The Cambria freeman. [volume] (Ebensburg, Pa.) 1867-1938, 1877-07-13
a WOnIe3JW AutO1aatOn.
THE MARVELLOUS MACHINE WHICH FAIRLY
EXCELs ALL PREVIOUS INVENTIONS
EIunl fha I4nt0l1 Times

THE MARVELLOUS MACHINE WHICH FAIRLY
EXCELs ALL PREVIOUS INVENTIONS.
From the London Timesl
Messrs. Maskelyne & Cookies Zoe. the
new writing and sketchiDg automaton at
the Egyptian Hail. bears no resemblance
whatever to the celebrated aridroids of the
Swiss mechanician LIE Droz of the French
mechanician Maillardet, and of the great
conJuror and subtle inventor Robert Hou-
DIN. They were ingenious pieces of clock
work and nothing more. Thus Mr.. LIE
Droz's figure was the size of life. 1t held
IN Its hand metallic style, and when
spring was touched, SO as to release a de-
tent, the figure Immediately began to draw
upon card of Dutch vellum previously
lain under its hand. After the drawing
was executed on the first card the automa.
ton rested, and five other cards being placed
In succession, II delineated that number of
different subjects. Two of them were like
nesses of the King and Queen, and one fea-
tuIe OF merit consisted in the precision with
which the figure lifted up the pencil in its
transition from one point of the drawing to
another without making the slightest mis-
take. MaillarGet's writing and drawing
automaton was the figure of a boy kneeling
on one knee and holding a pencil in his
hand. The attendant dipped the pencil in
ink and adjusted small sheet of drawing
paper upon brass tablet, and upon press
ing spring the figure began to write
When the line was finished the hand re-
turned to dot the is and cross the It's. 1t
executed beautifully just four pieces of
writing III French an0 English, and also
three landscapes, the time occupied being
about an hour. Robert Houdin-a won,
Gerful master of real sleight of hand, as
well as the inventor of various principles
Tor working automata aud magical appara-
tus by electro-magnets, by concealed levers,
and other clever devces-also constructed
| drawing figure which was remarkable for
It's iIfe-hke imitation of the motions of the
arm and hand IN using pencil, and for its
ialtnful and exact execution of minute de-
tails i'll sketching and in writing. But in
all these pieces of mechanical apparatus
tie path traverseG by the pencil point was
guided 10y tTacers resting against the peri
pheTles of slowly revolving circular CAMS
Oh rather shal,eless wheels or barrels. on
which we've made indentationS and waving
lndentations c0ufurmable 10 the lines of
the picture to be drawn on the card Now.
Mr.. Maskelyne's au;omaton Zoe. while i'm
ltatlng the motions Of an artists arm with
facility-holdiug her crayon i'll professional
form, striking true line across her easel
III mastery manner, promptly carrying
het hand from one point OF her drawing
board to another, carefully yet instantane-
ously raising her pencil from the paper and
transferring it to another point, returning
to add touches aud insert omissions, and
finally lowering her arm and hand when a
sketch is mpleted-does not execute
merely the particular specimens o: writing,
figuring and drawing which she might be
constructed and set to do. She executes
anything she has mind to, or, in other
words, she can write any letters or num-
bers called for by the audience, and designs
forms ard pictures impromptu, accol ding
to The ability of tue secret operator who
must certainly govern her movements
Herein lies the wonder Of this new inveu-
ton of the machinist at the Egyptian Hall
How is it possible that any motion at all
much less the multifarious and complica-
| ted movements of the arm and band, wide
In range as we'll as exact in short strokes
while describing straight lines in any direc-
tion, and curves of any tortuous form what
ever (to say nothing of the eyes surveying
the paper and different parts of the work
as it proceeds), can be conveyed to a figure
detached and isolated as this is? Mr. Mas
kelyne submits to the examination of the
audience small stand or table, having an
! oolong base or plinth of wood resting on
| five small knob feet, also of solid wood, and
a single wood pillar supports the thin table
| top, which, ON its upper surface, is of silk
stuffed like cushion. This light sand is
| then placed upon the stage, and is isolated
| plate glass, fist inspected by the audience,
and then, without possibility of substitu-
| ton, laid one under each foot of the table.
! Zoe, the model of young lady in Greek
costume (of more voluminous character
| than would seem orthodox to DIR. Schlie-
/ mann), is fashioned in sitting attitude,
! and it she could stand up would be about
| four and a half feet in stature She is car.
! rled round for any one to test by her weight
! the fact that she is certainly hollow doll
| fitted with light mechanism, aud cannot
| possibly be an outside shell holding a dimin-
utive human being within. She is placed
sitting upon the stuffed Top of the little ia
| bic, with her back to tue audience an
! easel, supported by Il bracket from the table
! top, holos upright before her, and at near
! ly arms length, a drawing board wi a
sheet of white paper about 2f inches long
! by Is inches broad, and crayon is held
! between her wax finger and thumb by
means of sliding pencil arrangement, with
small weight which, when the crayon is
| applied to the paper, maintains a uniform
/ slight pressure sufficient for distinct mark
| ing. While Psyche is going through his
feats of calculation, Zoe records the pro-
! ducts ami totals, writing figures about a
! couple OF inches long though they may be
much smaller or much larger at pleasure)
with celebrity, her facility being particular
| ly observable in .he way she adds the bot
! tom stroke of a figure or touches off the
top stroke of a ). While Psyche is playing
| his hand at whist and performing his in
scrutable card tricks, Zoe executes various
| outline sketches. two, on the occasion of
| our visit, being original and excellent carl
cature representations of Lord Beaconsfield
and Mr. Gladstone.