to swallow the corn; secondly, macerate -or dissolve it; thirdly, to make it come out sensibly changed from what -it was.” But (on the same authority), besides being furnished with a -digestive system, the wings were anatomical imitations of nature; not -only was every bone imitated, but all the processes and eminences of -each bone, and the joints were articulated as in a real animal.</p> - -<p>After having been wound up, the duck ate and drank, played in the water -with his bill, making what is described as a “gugling” sound, rose -up on its legs and sat down, flapped its wings, dressed its feathers -with its bill, and performed all these different operations without -requiring to be touched again.</p> - -<p>It is important, however, to point out that this digestion story can -only be “digested” <i>cum grano salis</i>, and this is supplied in the -sequel which furnishes the explanation. In the year 1840 the automaton -was found hidden away in a garret in Berlin; it was very much out of -<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span> -order, and a mechanician of the name of Georges Tiets undertook to -repair it. It was taken to Paris, and in the year 1844 was exhibited in -the Place du Palais Royal. In the course of this exhibition one of the -wings became deranged, and it was put into the hands of Robert-Houdin -for repairs. Robert-Houdin took advantage of this opportunity for -examining the so-called digestive system of the automaton, and he thus -describes its action:</p> - -<p>“On présentait à l’animal un vase dans lequel était de la graine -baignant dans l’eau. Le mouvement que faisait le bec en barbotant -divisait la nourriture et en facilitait l’introduction dans un tuyau -placé sous le bec inférieur du canard; l’eau et la graine, ainsi -aspirés tombaient dans une boîte placée sous le ventre de <i>l’automate</i>, -laquelle se vidait toutes les trois ou quatre séances. L’évacuation -était chose préparée à l’avance; une espèce de boullie, composée de -mie de pain colorée de vert, était poussée par un coup de pompe et -<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span> -soigneusement reçue, sur un plateau en argent, comme produit d’une -digestion artificielle,” so that, after all, this wonderful digestion -of Vaucanson’s duck was nothing more than a clever trick.</p> - -<p>The third automaton of Vaucanson was a figure that played on a -shepherd’s pipe with one hand while it beat a drum with the other. The -instrument played upon was a little pipe with only three holes, and -the different notes were produced by a greater or less pressure of air -and a more or less closing of the holes, and every note, no matter how -rapid was the succession, had to be modified by the tongue. In this -machine there were provided as many different pressures of air as there -were notes to be sounded, and the mechanism by which these operations -and the fingering of the keys were effected reflects the greatest -credit on the memory of this remarkable man.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p> - -<p><span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> -The Automaton duck of Vaucanson was, to a certain extent, anticipated -by the Comte de Gennes, Governor of the Island of Saint Christopher, -who, we are told by Père Labat, constructed a peacock which could walk -about and pick up grains of corn, which it swallowed and digested. I -have no means of determining whether or not Vaucanson took the idea -of his duck from this automaton, but that Vaucanson had imitators -there is abundant evidence to prove. In the year 1752, Du Moulin, a -silversmith, travelled all over Europe with automata similar to -those of Vaucanson, and they were afterwards purchased in Nuremberg, -by Bereis, a counsellor of Helmstadt, at whose place they were seen by -Beckmann in 1754.</p> - -<p>In the year 1760, there was a writing automaton exhibited in Vienna, -which was constructed by Friedrich von Knaus, and about the same time a -<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> -number of very curious automata were made by Le Droz, of Chaux de -Fonds, in Neufchatel. One of these was a clock, presented to the King -of Spain, which had, in addition to several moving figures, a sheep -that bleated in a very natural way, and a dog mounting guard over -a basket of fruit; if anyone attempted to touch the basket the dog -barked and growled, and if any of the fruit were taken away the barking -continued until it was restored.</p> - -<p>The son of this man (who lived at Geneva), was no less skilful a -mechanician, for he made a gold snuffbox about 4½ inches long by 3 -inches broad, in which when a spring was touched a little door flew -open and a beautifully modelled bird of green enamelled gold rose up, -fluttered its wings and tail, and commenced a trilling song of great -beauty and power, its beak keeping time with the notes. Such a snuffbox -was exhibited in the Great Exhibition of 1851, proving as great a -popular attraction as the Koh-i-nur diamond, and (owing to the kindness -<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span> -of my friend Mr. Tripplin the well-known horologist) I am now able to -show you one of these very beautiful triumphs of mechanical skill.</p> - -<p>Another of the younger Le Droz’s inventions was his celebrated drawing -automaton, which was a life-size figure of a man sitting behind a table -and holding a style in his hand. A sheet of vellum was placed on the -table, and the figure began to draw portraits of well-known persons -with extraordinary correctness. This automaton was shown in London, and -attracted considerable attention at the time.</p> - -<div class="figcenter"> - <a name="Fig_22" id="Fig_22"></a> - <img src="images/i_072.jpg" alt="_" width="600" height="373" /> - <p class="f110"><b>Fig. 22.</b></p> -</div> - -<p>I must now re-introduce to you another old friend, first shown here by -Brother Manning. Here he is! a little acrobat that turns somersaults -backwards down stairs. This is not, as many have thought, an invention -of that great mechanical genius, Robert-Houdin, for it is figured and -described in Musschenbroeck’s “Introductio ad philosophiam naturalem,” -which was published in Leyden in 1762 (a year after the author’s -<span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span> -death), and half a century before Robert-Houdin was born, and on the -screen you have a facsimile (<a href="#Fig_22">Fig. 22</a>) of Musschenbroeck’s -illustration of this mechanical toy, which he refers to as “an old invention -of the Chinese.” It is also described by Ozanam in his “Recréations -Mathématiques et Physiques,” the first edition of which was published -in 1694. The figure I now throw on the screen (<a href="#Fig_23">Fig. 23</a>), -is taken from the second edition of this work which was edited by Montucla in -1790. The principle is exceedingly simple; the whole thing depends upon the -<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> -centre of gravity being suddenly changed by a shifting weight. Within a -tube contained within the body, is a small quantity of mercury, and the -moment that this tube is inclined to the horizon the mercury flows to -the lower end tilting one figure over the other, and with such force -<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> -that it is carried over by its inertia far enough to tilt the tubes, -and cause the mercury to flow to the opposite end, and the process -is repeated as long as there are stairs to descend; by a very simple -arrangement of strings passing over pulleys, the legs and arms are -always brought into suitable positions to support the figure in every -position of its descent.</p> - -<div class="figcenter"> - <a name="Fig_23" id="Fig_23"></a> - <img src="images/i_073.jpg" alt="_" width="600" height="673" /> - <p class="f110"><b>Fig. 23.</b></p> -</div> - -<p>I now come to the automaton which for some years was the wonder of -every country in Europe, the automaton chess-player of the Baron -Wolfgang von Kempelen, constructed in 1776. This automaton was a -life-size sitting figure dressed as a Turk, and having before it a -large rectangular chest or cabinet, 3 feet 6 inches long, 2 feet deep, -and 2 feet 6 inches high, on the top of which was a chessboard and a -<span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span> -set of men. The seat on which the figure sat, was attached to the -cabinet and the whole was on castors, so that it could be wheeled -about the floor. When the automaton was exhibited, the exhibitor began -operations by opening the doors of the cabinet so as to show its -contents, and here I will throw on the screen a copy (<a href="#Fig_24">Fig. 24</a>) of one -of the plates in a curious pamphlet,<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> -printed anonymously in 1821, but probably by Professor Willis. It must, -however, be recollected that these doors were opened in succession, -and never all at the same time, but whichever door was opened, nothing -could be seen but wheels, levers, connecting rods, strings and -cylinders. After this the doors were closed and locked, the machinery -was wound up, and the figure was ready to play a game of chess with any -<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span> -one who would challenge him. On commencing the game the figure -moved its head, and seemed to look at every part of the board. When -it checked the king, it nodded its head three times, and when it -threatened the queen, it nodded twice. It also shook its head when -its adversary made a false move, and replaced the offending piece. It -nearly always won the game, but occasionally lost.</p> - -<p>When it was completed, it was exhibited in Riga, Moscow, St. -Petersburg, Berlin, Presburg and Vienna, coming to London in 1783, and -having been seen by many thousands during those years with out its -secret being discovered, but in the year 1789, a book was published -by Mr. Freyherre of Dresden, in which he showed that “a well taught -boy very thin and tall of his age, (sufficiently so that he could be -concealed in a drawer below the chessboard,) agitated the whole.” In -the plate before you, you will see that the author has shown in dotted -lines, the position a boy might take when the left hand door was opened. -<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<div class="figcenter"> - <a name="Fig_24" id="Fig_24"></a> - <img src="images/i_077.jpg" alt="_" width="400" height="671" /> - <p class="f110"><b>Fig. 24.</b></p> -</div> - -<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span> -The real story of this most ingenious and successful scientific fraud -is so interesting that I must tell it here, although it puts for -ever Baron von Kempelen’s chess-player outside the circle of true -automata. In the year 1776, a regiment, half Russian and half Polish, -mutinied at Riga. The mutineers were defeated, and their chief officer, -Worouski, fell, having had both his thighs fractured by a cannon ball. -He hid himself in a ditch until after dark, when he dragged himself -to the neighbouring house of a doctor named Osloff, a man of great -benevolence, who took him in and concealed him, but he had to amputate -both his legs. During the time of Worouski’s illness, Osloff was -visited by his intimate friend the Baron von Kempelen, and after many -consultations and much thought, Kempelen hit upon the idea of conveying -him out of the country by devising this automaton (as Worouski was a -great chess-player), and in three months the figure was finished. -<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span></p> - -<p>In order to avoid suspicion he gave performances <i>en route</i> to the -frontier. The first performance was given at Toula, on the 6th of -November, 1777 (that is to say exactly 114 years ago to-day). The -machine and Worouski were packed in a case and started for Prussia, but -when they reached Riga, orders came from the Empress Katherine II., -for Baron von Kempelen to go to St. Petersburg with his automaton. -The Empress played several games with him, but was always beaten, and -then she wanted to buy the figure. This was an awkward situation for -Kempelen, and he was at his wits’ end to know how to wriggle out of -it. He declared that his own presence was absolutely necessary for the -working of the machine, and that it was quite impossible for him to -sell it, and, after some further discussion, he was allowed to proceed -on his journey.</p> - -<p>This chess-player was, in the same year, purchased by Mons. Anthon, who -took it all over Europe. At his death it came into the hands of Johann -<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span> -Maelzel, the inventor of the Metronome, who sent it to the United -States. It was afterwards sent back to Europe, and in the year 1844 was -in the possession of a mechanician of Belleville, named Croizier.</p> - -<p>Maelzel himself was a mechanician of very considerable skill, and he -constructed an automaton trumpeter, which was exhibited at Vienna -about the year 1804, which played the Austrian and French cavalry -marches, and marches and allegros by Weigl, Dussek, and Pleyel. -Maelzel was, after that, appointed mechanician to the Austrian Court, -and constructed an automatic orchestra, in which trumpets, flutes, -clarionets, violins, violoncellos, drums, cymbals, and a triangle, were -introduced, and this attracted very great interest in the Austrian -capital at the time.</p> - -<p>In the year 1772 there was in Spring Gardens, near Charing Cross, -a most remarkable collection of automata exhibited in a place of -entertainment known as Cox’s Museum, and here I have an original copy -<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span> -of the “<i>Descriptive catalogue, of the several superb and magnificent -pieces of mechanism and jewellery exhibited in Mr. Cox’s Museum, at -Spring Gardens, Charing Cross</i>.” To which this footnote is added, -“<i>Hours of Admission, 11, 2, and 7, every day (Sundays excepted), -tickets Half a Guinea each, admitting one person, to be had at -Mr. Cox’s, No. 103, Shoe Lane</i>.” This was a very extraordinary -exhibition, and contained upwards of twenty large and elaborate -automata, several of them being adorned with gold and precious stones. -Some were complicated clocks, some were large groups of animals, and -figures with fountains and cascades around them. None of these objects -was less than nine feet high, and some were as high as sixteen feet. -I can find nothing important enough from a Mechanick’s point of view, -to describe in detail, but it was the precursor in the same place of -the exhibition of Monsieur Maillardet, which was one of the London -attractions at the beginning of the present century. -<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span></p> - -<p>M. Maillardet exhibited a bird automaton (similar to that already -referred to which was made by Le Droz), and whose performance lasted -four minutes with one winding up. He constructed also a spider, -entirely of steel, which imitated all the actions of the real animal, -it ran round and round the table in a spiral line, tending towards the -centre. Maillardet made automata representing a caterpillar, a mouse, -a lizard, and a serpent; the last crawled about all over the table, -darted its tongue in and out, and produced a hissing sound.</p> - -<p>Maillardet’s most important automata were, however, his drawing and -writing figure, and his pianoforte player. The former was a kneeling -boy, who wrote in ink with an ordinary pen, sentences in English and -in French, and drew landscapes. The pianist was a figure of a lady, -who performed eighteen pieces of music. She began by bowing to the -audience, her bosom heaved, and her eyes first looked at the music, and -<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span> -then followed the motion of her fingers, and the music was produced by -the keys being played on by the fingers; but the most remarkable of M. -Maillardet’s machines, was a magician, or fortune-teller, which gave -answers to some twenty given questions, which were inscribed on as -many counters or medallions. One of these medallions having been put -into a drawer, the figure arose from his seat, bowed to the audience, -and described mystic circles in the air with his wand; after appearing -to consult his book of mysteries, he struck a little door behind him, -which flew open, and exhibited an appropriate answer to the question on -the medallion.</p> - -<p>The general principle upon which this automaton’s power of selection -was founded lay in the fact that in the edge of each medallion there -was a small hole drilled, but no two holes were drilled to the same -depth, and, by an exceedingly delicate mechanism, the varying depth -to which a pin could be thrust into the edge of a disc, was caused to -control the mechanism by which the various answers were selected, and -which were exhibited when the little door flew open. -<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span></p> - -<p>The next great master of automaton design and construction, was that -wonderful genius Robert-Houdin (about whom our worthy Secretary and -Seer discoursed to us so pleasantly and so instructively nearly a year -ago). Brother Manning’s paper was so complete in itself, and that part -of it which dealt with automata was so ably illustrated, that it will -be quite unnecessary for me to add to the length of this communication, -by going over that ground again, so I will merely enumerate the -automata of that interesting man and pass on to still more recent times.</p> - -<p>The first of the automata of Robert-Houdin was a confectioner’s shop, -in which a pastry-cook came out of the door when requested and offered -to the spectators patisserie, bonbons, and refreshments of every -description, and within the shop might be seen the assistants making -pastry, rolling out the dough, and putting it into the oven. Then he -<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> -made two clowns, known as Auriol and Débureau. The first of these -performed a number of acrobatic feats upon a chair which was held at -arm’s length by the other. After this, the figure of Auriol smoked a -pipe, and accompanied on the flageolet an air played by the orchestra.</p> - -<p>Another was an acrobat which performed tricks on the trapèze, and the -last to which I shall refer, was his celebrated writing figure, which -is illustrated in Brother Manning’s “Opusculum,” No. XXIV., to which I -must refer you for a great deal of interesting information respecting -that remarkable man.</p> - -<p>A contemporary of Robert-Houdin was Mons. Mareppe, who constructed a -very wonderful automaton violin player, and which was exhibited at the -Conservatoire at Paris, in the year 1838, and which performed on the -violin by bowing and fingering the strings, and in an account of the -performance which was published at the time in “Galignani’s Messenger,” -it is stated that the musical execution was so perfect as to bring -tears into the eyes of the audience. -<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span></p> - -<p>Coming to our own period, from the time of Robert-Houdin, there have -been no great automata which will live in the history of the subject, -until the year 1875, when Mr. J. N. Maskelyne (who, I am happy to -tell you, is honouring us with his presence to-night) exhibited at -the Egyptian Hall his marvellous “Psycho.” This was a seated figure, -supported by a cylindrical pedestal of glass which stood upon a little -platform, and, being on castors, could be wheeled about the floor. This -automaton can actually play a game of whist, selecting the cards from a -rack in front of it, and playing a most skilful game. The machine works -apparently without any mechanical connection with anything outside, -and the delicacy and precision of its actions, display the most -consummate skill in design, and give to its inventor a high position -for mechanical science. This automaton also works out arithmetical -<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -calculations, with numbers from one to a hundred millions, showing the -result behind a door which opens in front of its box.</p> - -<p>Another of Mr. Maskelyne’s automata, is the celebrated “Zoe” of 1877, -a sitting figure supported like the last on a glass pedestal so as to -exclude the possibility of an electrical system of communication. A -sheet of paper is fastened on to the table in front, and the figure -traces out very fair portraits of public characters chosen by the -audience out of a list of some two hundred names.</p> - -<p>In respect to these most beautiful machines I must refrain from -revealing to you the secrets of their working, and that for two -reasons, first, because I do not know them myself; and second, because -Mr. Maskelyne is here and is doubtless only impatient to jump up when I -sit down and tell us all about them.</p> - -<p>I do not intend to say anything about speaking machines or to do -more than make a passing reference to the very interesting work and -<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> -researches of Kircher in 1650, Van Helmont, 1667, Kratzenstein, in -1780, L’Abbé Mical, in 1783, Von Kempelen in 1791, Willis in 1829, -Wheatstone in 1837, or of Faber in 1862. All these mechanicians and -physicists studied the philosophy of speech and produced machines or -parts of machines, which could utter vowels, words or even sentences, -but these machines were operated by keys and stops and were, in no -sense of the term, automata.</p> - -<p>I must, however, refer to one of the greatest marvels of modern -science, the phonograph which Mr. Edison has applied in the -construction of his talking dolls. Edison’s talking doll is a figure, -within which a little phonograph, driven by a little winch, is -concealed, and which repeats in a clear voice any sentence or rhyme -which may have been spoken against its recording cylinder or disc. -I am deeply disappointed to be unable to show you one of these most -interesting automata to-night, for one is on its way to me across the -Atlantic. Colonel Gourand very kindly sent for one that I might show it -<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> -to you this evening, and I deeply regret that it has not arrived in -time, for the Odd Volumes would, otherwise, have been the first to hear -its voice in Europe.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> - -<p>In the phonograph, that splendid triumph of acoustical and mechanical -science, we have literally fulfilled, the prediction made by Sir David -Brewster in 1883, when he wrote “I have no doubt that before another -century is completed, a talking and a singing Machine will be numbered -among the conquests of Science.”</p> - -<p>No one who is familiar with any of the great European capitals can -have failed to notice in the windows of the higher class of toy-shops, -clock-work automata of various kinds. We have jugglers and rope -dancers, conjurers, pianists, violinists, harpists and trumpeters, -dancing niggers, figures fighting, knitting, sewing, writing, and -<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> -engaged in almost every occupation performed by human beings, but none -that I have seen are fit for comparison with the wonderful mechanical -works of Vaucanson, Robert-Houdin or Maskelyne; mechanically they are -nearly identical with one another, and differ only in the external -application of the internal machinery. At International Exhibitions one -sees one or two of superior merit, but I have not recently seen any of -sufficient importance to bring before you this evening. The pianists -and other musicians merely move their hands on their instruments, -but the music (save the mark) whether it be a violin or a trumpet, -comes from a musical snuffbox inside which is generally wound up -by a different key. These figures are usually very costly, and I am -always puzzled to know who are the people who purchase them. The best -are generally those mechanical toys which represent the movements of -animals, and here I have a mechanical bear which is rather amusing, and -it is ingenious because by a very simple combination of clock work with -<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span> -cranks and strings a number of different motions is obtained; we have -the mouth opening and shutting, the head going from side to side, the -lips moving and the whole animal bowing to the spectators.</p> - -<p>Within the last few years a most extraordinary amount of mechanical -ingenuity has been brought to bear upon the construction of small -automatic toys, which are sold in the streets for a few pence, and -I think, even more than the extraordinarily simple and ingenious -contrivances by which the various effects are produced, the great -inventive merit consists in a design and method of manufacture by which -they can be turned out, with a profit, at so insignificant a cost. I -have brought together a few examples, a very minute fraction of the -hundreds of forms that exist, but selected merely to illustrate the -different types of principle of action.</p> - -<p>A very favourite motive power is a wound up spring, consisting of -strands of vulcanized india-rubber, and here I have one of the -well-known butterflies which come out in Paris in 1878, where they -<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -filled the air of the Avenue de l’Opera, the shops of which were then -occupied chiefly by hawkers of toys. The motive power of this toy -is nothing more than a light screw propeller or fan rotated by the -untwisting of a spring, while on the body of the machine are two fixed -wings or fins to prevent the whole machine from rotating. The action is -wonderfully like that of an animal, perhaps most like that of a bat. -Here again the same principle is applied in a running mouse, and this -is especially interesting from the fact that the machine winds itself -up the moment the tension of the cord is relaxed, and as the spindle of -the wheels is the flexible rubber itself the peculiar scuttling action -of a mouse is well imitated.</p> - -<p>There is again a large class of mechanical toys in which there is a -combination of a rubber spring with a wheel and escapement, the pallets -of which by their reciprocating motion producing whatever effect may be -desired; the swimming fish is one of them, the wagging of the tail being -<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span> -produced in the way I have described. Here is another displaying -considerable ingenuity. In this case an escapement wheel works a crutch -which by a pair of cranks linked together causes each of two pugilists -to turn a little way backwards and forwards on one heel, and the arms -being hung loosely to the shoulders by rubber hinges give to the -figures the appearance of hitting out vigorously.</p> - -<p>I have here a couple of figures which I admit do not contain their -motive power within themselves but they require so little aid from -outside and do so much for themselves that I have been tempted to -bring them in. Here is a monkey climbing a rope, and its progression -is insured by the simplest possible device, the string passes over one -pin and under another in his posterior hands while the anterior pair -of hands grip the rope with a slight degree of friction: if the string -be tightened the lower hands act as a lever which pushes the body up, -but when it is slack it slips round the pins and does no work, in other -<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> -words the grip of the hands is greater than that of the feet when the -cord is slack but less when it is tight.</p> - -<p>In this little animated skeleton, we have an immense effect produced by -an extraordinarily small external motion. The squeeze that I give to -this U shaped spring, by varying the tension of the twisted strings, on -which the skeleton is suspended, is almost infinitesimal—but it gives to the -skeleton considerably more energy than is usually to be found in skeletons.</p> - -<p>Here we have a walking figure whose action depends upon gravity, but -his progression is checked by the friction of his feet on the board on -which he performs, first one foot catches and then another, and each -time his inertia turns him round, which gives him an appearance of -having been in the company of teetotallers, or can he have been dining -with the Sette of Odd Volumes?</p> - -<p>A familiar form of mechanical or automatic toys is in the form of a box -or frame having a glass front, behind which figures of acrobats, -<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> -rope-dancers and moving groups are set into motion by sand falling on -a wheel within the case; and it is an ingenious feature of these toys -that they are “wound up” by simply rolling the box over on its edge -through one revolution, which has the effect of lifting the fallen sand -back into the upper reservoir.</p> - -<p>The last great class of mechanical figures, to which I shall refer, -includes those which depend for their action upon the spinning of a top -or fly-wheel, and some of them are particularly pretty and ingenious.</p> - -<p>Here, for example, is a couple of figures, which the gentleman who sold -it to me told me was “a Narry and a Narriet walking hout on ‘Ampstead -’Eath.” In this case the ruling spirit and go is as usual in the -<i>lady</i>, and the man has to follow whither she leads, the legs of the -man are connected together at the hips by a pair of cranks so disposed, -that if one leg be pushed back, the other is thereby thrown forward. Now -<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> -the heels are so cut that they catch in the ground when in a forward -position and can slide forward when behind; in being urged along, the -forward leg catching in the ground is relatively pushed back and the -other leg comes forward, which in its turn catches, and the effect of -walking is produced.</p> - -<p>And here we have (<a href="#Fig_25">Fig. 25</a>) another on precisely the same -principle, in which an ostrich appears to draw a cart, which in reality, is pushing -him along, but the effect of the ostrich’s strut is delightfully reproduced.</p> - -<div class="figcenter"> - <a name="Fig_25" id="Fig_25"></a> - <img src="images/i_096a.jpg" alt="_" width="600" height="501" /> - <p class="f110"><b>Fig. 25.</b></p> -</div> - -<p>Here is another in which several very curious motions are reproduced. -This beautiful little mechanical toy (<a href="#Fig_26">Fig. 26</a>) represents -a circus girl riding round the ring, and occasionally leaping over a bar or -bowing to the audience, while the prancing action of the horse is ingeniously -imitated. The motive power is derived from the spinning of a top or -fly-wheel, supported in a frame attached to the bar to which the horse -<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> -is fixed; and, as the spindle of the top spins on the bevel edge of -the circular base, the horse is caused to gallop round in a circle, -and, being supported on the table by a roller mounted eccentrically -on its axis, it prances up and down as it runs. The equestrienne is -attached to a light lever pivotted on the rotating frame and revolving -with it. Twice in its revolution this lever is lifted by a cam, forming -part of the base; the first lift causes the figure to give a little -bow, and the second, which is much greater, makes her leap over the -bar under which the horse runs. This little machine is one of the most -mechanically ingenious of the modern automaton toys, and it is made at -the cost of only a few pence.</p> - -<div class="figcenter"> - <a name="Fig_26" id="Fig_26"></a> - <img src="images/i_096b.jpg" alt="_" width="600" height="422" /> - <p class="f110"><b>Fig. 26.</b></p> -</div> - -<p>The last I shall show you is this elephant. In this little machine we -have a fly-wheel, which with its vertical shaft looks like an umbrella -over the Nabob who sits on the top, the vertical shaft passes into the -body of the elephant, and there by a simple frictional gearing, rotates -<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span> -a couple of cranks to which the legs are connected. The effect of -spinning the umbrella is therefore merely to move the legs backwards -and forwards; and, if that were all, no progression could be effected; -but each foot rests on a little wheel or roller, which can only rotate -in one direction so that while it catches the ground in its backward -stroke it rolls freely over it while it is moving forward, and thus -each leg in its turn contributes to the progressive movement of the toy.</p> - -<p>Now I have come to the end, and it only remains to me to thank you all -for having supported me by your presence in such numbers to-night, and -to say to you in the words of Othello:</p> - -<div class="poetry-container"><div class="poem"><div class="stanza"> -<span class="i0">“It gives me wonder great as my content,</span> -<span class="i1 space-below2">To see you here before me.”</span> -</div></div></div> - -<div class="figcenter"> - <img src="images/deco07.jpg" alt="_" width="200" height="120" /> -</div> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span></p> - -<div class="chapter"> -<h2>THE FOLLOWING EDITIONS OF OLD<br /> WORKS, IN ILLUSTRATION OF THE<br /> PAPER, WERE -EXHIBITED<br /> BY THE AUTHOR.</h2></div> - -<p class="neg-indent"> 1. John Wilkins, (Bishop of Chester,) <i>Mathematicall Magick</i>. -(First Edition.) Sm. 8vo. London, 1648.</p> - -<p class="neg-indent"> 2. —— <i>Ditto</i>. (Third Edition.) Sm. 8vo. London, 1680.</p> - -<p class="neg-indent"> 3. —— <i>Ditto</i>. (Fourth Edition.) Sm. 8vo. London, 1691.</p> - -<p class="neg-indent"> 4. Aulus Gellius, <i>Noctes Atticæ</i>. Folio. Paris, 1530.</p> - -<p class="neg-indent"> 5. —— <i>Ditto</i>. Sm. 8vo. Lyons, 1546.</p> - -<p class="neg-indent"> 6. —— <i>Ditto</i>. 12mo. (Elzevir.) Amsterdam, 1651.</p> - -<p class="neg-indent"> 7. Hero, of Alexandria. <i>Spiritalia</i>. (Commandinus Edition.) -Sm. 4to. Urbino, 1575.</p> - -<p class="neg-indent"> 8. —— <i>Ditto</i>. (Aleotti Edition.) Sm. 4to. Ferrara, 1589.</p> - -<p class="neg-indent"> 9. —— <i>Ditto</i>. (Georgi Edition.) 4to. Urbino, 1592.</p> - -<p class="neg-indent">10. —— <i>Ditto</i>. (Aleotti Edition.) Sm. 4to. Amsterdam, 1680.</p> - -<p class="neg-indent">11. —— <i>De gli automati overo machine se movente</i>. Sm. 4to. Venice, 1589.</p> - -<p class="neg-indent">12. —— <i>Quatro theoremi aggiunti a gli artifitiosi Spiriti</i>. -Sm. 4to. Ferrara, 1589.</p> - -<p class="neg-indent">13. John Bate, <i>The Mysteries of Nature and Art</i>. Sm. 4to. London, 1654. -<span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p> - -<p class="neg-indent">14. Edward Somerset (Marquis of Worcester). -<i>A Century of the Names and Scantlings of such Inventions, as at -present I can call to mind</i>. 12mo. London, 1746.</p> - -<p class="neg-indent">15. Agostino Ramelli. <i>Le Diverse et artificiose Machine</i>. Folio. -Paris, 1588.</p> - -<p class="neg-indent">16. Athanasius Kircher. <i>Magnes sive de Arte Magnetica</i>. Folio. -Rome, 1641.</p> - -<p class="neg-indent">17. Vaucanson. <i>An Account of the Mechanism of Automaton or image -playing on the German Flute</i>. 4to. London, 1742.</p> - -<p class="neg-indent">18. Peter van Musschenbroeck. <i>Introductio ad Philosophiam -Naturalem</i>. 4to. Padua, 1768.</p> - -<p class="neg-indent">19. Jacques Ozanam. <i>Recréations Mathématiques et physiques</i>. -8vo. Paris, 1696.</p> - -<p class="neg-indent">20. Anonymous, (believed to be by Thomas Powell, -D.D.) <i>Humane Industry, or a History of most Manual Arts</i>. Sm. 8vo. -London, 1661.</p> - -<p class="neg-indent">21. Anonymous, (probably Professor Willis.) <i>An -attempt to Analyse the Automaton Chess player of Mr. de Kempelen</i>. -8vo. London, 1821.</p> - -<p class="neg-indent">22. Cox’s Museum. <i>Descriptive Catalogue of the -Superb and Magnificent pieces of Mechanism and Jewellery in Cox’s Museum</i>. -Sm. 4to. London, 1772.</p> - -<p class="neg-indent">23. Henry Van Etten, <i>Mathematicall Recreations</i>. 12mo. London, 1633.</p> - -<div class="figcenter"> - <p class="center"> </p> - <img src="images/deco08.jpg" alt="_" width="100" height="36" /> -</div> - -<hr class="full" /> -<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p> - -<div class="figcenter"> - <img src="images/deco05.jpg" alt="_" width="600" height="140" /> -</div> - -<p class="f200"><b>O. V.</b></p> - -<p class="f120">A<br /><big>BIBLIOGRAPHY</big><br />OF THE<br /> -<big>PRIVATELY PRINTED OPUSCULA</big></p> - -<p class="f120 space-below2"><i>Issued to the Members of the Sette of Odd Volumes</i>.</p> - -<p class="center">“Books that can be held in the hand, and carried to the fireside, are the -best after all.”—<i>Samuel Johnson</i>.</p> - -<p class="center">“The writings of the wise are the only riches our posterity cannot -squander.”—<i>Charles Lamb</i>.</p> - -<p class="neg-indent"> 1. <b>B. Q.</b><br /> -A Biographical and Bibliographical Fragment. 22 Pages. Presented on -November the 5th, 1880, by His Oddship <span class="smcap">C. W. H. Wyman</span>. -1st Edition limited to 25 copies.</p> -<p class="author">(Subsequently enlarged to 50 copies.)</p> - -<p class="neg-indent"> 2. <b>Glossographia Anglicana</b>.<br /> -By the late <span class="smcap">J. Trotter Brockett</span>, F.S.A., -London and Newcastle, author of “Glossary of North Country Words,” -to which is prefixed a Biographical Sketch of the Author by <span -class="smcap">Frederick Bloomer</span>. (pp. 94.) Presented on -July the 7th, 1882, by His Oddship <span class="smcap">Bernard Quaritch</span>.</p> -<p class="author">Edition limited to 150 copies.</p> - -<p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p> - -<p class="neg-indent"> 3. <b>Ye Boke of Ye Odd Volumes</b>,<br /> -from 1878 to 1883. Carefvlly <i>Compiled</i> and painsfvlly -<i>Edited</i> by ye vnworthy Historiographer to ye Sette, <i>Brother</i> and -<i>Vice-President</i> <span class="smcap">William Mort Thompson</span>, -and produced by ye order and at ye charges of Hys Oddship ye -President and Librarian of ye Sette, Bro. <span class="smcap">Bernard -Quaritch</span>. (pp. 136.) Presented on April the 13th, 1883, by his -Oddship <span class="smcap">Bernard Quaritch</span>.</p> -<p class="author">Edition limited to 150 copies.</p> - -<p class="neg-indent"> 4. <b>Love’s Garland;</b><br /> -Or Posies for Rings, Hand-kerchers, & Gloves, and such pretty -Tokens that Lovers send their Loves. London, 1674. A Reprint. And Ye -Garland of Ye Odd Volumes, (pp. 102.) Presented on October the 12th, -1883, by Bro. <span class="smcap">James Roberts Brown</span>.</p> -<p class="author">Edition limited to 250 copies.</p> - -<p class="neg-indent"> 5. <b>Queen Anne Musick</b>.<br /> -A brief Accompt of ye genuine Article, those who performed ye same, -and ye Masters in ye facultie. From 1702 to 1714. (pp. 40.) Presented -on July the 13th, 1883, by Bro. <span class="smcap">Burnham W. Horner</span>.</p> -<p class="author">Edition limited to 100 copies.</p> - -<p class="neg-indent"> 6. <b>A Very Odd Dream</b>.<br /> -Related by His Oddship <span class="smcap">W. M. Thompson</span>, -President of the Sette of Odd Volumes, at the Freemasons’ Tavern, Great -Queen Street, on June 1st, 1883. (pp. 26.) Presented on July the 13th, -1883, by His Oddship <span class="smcap">W. Mort Thompson</span>.</p> -<p class="author">Edition limited to 250 copies.</p> - -<p class="neg-indent"> 7. <b>Codex Chiromantiae</b>.<br /> -Being a Compleate Manualle of ye Science and Arte of Expoundynge ye -Past, ye Presente, ye Future, and ye Charactere, by ye Scrutinie of ye -Hande, ye Gestures thereof, and ye Chirographie. <i>Codicillus I</i>.—<span -class="smcap">Chirognomy.</span> (pp. 118.) Presented on November the -2nd, 1883, by Bro. <span class="smcap">Ed. Heron-Allen</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"> 8. <b>Intaglio Engraving: Past and Present</b>.<br /> -An Address, by Bro. <span class="smcap">Edward Renton</span>, -delivered at the Freemasons’ Tavern, Great Queen Street, on December -5th, 1884. (pp. 74.) Presented to the Sette by His Oddship -<span class="smcap">Edward F. Wyman</span>.</p> -<p class="author">Edition limited to 200 copies.</p> - -<p><span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span></p> - -<p class="neg-indent"> 9. <b>The Rights, Duties, Obligations, and Advantages of Hospitality</b>.<br /> -An Address by Bro. <span class="smcap">Cornelius Walford</span>, F.I.A, -F.S.S., F.R. Hist. Soc., Barrister-at-Law, Master of the Rolls in the -Sette of Odd Volumes, delivered at the Freemasons’ Tavern, Great Queen -Street, on Friday, February 5th, 1885. (pp. 72.) Presented to the Sette -by His Oddship <span class="smcap">Edward F. Wyman</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent">10. <b>“Pens, Ink, and Paper:” a Discourse upon Caligraphy</b>.<br /> -The Implements and Practice of Writing, both Ancient and Modern, -with Curiosa, and an Appendix of famous English Penmen, by Bro. -<span class="smcap">Daniel W. Kettle</span>, F.R.G.S., Cosmographer; -delivered at the Freemasons’ Tavern, Great Queen Street, on Friday, -November 6th, 1885. (pp. 104.) Presented to the Sette on January 8th, -1886, by Bro. <span class="smcap">Daniel W. Kettle</span>.</p> -<p class="author">Edition limited to 233 copies.</p> - -<p class="neg-indent">11. <b>On Some of the Books for Children of the Last Century</b>.<br /> -With a few Words on the Philanthropic Publisher of St. Paul’s -Churchyard. A paper read at a Meeting of the Sette of Odd Volumes by -Brother <span class="smcap">Charles Welsh</span>, Chapman of the Sette, -at the Freemasons’ Tavern, on Friday, the 8th day of January, 1886. -(pp. 108.) Presented to the Sette by Bro. <span class="smcap">Charles Welsh</span>.</p> -<p class="author">Edition limited to 250 copies.</p> - -<p class="neg-indent">12. <b>Frost Fairs on the Thames</b>.<br /> -An Address by Bro. <span class="smcap">Edward Walford</span>, M.A., -Rhymer to the Sette of the Odd Volumes, delivered at Willis’s Rooms, -on Friday, December 3rd, 1886. (pp. 76.) Presented to the Sette by His -Oddship <span class="smcap">George Clulow</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent">13. <b>On Coloured Books for Children</b>.<br /> -By Bro. <span class="smcap">Charles Welsh</span>, Chapman to the Sette. -Read before the Sette, at Willis’s Rooms, on Friday, the 6th May, 1887. -With a Catalogue of the Books Exhibited. (pp. 60.) Presented to the -Sette by Bro. <span class="smcap">James Roberts Brown</span>.</p> -<p class="author">Edition limited to 255 copies.</p> - -<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p> - -<p class="neg-indent">14. <b>A Short Sketch of Liturgical History and Literature</b>.<br /> -Illustrated by Examples Manuscript and Printed. A Paper read at a -Meeting of the Sette of Odd Volumes by Bro. <span class="smcap">Bernard -Quaritch</span>, Librarian and First President of the Sette, at -Willis’s Rooms, on Friday, June 10th, 1887. (pp. 86.) Presented to the -Sette by Bro. <span class="smcap">Bernard Quaritch</span>.</p> - -<p class="neg-indent">15. <b>Cornelius Walford: In Memoriam</b>.<br /> -By his Kinsman, <span class="smcap">Edward Walford</span>, M.A., Rhymer -to the Sette of Odd Volumes. Read before the Sette at Willis’s Rooms, -on Friday, October 21st, 1887. (pp. 60.) Presented to the Sette by Bro. -<span class="smcap">Edward Walford</span>, M.A.</p> -<p class="author">Edition limited to 255 copies.</p> - -<p class="neg-indent">16. <b>The Sweating Sickness</b>.<br /> -By <span class="smcap">Frederick H. Gervis</span>, M.R.C.S., Apothecary -to the Sette of Odd Volumes, delivered at Willis’s Rooms, on Friday, -November 4th, 1887. (pp. 48.) Presented to the Sette by Bro. -<span class="smcap">Fred. H. Gervis</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent">17. <b>New Year’s Day in Japan</b>.<br /> -By Bro. <span class="smcap">Charles Holme</span>, Pilgrim of the Sette -of Odd Volumes. Read before the Sette at Willis’s Rooms on Friday, -January 6th, 1888. (pp. 46.) Presented to the Sette by Bro. -<span class="smcap">Charles Holme</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent">18. <b>Ye Seconde Boke of Ye Odd Volumes</b>,<br /> -from 1883 to 1888. Carefvlly <i>Compiled</i> and painsfvlly <i>Edited</i> by ye -vnworthy Historiographer to ye Sette, Bro. <span class="smcap">William -Mort Thompson</span>, and produced by ye order and at ye charges of ye Sette. (pp. 157.)</p> -<p class="author">Edition limited to 115 copies.</p> - -<p class="neg-indent">19. <b>Repeats and Plagiarisms in Art, 1888</b>.<br /> -By Bro. <span class="smcap">James Orrock</span>, R.I., Connoisseur to -the Sette of Odd Volumes. Read before the Sette at Willis’s Rooms, St. -James’s, on Friday, January 4th, 1889. (pp. 33.) Presented to the Sette -by Bro. <span class="smcap">James Orrock</span>, R.I.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p> - -<p class="neg-indent">20. <b>How Dreams Come True</b>.<br /> -A Dramatic Sketch by Bro. <span class="smcap">J. Todhunter</span>, -Bard of the Sette of Odd Volumes. Performed at a Conversazione of the -Sette at the Grosvenor Gallery, on Thursday, July 17th, 1890. (pp. 46.) -Presented to the Sette by His Oddship Bro. <span class="smcap">Charles Holme</span>.</p> -<p class="author">Edition limited to 600 copies.</p> - -<p class="neg-indent">21. <b>The Drama in England during the last Three Centuries</b>.<br /> -By Bro. <span class="smcap">Walter Hamilton</span>, F.R.G.S., Parodist -to the Sette of Odd Volumes. Read before the Sette at Limmer’s Hotel, -on Wednesday, January 8th, 1890. (pp. 80.) Presented to the Sette by -Bro. <span class="smcap">Walter Hamilton</span>.</p> -<p class="author">Edition limited to 201 copies.</p> - -<p class="neg-indent">22. <b>Gilbert, of Colchester</b>.<br /> -By Bro. <span class="smcap">Silvanus P. Thompson</span>, D.Sc., B.A., -Magnetizer to the Sette of Odd Volumes. Read before the Sette at -Limmer’s Hotel, on Friday, July 4th, 1890. (pp. 63.) Presented to the -Sette by Bro. <span class="smcap">Silvanus P. Thompson</span>.</p> -<p class="author">Edition limited to 249 copies.</p> - -<p class="neg-indent">23. <b>Neglected Frescoes in Northern Italy</b>.<br /> -By Bro. <span class="smcap">Douglas H. Gordon</span>, Remembrancer to -the Sette of Odd Volumes. Read before the Sette at Limmer’s Hotel, on -Friday, December 6th, 1889. (pp. 48.) Presented to the Sette by Bro. -<span class="smcap">Douglas H. Gordon</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent">24. <b>Recollections of Robert-Houdin</b>.<br /> -By Bro. <span class="smcap">William Manning</span>. Seer to the Sette -of Odd Volumes. Delivered at a Meeting of the Sette held at Limmer’s -Hotel, on Friday, December 7th, 1890. (pp. 81.) Presented to the Sette -by Bro. <span class="smcap">William Manning</span>.</p> -<p class="author">Edition limited to 205 copies.</p> - -<p class="neg-indent">25. <b>Scottish Witchcraft Trials</b>.<br /> -By Bro. <span class="smcap">J. W. Brodie Innes</span>, Master of -the Rolls to the Sette of Odd Volumes. Read before the Sette at a -Meeting held at Limmer’s Hotel, on Friday, November 7th, 1890. (pp.66.) -Presented to the Sette by Bro. <span class="smcap">Alderman Tyler</span>.</p> -<p class="author">Edition limited to 245 copies.</p> - -<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p> - -<p class="neg-indent">26. <b>Blue and White China</b>.<br /> -By Bro. <span class="smcap">Alexander T. Hollingsworth</span>, -Artificer to the Sette of Odd Volumes. Delivered at a Meeting of the -Sette held at Limmer’s Hotel, on Friday, February 6th, 1891. (pp. 70.) -Presented to the Sette by Bro. <span class="smcap">Alexander T. Hollingsworth</span>.</p> -<p class="author">Edition limited to 245 copies.</p> - -<p class="neg-indent">27. <b>Reading a Poem</b>.<br /> -A Forgotten Sketch by <span class="smcap">Wm. M. Thackeray</span>. -Communicated by Bro. <span class="smcap">Chas. Plumptre Johnson</span> -(Clerke-atte-Lawe to the Sette of Odd Volumes), to the Sette at -Limmer’s Hotel, on Friday, May 1st, 1891. (pp. xi and 66.) Presented to -the Sette by Bro. <span class="smcap">Chas. Plumptre Johnson</span>.</p> -<p class="author">Edition limited to 321 copies.</p> - -<p class="neg-indent">28. <b>The Ballades of a Blasé Man</b>,<br /> -to which are added some Rondeaux of his Rejuvenescence, laboriously -constructed by the Necromancer to the Sette of Odd Volumes, (pp. -88.) Presented to the Sette by Bro. <span class="smcap">Edward -Heron-Allen</span>, in October, 1891.</p> -<p class="author">Edition limited to 99 copies.</p> - -<p class="neg-indent">29. <b>Automata Old and New</b>.<br /> -By Bro. <span class="smcap">Conrad W. Cooke</span>, Mechanick to the -Sette of Odd Volumes. Read before the Sette at a Meeting held at -Limmer’s Hotel, on Friday, November 6th, 1891. (pp. 118). Presented to -the Sette by Bro. <span class="smcap">Conrad W. Cooke</span>.</p> -<p class="author">Edition limited to 255 copies.</p> - -<div class="chapter"> -<hr class="chap" /> -<h2><span class="smcap">Year-Bokes</span>.</h2></div> - -<p class="neg-indent"><b>I. The Year-Boke of the Odd Volumes: An Annual -Record of the Transactions of the Sette. Eleventh Year, 1888-9</b>.</p> - -<p class="blockquot no-indent">Written and compiled by Bro. <span class="smcap">W. Mort Thompson</span>, -Historiographer to the Sette. Issued November 29th, 1890.</p> - -<p class="neg-indent"><b>II. The Year-Boke of the Odd Volumes: An Annual Record -of the Transactions of the Sette. Twelfth Year, 1889-90</b>.</p> - -<p><span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span></p> - -<p class="neg-indent"><b>III. The Year-Boke of the Odd Volumes: An Annual Record -of the Transactions of the Sette. Thirteenth Year, 1890-1</b>.</p> - -<p class="blockquot no-indent">Compiled mainly from the Minute Book of the Sette, -and imprynted for private circulation only.</p> -<p class="blockquot author">Edition limited to 133 copies.</p> - -<div class="figcenter"> - <img src="images/deco04.jpg" alt="_" width="100" height="48" /> -</div> - -<div class="chapter"> -<hr class="chap" /> -<h2>FOLIA.</h2></div> - -<p class="f110"> -<span class="smcap">Originated by Brother Holme</span>, <i>Pilgrim</i>,<br /> -<span class="smcap">who presented each Brother with a Special Portfolio</span>.</p> - -<p class="neg-indent"><b>1. The Victualling Crew</b>. Presented by Bro. -<span class="smcap">Henry Moore</span>, A.R.A., <i>Ancient Mariner</i>.</p> - -<p class="neg-indent"><b>2. Proud Maisie</b>, from a drawing by Frederick Sandys. -Presented by Bro. <span class="smcap">Todhunter</span>, <i>Playwright</i>.</p> - -<p class="neg-indent"><b>3. A Rainy Day in Hakone, Japan</b>. Presented by -Bro. <span class="smcap">Alfred East</span>, <i>Landscape Painter</i>.</p> - -<p class="neg-indent"><b>4. The Shelley Memorial</b>. Photogravure from the -original Statue. Presented by <span class="smcap">E. Onslow Ford</span>, -A.R.A., <i>Sculptor</i>.</p> - -<div class="figcenter"> - <img src="images/deco09.jpg" alt="_" width="200" height="102" /> -</div> - -<p class="space-above3"><span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span></p> - -<div class="chapter"> -<div class="figcenter"> - <img src="images/deco10.jpg" alt="_" width="600" height="138" /> -</div> -<h2>MISCELLANIES.</h2></div> - -<p class="neg-indent"><b>1. Inaugural Address</b><br /> -of His Oddship, <span class="smcap">W. M. Thompson</span>, Fourth -President of the Sette of Odd Volumes, delivered at the Freemasons’ -Tavern, Great Queen Street, on his taking office on April 13th, &c. -(pp. 31.) Printed by order of Ye Sette, and issued on May the 4th, 1883.</p> -<p class="author">Edition limited to 250 copies.</p> - -<p class="neg-indent"><b>2. Codex Chiromantiae</b>.<br /> -<i>Appendix A</i>. Dactylomancy, or Finger-ring Magic, Ancient, -Mediæval, and Modern, (pp. 34.) Presented on October the 12th, -1883, by Bro. <span class="smcap">Ed. Heron-Allen</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>3. A President’s Persiflage</b>.<br /> -Spoken by His Oddship <span class="smcap">W. M. Thompson</span>, Fourth President of the -Sette of Odd Volumes, at the Freemasons’ Tavern, Great Queen -Street, at the Fifty-eighth Meeting of the Sette, on December -7th, 1883. (pp. 15.)</p> -<p class="author">Edition limited to 250 copies.</p> - -<p class="neg-indent"><b>4. Inaugural Address</b><br /> -of His Oddship <span class="smcap">Edward F. Wyman</span>, Fifth President of the Sette of -Odd Volumes, delivered at the Freemasons’ Tavern, Great Queen -Street, on his taking office, on April 4th, 1884, &c. (pp. 56.) -Presented to the Sette by His Oddship <span class="smcap">Edward F. Wyman</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p><span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span></p> - -<p class="neg-indent"><b>5. Musical London a Century Ago</b>.<br /> -Compiled from the Raw Material, by Brother <span class="smcap">Burnham W. Horner</span>, -F.R.S.L., F.R. Hist. S., Organist of the Sette of Odd Volumes, -delivered at the Freemasons’ Tavern, Great Queen Street, on June -6th, 1884. (pp. 32.) Presented to the Sette by His Oddship -<span class="smcap">Edward F. Wyman</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>6. The Unfinished Renaissance;</b><br /> -Or, Fifty Years of English Art. By Bro. <span class="smcap">George C. Haité</span>, Author -of “Plant Studies,” &c. Delivered at the Freemasons’ Tavern, -Friday, July 11th, 1884. (pp. 40.) Presented to the Sette by His -Oddship <span class="smcap">Edward F. Wyman</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>7. The Pre-Shakespearian Drama</b>.<br /> -By Bro. <span class="smcap">Frank Ireson</span>. Delivered at the Freemasons’ Tavern, -Friday, January 2nd, 1885. (pp. 34.) Presented to the Sette by -His Oddship <span class="smcap">Edward F. Wyman</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>8. Inaugural Address</b><br /> -of His Oddship, Brother <span class="smcap">James Roberts Brown</span>, Sixth President -of the Sette of Odd Volumes, delivered at the Freemasons’ Tavern, -Great Queen Street, on his taking office, on April 17th, 1885, -&c. (pp. 56.) Presented to the Sette by His Oddship -<span class="smcap">James Roberts Brown</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>9. Catalogue of Works of Art</b><br /> -Exhibited at the Freemasons’ Tavern, Great Queen Street, on -Friday, July 11th, 1884. Lent by Members of the Sette of Odd -Volumes. Presented to the Sette by His Oddship <span class="smcap">Edward F. Wyman</span>.</p> -<p class="author">Edition limited to 255 copies.</p> - -<p class="neg-indent"><b>10. Catalogue of Manuscripts and Early-Printed -Books</b><br /> Exhibited and Described by Bro. <span class="smcap">B. Quaritch</span>, -the Librarian of the Sette of Odd Volumes, at the -Freemasons’ Tavern, Great Queen Street, June 5th, 1885. Presented -to the Sette by His Oddship <span class="smcap">James Roberts Brown</span>.</p> - -<p class="author">Edition limited to 255 copies.</p> - -<p><span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span></p> - -<p class="neg-indent"><b>11. Catalogue of Old Organ Music</b><br /> -Exhibited by Bro. <span class="smcap">Burnham W. Horner</span>, F.R.S.L., F.R.Hist.S., -Organist of the Sette of Odd Volumes, at the Freemasons’ Tavern, -Great Queen Street, on Friday, February 5th, 1886. Presented to -the Sette by His Oddship <span class="smcap">James Roberts Brown</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>12. Inaugural Address</b><br /> -of His Oddship Bro. <span class="smcap">George Clulow</span>, Seventh President of the -Sette of Odd Volumes, delivered at the Freemasons’ Tavern, Great -Queen Street, on his taking office, on April 2nd, 1886, &c. -(pp. 64.) Presented to the Sette by His Oddship <span class="smcap">George Clulow</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>13. A Few Notes about Arabs</b>.<br /> -By Bro. <span class="smcap">Charles Holme</span>, Pilgrim of the Sette of Odd Volumes. -Read at a Meeting of the “Sette” at Willis’s Rooms, on Friday, -May 7th, 1886. (pp. 46.) Presented to the Sette of Odd Volumes -by Bro. <span class="smcap">Chas. Holme</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>14. Account of the Great Learned Societies and Associations, and of -the Chief Printing Clubs of Great Britain and Ireland</b><br /> -Delivered by Bro. <span class="smcap">Bernard Quaritch</span>, Librarian of the Sette of -Odd Volumes, at Willis’s Rooms on Tuesday, June 8th, 1886. -(pp. 66.) Presented to the Sette by His Oddship <span class="smcap">George Clulow</span>.</p> -<p class="author">Edition limited to 255 copies.</p> - -<p class="neg-indent"><b> 15. Report of a Conversazione</b><br /> -Given at Willis’s Rooms, King Street, St. James’s, on Tuesday, -June 8th, 1886, by his Oddship Bro. <span class="smcap">George Clulow</span>, <i>President</i>; -with a summary of an Address on “<span class="smcap">Learned Societies and -Printing Clubs</span>,” then delivered by Bro. <span class="smcap">Bernard Quaritch</span>, -<i>Librarian</i>. By Bro. <span class="smcap">W. M. Thompson</span>, <i>Historiographer</i>. -Presented to the Sette by His Oddship <span class="smcap">George Clulow</span>.</p> -<p class="author">Edition limited to 255 copies.</p> - -<p class="neg-indent"><b>16. Codex Chiromantiae</b>.<br /> -<i>Appendix B</i>.—<span class="smcap">A Discourse concerning Autographs and their -Significations</span>. Spoken in valediction at Willis’s Rooms, on -October the 8th, 1886, by Bro. <span class="smcap">Edward Heron-Allen</span>. (pp. 45.) -Presented to the Sette by His Oddship <span class="smcap">George Clulow</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p><span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span></p> - -<p class="neg-indent"><b>17. Inaugural Address</b><br /> -of His Oddship <span class="smcap">Alfred J. Davies</span>, Eighth President of the Sette -of Odd Volumes, delivered at Willis’s Rooms, on his taking office -on April 4th, 1887. (pp. 64.) Presented to the Sette by His -Oddship <span class="smcap">Alfred J. Davies</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>18. Inaugural Address</b><br /> -of His Oddship Bro. <span class="smcap">T. C. Venables</span>, Ninth President of the Sette -of Odd Volumes, delivered at Willis’s Rooms, on his taking office -on April 6th, 1888. (pp. 54.) Presented to the Sette by His -Oddship <span class="smcap">T. C. Venables</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>19. Ye Papyrus Roll-Scroll of Ye Sette of Odd Volumes</b>.<br /> -By Bro. <span class="smcap">J. Brodie-Innes</span>, Master of the Rolls to the Sette of Odd -Volumes, delivered at Willis’s Rooms, May 4th, 1888. (pp. 39.) -Presented to the Sette by His Oddship <span class="smcap">T. C. Venables</span>.</p> -<p class="author">Edition limited to 133 copies.</p> - -<p class="neg-indent"><b>20. Inaugural Address</b><br /> -of His Oddship Bro. <span class="smcap">H. J. Gordon Ross</span>, Tenth President of the -Sette of Odd Volumes, delivered at Willis’s Rooms. King Street, -St. James’s Square, on his taking office, April 5th, 1889.</p> -<p class="author">Edition limited to 255 copies.</p> - -<div class="figcenter"> - <img src="images/deco11.jpg" alt="_" width="100" height="47" /> -</div> - -<p class="f150"><b>WORKS DEDICATED TO THE SETTE</b>.</p> - -<p class="center"><b>The Ancestry of the Violin</b>.<br /> -London, 1882. <span class="smcap">Edward Heron-Allen</span>.</p> - -<p class="center"><b>An Odd Volume for Smokers</b>.<br /> -London, 1889. <span class="smcap">Walter Hamilton</span>.</p> - -<p class="center"><b>The Blue Friars</b>.<br /> -London, 1889. <span class="smcap">W. H. K. Wright</span>.</p> - -<p class="center"><b>Quatrains</b>.<br /> -London, 1892. <span class="smcap">W. Wilsey Martin</span>.</p> - -<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span></p> - -<div class="chapter"> -<hr class="chap" /> -<div class="figcenter"> - <img src="images/deco12.jpg" alt="_" width="600" height="142" /> -</div> -<h2><b><i>Ye Sette of Odd Volumes</i></b>.</h2></div> - -<p class="neg-indent_big"><small>Original Member.</small> 1878. <span class="smcap">Bernard Quaritch</span>, -<i>Librarian</i>, 15, Piccadilly, W. (President, 1878, 1879, and 1882).</p> - -<p class="neg-indent_big"><small>Original Member.</small> 1878. <span class="smcap">Edward Renton</span>, -<i>Herald</i>, 44, South Hill Park, Hampstead, N.W. Vice-President, 1880; Secretary, 1882).</p> - -<p class="neg-indent_big"><small>Original Member.</small> 1878. <span class="smcap">W. Mort Thompson</span>, -<i>Historiographer</i>, 16, Carlyle Square, Chelsea, S.W. (Vice-President, 1882; President, 1883).</p> - -<p class="neg-indent_big"><small>Original Member.</small> 1878. <span class="smcap">Charles W. H. Wyman</span>, -<i>Typographer</i>, 103, King Henry’s Road, Primrose Hill, N.W. (Vice-President, 1878 and 1879; President, 1880).</p> - -<p class="neg-indent_big"><small>Original Member.</small> 1878. <span class="smcap">Edward F. Wyman</span>, -<i>Treasurer</i>, 19, Blomfield Road, Maida Vale, W.<br /> (Secretary, 1878 and 1879; President, 1884).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1878. <span class="smcap">Alfred J. Davies</span>, <i>Attorney-General</i>, -Fairlight, Uxbridge Road, Ealing, W. (Vice-President, 1881; Secretary, 1884; President, 1887).</p> - -<p><span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span></p> - -<p class="neg-indent_big"><span class="ws6"> </span>1878. <span class="smcap">G. R. Tyler</span>, -Alderman, late High Sheriff of the City of London, <i>Stationer</i>, -17, Penywern Road, South Kensington, W. (Vice-President, 1886).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1879. <span class="smcap">T. C. Venables</span>, -<i>Antiquary</i>, 9, Marlborough Place, N.W. (President, 1888).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1879. <span class="smcap">James Roberts Brown</span>, -<i>Alchymist</i>, 44, Tregunter Road, South Kensington, W. (Secretary, 1880; Vice-President, 1883; -President, 1885).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1880. <span class="smcap">Burnham W. Horner</span>, -F.R.S.L., <i>Organist</i>, Matson Red House, Richmond Park, Richmond, S.W. (Vice-President, 1889).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1882. <span class="smcap">William Murrell</span>, -M.D., <i>Leech</i> (President), 17, Welbeck Street, Cavendish Square, W. (Secretary, 1883; Vice-President, 1885).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1883. <span class="smcap">Henry George Liley</span>, -<i>Art Director</i>, Radnor House, Radnor Place, Hyde Park, W.</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1883. <span class="smcap">George Charles Haité</span>, -F.L.S., <i>Art Critic</i>, Ormsby Lodge, The Avenue, Bedford Park, W. (Vice-President, 1887; President, 1891).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1883. <span class="smcap">Edward Heron-Allen</span>, -<i>Necromancer</i>, (Vice-President), 3, Northwick Terrace, N.W. (Secretary, 1885).</p> - -<p><span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span></p> - -<p class="neg-indent_big"><span class="ws6"> </span>1884. <span class="smcap">Wilfrid Ball</span>, -R. P. E., <i>Painter-Etcher</i>, 4, Albemarle Street, W. (Master of Ceremonies, 1890; Vice-President, 1891).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1884. <span class="smcap">Daniel W. Kettle</span>, -F.R.G.S., <i>Cosmographer</i>, Hayes Common, near Beckenham, Kent (Secretary, 1886).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1884. <span class="smcap">Charles Welsh</span>, -<i>Chapman</i>, The Poplars, Forest Lane, Walthamstow (Vice-President, 1888).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1886. <span class="smcap">Charles Holme</span>, -F.L.S., <i>Pilgrim</i>, The Red House, Bexley Heath, Kent (Secretary, 1887; President, 1890).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1886. <span class="smcap">Fredk. H. Gervis</span>, -M. R.C.S., <i>Apothecary</i>, 1, Fellows Road, Haverstock Hill, N.W.</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1887. <span class="smcap">John W. Brodie-Innes</span>, -<i>Master of the Rolls</i>, 14, Dublin Street, Edinburgh (Secretary, 1888).</p> - -<p class="neg-indent_big"><span class="ws6"> </span>1887. <span class="smcap">Henry Moore</span>, -A.R.A., <i>Ancient Mariner</i>, Collingham, Maresfield Gardens, N.W.</p> - -<div class="figcenter"> - <img src="images/deco13.jpg" alt="_" width="100" height="78" /> -</div> - -<p class="space-above3"><span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span></p> - -<div class="chapter"> -<div class="figcenter"> - <img src="images/deco14.jpg" alt="_" width="600" height="143" /> -</div> -<h2><i>Supplemental Odd Volumes.</i></h2></div> - -<p class="neg-indent">1887. <span class="smcap">James Orrock</span>, R.I., <i>Connoisseur</i>, -48, Bedford Square, W.C.</p> - -<p class="neg-indent">1888. <span class="smcap">Alfred East</span>, R.I., -<i>Landscape Painter</i>; 14, Adamson Road, Belsize Park, N.W.</p> - -<p class="neg-indent">1888. <span class="smcap">Walter Hamilton</span>, <i>Parodist</i>, -Keeper of the Archives, Ellarbee, Elms Road, Clapham Common, S.W.</p> - -<p class="neg-indent">1888. <span class="smcap">Douglas H. Gordon</span>, <i>Remembrancer</i>, -(Master of Ceremonies), 41, Tedworth Square, S.W. (Secretary, 1889).</p> - -<p class="neg-indent">1888. <span class="smcap">Alexander T. Hollingsworth</span>, <i>Artificer</i>, -172, Sutherland Avenue, Maida Vale, W. (Vice-President, 1890).</p> - -<p class="neg-indent">1888. <span class="smcap">John Lane</span>, <i>Bibliographer</i>, -37, Southwick Street, Hyde Park, W. (Odd Councillor, 1891; Secretary, 1890; -Master of Ceremonies, 1891).</p> - -<p><span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span></p> - -<p class="neg-indent">1888. <span class="smcap">John Todhunter</span>, M.D., -<i>Playwright</i> (Secretary), Orchard Croft, The Orchard, Bedford Park, W.</p> - -<p class="neg-indent">1889. <span class="smcap">Francis Elgar</span>, LL.D., -<i>Shipwright</i>, 113, Cannon Street, E.C.</p> - -<p class="neg-indent">1889. <span class="smcap">William Manning</span>, <i>Seer</i>, -21, Redcliffe Gardens, S.W. (Secretary, 1891; Odd Councillor).</p> - -<p class="neg-indent">1890. <span class="smcap">Silvanus P. Thompson</span>, -D.Sc., F.R.S., <i>Magnetizer</i>, Morland, Chislett Road, N.W.</p> - -<p class="neg-indent">1890. <span class="smcap">Conrad W. Cooke</span>, -<i>Mechanick</i>, The Lindens, Larkhall Rise, S.W.</p> - -<p class="neg-indent">1890. <span class="smcap">E. Onslow Ford</span>, A.R.A., -<i>Sculptor</i>, 62, Acacia Road, N.W.</p> - -<p class="neg-indent">1891. <span class="smcap">Charles Plumptre Johnson</span>, -<i>Clerke at Law</i> (Auditor), 23, Cork Street, W.</p> - -<p class="neg-indent">1891. <span class="smcap">Frederic Villiers</span>, -<i>War Correspondent</i>, Mashrabeyah, 65, Chancery Lane, W.C.</p> - -<p class="neg-indent">1891. <span class="smcap">Marcus B. Huish</span>, LL.B., -<i>Arts-man</i>, 21, Essex Villas, Phillimore Gardens, W.</p> - -<p class="neg-indent">1892. <span class="smcap">W. Wilsey Martin</span>, -F.R.G.S., <i>Laureate</i>, 15, Delamere Terrace, W.</p> - -<p><span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span></p> - -<p class="neg-indent">1892. <span class="smcap">Herbert Ward</span>, -<i>Wanderer</i>, Shepherd Hill House, near Rickmansworth.</p> - -<p class="neg-indent">1892. <span class="smcap">Frederick York Powell</span>, -<i>Ignoramus</i>, The Corner, Priory Road, Bedford Park, W.</p> - -<p class="neg-indent">1892. <span class="smcap">Ernest Clarke</span>, -<i>Yeoman</i>, 10, Addison Road, Bedford Park, W.</p> - -<p class="neg-indent">1892. <span class="smcap">Paul Bevan</span>, -<i>Ready Reckoner</i>, 46, Queen’s Gate Terrace, S.W.</p> - -<p class="neg-indent">1892. <span class="smcap">Max Pemberton</span>, -<i>Hack</i>, 34, Clifton Hill, St. John’s Wood, N.W.</p> - -<div class="figcenter"> - <img src="images/deco15.jpg" alt="_" width="100" height="122" /> -</div> - -<hr class="chap" /> -<div class="figcenter"> - <img src="images/deco16.jpg" alt="_" width="150" height="207" /> -</div> - -<p class="f90 space-below3">CHISWICK PRESS:——C. WHITTINGHAM AND CO.,<br /> -TOOKS COURT, CHANCERY LANE.</p> - -<div class="footnotes"> -<p class="f150 u"><b>Footnotes:</b></p> -<div class="footnote"><p class="no-indent"> -<a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> -The “Iliad” of Homer, translated by Alexander Pope, xviii.440-444.</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> -“<i>Mathematicall Magick</i>, or the Wonders that may be performed by -Mechanicall Geometry.” London, printed by <i>M. E.</i> for <i>Sa: Gellibrand</i> -at the Brasen Serpent in <i>Paul’s</i> Churchyard, 1648 (page 173).</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> -“Saturnaliorum Conviviorum,” Lib. I. cap. xxiii.</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> -Aulus Gellius, “Noctes Atticæ.” Lib. X. cap. xii.</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> -“<i>New and Rare Inventions of Water Workes</i>, shewing the easiest waies -to raise water higher than the spring. By which invention the Perpetual -Motion is proposed, many hard labours performed And variety of Motions -and Sounds produced. First written in French by Isaak de Caus a late -famous engineer; and now translated into English by John Leak. London, -Printed by Joseph Moxon. Folio. 1659.”</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> -<a href="#Page_30">See page 30</a>.</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> -“De Syria Dea.”</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> -Mem. Acad. Sc. Paris, 1729.</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> -Beckmann in his “History of Inventions,” says that these automata -found their way to St. Petersburg, and that in 1764, he himself saw -them at the Palace of Zarsko-Selo, where he learnt that they had been -purchased from Vaucanson, but they were not, at that time, in working order.</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> -“An Attempt to Analyse the Automaton Chess Player of Mr. de Kempelen, -with an easy method of imitating the movements of that celebrated -figure. Illustrated by original drawings. 8vo. London. 1821.”</p></div> - -<div class="footnote"><p class="no-indent"> -<a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> -The author exhibited Edison’s talking doll at the Conversazione of the -Sette of Odd Volumes which was held the following month.</p></div> -</div> - -<div class="transnote bbox"> -<p class="f120 space-above1">Transcriber's Notes:</p> -<hr class="r5" /> -<p class="indent covernote">The cover image was created by the transcriber, and is in the public domain.</p> -<p class="indent">Uncertain or antiquated spellings or ancient words were not corrected.</p> -<p class="indent">The illustrations have been moved so that they do not break up - paragraphs and so that they are next to the text they illustrate.</p> -<p class="indent">Errors in punctuation and inconsistent hyphenation were not corrected - unless otherwise noted.</p> -<p class="indent">Typographical errors have been silently corrected but other variations - in spelling and punctuation remain unaltered.</p> -</div> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Automata Old and New, by Conrad William Cooke - -*** END OF THIS PROJECT GUTENBERG EBOOK AUTOMATA OLD AND NEW *** - -***** This file should be named 55817-h.htm or 55817-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/5/8/1/55817/ - -Produced by deaurider, Paul Marshall and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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