A writing figure, on real mechanical principles, was exhibited a considerable number of years ago in Ger many. Its execution, however, was so far imperfect, that it only filled up the blanks of certain lines already formed, and thus perfected the writing. N. Maillardet has constructed one infinitely superior to it, which la bours under no similar defect. This consists of the figure of a boy, kneeling on one knee, and holding a pencil in his hands, with which he executes not only writings, but also drawings, equal to those of the first masters. When the figure begins to work, an atten dant dips the pencil in ink, and lays the paper on a brass tablet before it, which is adjusted with screws to the proper position ; on touching a spring it then pro ceeds, and when the line is finished, its hand returns to dot and stroke the letters when this operation is re quired. In this way it executes four beautiful pieces of writing in French and English, each consisting of several lines ; and three drawings of landscapes; all of which occupy about an hour. The figure also exhibits every motion peculiar to animated existence. The dif ferent parts of this machine are, like the former, put in motion by means of springs; and the outline of its work is effected by the combination of various levers or ellip ses traversing the circumference of metal plates or wheels. The edge being cut into different shapes at different places, produces a corresponding outline in the communications, modified so as to produce the par ticular letter or line. The principal motions of the hand are three, two horizontal, and one perpendicular, by which the thickening of the stroke by an extremely nice operation is accomplished.
Automatical rope-dancers or tumblers, imitating hu man motions by the action of weights, have frequently been exhibited. Some of these are as large as life, and generally resembling a Moor, or habited in some foreign costume, according to the fancy of the inventor. An automaton of this description, only a few inches high, and all the other parts in proportion, has been con structed by the artist already named. The automaton, together with the mechanical apparatus operating its feats, are inclosed in a glass case ; the lower part of which is thrown open to chew the mechanism. When the figure is at rest it appears seated on a slender steel rod, grasped by both its hands. On touching a spring it descends, but still hangs suspended by them: after several oscillations, the tumbling begins, which con sists in adopting a wonderful variety of attitudes; clos ing the feet and hands together, and swinging with great velocity around the rod ; while at the same time a musical instrument plays by means of other parts of the machinery. After going through all its evolutions, the figure rises up, and seating itself on the rod, bows to the spectator. The power is here a spring ; and the steel rod a tube, through which all the levers and com munications effecting the motions of the body are con veyed.
One of this mechanic's most admired productions, is a machine in which the androides is only partly con cerned, constructed for the resolution of certain given questions. But although this machine has excited
general curiosity, and its principles are not fully under stood, it is less prized by the artist himself, from the mechanism not being equally complicated as that of the rest.
A figurc>who is to give the response, appears seated at the bottom of a wall. Ile is gravely habited, person ating a magician or soothsayer, and holding a wand in one hand, and a book in the other. The questions ready prepared are inscribed on oval medallions. one of which is put in a drawer, standing open to receive it, which shuts with a spring, until the answer is returned. Sup posing a medallion with the following question, is put into the drawer, What is it that last deserts mankind, The figure rises, bows his head, draws circles with his wand, and consults the book, which he lifts towards his face. Thus having spent some time in study, he raises his wand, and striking with it the wall above his head, two folding doors fly open, and display the answer to the question, namely, Hope.—The doors close, the ma gician resumes his original position, and the drawer opens to return the medallion.
There are twenty different medallions, all inscribed with different questions, to which answ, ers are given with amazing precision. These medallions arc thin brass ellipses, exactly resembling each other in every respect ; where the mechanism must be of extreme nicety, to make the question and answer invariably correspond. Should the drawer be shut when empty, the soothsayer rises, consults his books, shakes his head, and seats himself again ; the folding doors do not fly open, and the drawer is returned empty. I1 two medallions are put in together, an answer is given only to one, which is the lowest. Some medallions bear a question inscribed on each side, which are both answered in succession with the same certainty.
The aiding power is here a spring, as in the preceding machines, and when wound up, the apparatus continues in motion about an hour, during which time fifty ques tions may be resolved. The artist has assured the wri ter of this article, that the means whereby the different questions or medallions are discriminated, are extremely simple, and expressed his astonishment that they were not immediately discovered on the first exhibition. Here we shall content ourselves with admiring his in genuity, for although we might give what we suppose a probable explanation, still we cannot lay it down as un doubted. Certain it is, however, that no deception is practised either in this or the other androides construct ed by M. Maillardet, which all depend on fair and ac knowledged mechanical principles. See Wilkin's Dee dalus, or Mechanical Motions. Le Conjureur Van Dale df Oraculis, p. 222. Theodoret. Eccles. Hist. lib. 5. cap. 22. Beckmann's History of Inventions, Vol.
p. 317. Montucla's edit. of Ozanam's Mathenzat. Re creations. illein..dcad. Par. 1752, 1741. Observ.sur les Ecrits Mod. Scc. Journal de la Blancherie, 1785, p. 347. See ACOUSTICS and AUTOMATA. (c)