# My Airships/Chapter 1

THE COFFEE PLANTATION
FROM the way in which the partisans of Nature have fallen on me I might well be the uninformed and visionary Luis of the fable, for has it not been taken for granted that I began my experiments ignorant alike of mechanics and ballooning? And before my experiments succeeded, were they not all called impossible?
Does not the final condemnation of the common-sense Pedro continue to weigh on me?
After steering my ship through the sky at will I am still told that flying creatures are heavier than the air. A little more and I should be made responsible for the tragic accidents of others who had not my experience of mechanics and aeronautics.
On the whole, therefore, I think it is best to begin at the coffee plantation where I was born in the year 1873.
PLANTATION RAILWAY
SANTOS-DUMONT COFFEE PLANTATION IN BRAZIL
in the interior. I have been through them on hunting trips, but they are not the coffee plantations of Sao-Paulo.
I can hardly imagine a more stimulating environment for a boy dreaming over mechanical inventions. At the age of seven I was permitted to drive our "locomobiles" of the epoch—steam traction-engines of the fields with great broad wheels. At the age of twelve I had conquered my place in the cabs of the Baldwin locomotive engines hauling train-loads of green coffee over the sixty miles of our plantation railway. When my father and brothers would take pleasure in making horseback trips far and near, to see if the trees were clean, if the crops were coming up, if the rains had done damage, I preferred to slip down to the Works and play with the coffee-engines.
I think it is not generally understood how scientifically a Brazilian coffee plantation may be operated. From the moment when a railway train has brought the green berries to the Works to ​the moment when the finished and assorted product is loaded on the transatlantic ships, no human hand touches the coffee.
You know that the berries of black coffee are red when they are green. Though it may complicate the statement, they look like cherries. Car loads of them are unloaded at the central works and thrown into great tanks, where the water is continually renewed and agitated. Mud that has clung to the berries from the rains, and little stones which have got mixed up with them in the loading of the cars, go to the bottom, while the berries and the little sticks and bits of leaves float on the surface and are carried from the tank by means of an inclined trough, whose bottom is pierced with innumerable little holes. Through these holes falls some of the water with the berries, while the little sticks and pieces of leaves float on.
The Works
"Locomobile"
THE SANTOS-DUMONT COFFEE PLANTATION IN BRAZIL
Coffee is very delicate. It must be handled delicately. Therefore the dried beans are lifted by the cups of an endless-chain elevator to a height, whence they slide down an inclined trough to another building because of the danger of fire. This is the coffee machine house.
The first machine is a ventilator, in which sieves, shaken back and forth, are so combined that only the coffee beans can pass through them. No coffee is lost in them and no dirt is kept by them, for one little stone or stick that may still have been carried with the beans would be enough to break the next machine.
Another endless-chain elevator carries the beans to a height, whence they fall through an inclined trough into this descascador or "skinner." It is a highly delicate machine; if the spaces between are a trifle too big the coffee passes without being skinned, while if they are too small they break the beans.
Another elevator carries the skinned beans with ​their skins to another ventilator, in which the skins are blown away.
Still another elevator takes the now clean beans up and throws them into the "separator," a great copper tube two yards in diameter and about seven yards long, resting at a slight incline. Through the separator tube the coffee slides. As it is pierced at first with little holes the smaller beans fall through them. Farther along it is pierced with larger holes, and through these the medium-sized beans fall, and still farther along are still larger holes, for the large round beans called "Moka."
The machine is a separator because it separates the beans into their conventional grades by size. Each grade falls into its hopper, beneath which are stationed weighing scales and men with coffee sacks. As the sacks fill up to the required weight they are replaced by empty ones, and the tied and labelled sacks are shipped to Europe.
As a boy I played with this machinery and the driving engines that furnished its motive force, and before long familiarity had taught me how to repair any part of it. As I have said, it is delicate machinery. In particular, the moving sieves would be continually getting out ​of order. While they were not heavy, they moved back and forth horizontally at great speed and took an enormous amount of motive power. The belts were always being changed, and I remember the fruitless efforts of all of us to remedy the mechanical defects of the device.
Now is it not curious that those troublesome shifting sieves were the only machines at the coffee works that were not rotary? They were not rotary, and they were bad. I think this put me as a boy against all agitating devices in mechanics and in favour of the more easily-handled and more serviceable rotary movement.
It may be that half-a-century from now man will assume mastery of the air by means of flying machines heavier than the medium in which they move. I look forward to the time with hope, and at the present moment I have gone further to meet it than any other, because my own air-ships (which have been so reproached on this head) are slightly heavier than the air. But I am prejudiced enough to think that when the time comes the conquering device will not be flapping wings or any substitute of an agitating nature.
I cannot say at what age I made my first kites, but I remember how my comrades used to tease ​me at our game of "Pigeon flies!" All the children gather round a table, and the leader calls out: "Pigeon flies!" "Hen flies!" "Crow flies!" "Bee flies!" and so on, and at each call we were supposed to raise our fingers. Sometimes, however, he would call out "Dog flies!" "Fox flies!" or some other like impossibility, to catch us. If anyone raised a finger he was made to pay a forfeit. Now my playmates never failed to wink and smile mockingly at me when one of them called "Man flies!" for at the word I would always lift my finger very high, as a sign of absolute conviction, and I refused with energy to pay the forfeit.
Among the thousands of letters which I received after winning the Deutsch prize there was one that gave me particular pleasure. I quote from it as a matter of curiosity:
"... Do you remember the time, my dear Alberto, when we played together 'Pigeon flies!'? It came back to me suddenly the day when the news of your success reached Rio.
"'Man flies!' old fellow! You were right to raise your finger, and you have just proved it by flying round the Eiffel Tower.
"You were right not to pay the forfeit; it is M. Deutsch who has paid it in your stead. Bravo! you well deserve the 100,000 franc prize.
"They play the old game now more than ever at home, but the name has been changed and the rules modified—since October 19, 1901. They call it now 'Man flies!' and he who does not raise his finger at the word pays his forfeit.—
PEDRO."
This letter brings back to me the happiest days of my life, when I exercised myself in making light aeroplanes with bits of straw, moved by screw propellers driven by springs of twisted rubber, or ephemeral silk-paper balloons. Each year, on June 24th, over the St John bonfires, which are customary in Brazil from long tradition, I inflated whole fleets of these little Montgolfiers, and watched in ecstasy their ascension to the skies.
In those days, I confess, my favourite author was Jules Verne. The wholesome imagination of this truly great writer, working magically with the immutable laws of matter, fascinated me from childhood. In its daring conceptions I saw, never ​doubting, the mechanics and the science of the coming ages, when man should by his unaided genius rise to the height of a demigod.
With Captain Nemo and his shipwrecked guests I explored the depths of the sea in that first of all submarines, the Nautilus. With Phineas Fogg I went round the world in eighty days. In "Screw Island" and "The Steam House" my boyish faith leaped out to welcome the ultimate triumphs of an automobilism that in those days had not as yet a name. With Hector Servadoc I navigated the air.
I saw my first balloon in 1888, when I was about fifteen years old. There was a fair or celebration of some sort at the town of Sao-Paulo, and a professional made the ascent, letting himself down afterwards in a parachute. By this time I was perfectly familiar with the history of Montgolfier and the balloon craze, which, following on his courageous and brilliant experiments, so significantly marked the last years of the eighteenth, and the first years of the nineteenth, centuries. In my heart I had an admiring worship for the four men of genius—Montgolfier, and the physicist, Charles, and Pilâtre de Rozier, and the engineer, Henry Giffard—who have attached their ​names for ever to great steps forward in aerial navigation.
I, too, desired to go ballooning. In the long, sun-bathed Brazilian afternoons, when the hum of insects, punctuated by the far-off cry of some bird, lulled me, I would lie in the shade of the verandah and gaze into the fair sky of Brazil, where the birds fly so high and soar with such ease on their great outstretched wings, where the clouds mount so gaily in the pure light of day, and you have only to raise your eyes to fall in love with space and freedom. So, musing on the exploration of the vast aerial ocean, I, too, devised air-ships and flying machines in my imagination.
These imaginations I kept to myself. In those days, in Brazil, to talk of inventing a flying machine or dirigible balloon would have been to mark oneself off as unbalanced and visionary. Spherical balloonists were looked on as daring professionals, not differing greatly from acrobats; and for the son of a planter to dream of emulating them would have been almost a social sin.