The Greek and Latin authors frequently mention it in their writings, but they have not clearly handed down to posterity the name of the first inventor; indeed, on this point there are many and varied opinions. The Sicilian historian, Diodorus Siculus, informs us that the first person who made use of the lathe was a nephew of Dædalus, by some authors named Talus, by others Perdix. This youth, we are told, invented the saw, compasses, and other mechanical instruments; and to him we possibly are indebted for the lathe also, for we are told, in ancient mythological history, so great were his ingenuity and talent for invention, that his genius soon surpassed even that of his uncle, who, enraged at his celebrity, and jealous of his rising fame, scrupled not to sacrifice him to his feelings of rage and hatred: some say he was poisoned; others, that he was precipitated from a high tower in the citadel of Athens; and the same authors assure us he was changed into a partridge.
Pliny, however, (and his words are great authority), ascribes the invention of the lathe to Theodore, of Samos, an artist who discovered the method of melting iron, of which he made statues. The same author also mentions a man of the name of Thericles, who was celebrated for his dexterity in Turning; and Virgil says—
“Lenta quibus torno facili superaddita vitis.”
These testimonies, of ancient poets and historians conjoined, prove it to be an art of the greatest antiquity. Cicero also mentions it; and it is affirmed that, with this machine, the Greeks and Romans turned all kinds of urns and vases, and adorned them with ornaments in basso relievo. If to Turning we really owe those treasures of other days which are found buried among the ruins of Herculaneum and Pompeii—treasures so valued by the antiquary as a memorial of former ages; by the lover of the fine arts as beautiful and graceful additions to his cabinet of curiosities; and by the rich and opulent as ornaments superior to any that modern hands can produce;—surely we must confess the workmanship of the lathes of our times is not to be compared with that performed by the more simple machinery of centuries ago. It seems, indeed, almost miraculous, that the beautiful figures and elegant and graceful designs here spoken of should be produced by a potter’s wheel, so was the lathe anciently denominated; but the testimonies of so many learned historians agree in declaring that to its aid we owe those exquisite productions, that it is impossible for even the most skeptical to deny it. Before we quit, what may not unaptly be denominated, the romance of the history of the lathe, we will add, that the saw, which we have already said was invented by Talus, is supposed to have been first made by him in imitation of either the jaw-bone of a snake, or else the back-bone of a fish; and in a painting still preserved among the antiquities of Herculaneum, is a saw exactly resembling our frame saw, with which two genii are dividing a piece of wood.
It is, however, certain, that could these Roman and Grecian artificers see a modern lathe, examine its complex yet beautiful mechanism, and the almost endless additions and improvements it has undergone since the days of Virgil and Pliny, they would hardly recognise it in its more finished state, and would be much puzzled to discover in what manner to manage its machinery. Among the numerous apparatus adjusted to it is a machine, by the aid of which medallions have been executed; and in the British Museum is a profile in basso relievo of Sir Isaac Newton, wholly worked in the lathe; but how different from the turning of the ancients! The medallion machine requires much labour and very expensive apparatus, while the potter’s wheel cannot have possessed much mechanism or great quantities of tools: most of those now in use being unknown in former days.
Having now established the great antiquity of the lathe as a useful and classical employment, we will briefly mention a few of the improvements it has undergone in latter years. The potter’s wheel is, of all lathes, the most simple; it merely consists of an iron beam, or axis, a small wooden wheel placed on the beam, and a larger one fastened to the end of the same beam, which turns by a pivot on an iron stand. With this simple contrivance the workman still forms the body of the vessel of clay, but never attempts to turn the handles, feet, mouldings or ornaments. In latter years, various and important tools and improvements have been made; chucks have been invented, which enable the turner to accomplish with speed and facility an almost innumerable variety of circles, lines, ellipses, and arcs, all so delicate and true in their form and design, that they cannot fail exciting the admiration and wonder of all who contemplate them. The screw also, once a formidable difficulty to the uninitiated, is now rendered perfectly easy of execution by means of the traversing mandrel; those, too, who are very learned in this art, can out of a piece of ivory or mother-of-pearl, produce in the lathe beautiful brooches, ear-rings, and studs, worked in raised flowers; chessmen in imitation of carving, and ornamented vases full of detached flowers; while fluted and spiral columns, delicate mouldings, and fanciful beadings, are of comparatively easy execution.
To form patterns upon wood or ivory, various descriptions of chucks are employed; one lathe serves for all, as they are made to screw on to the nose of the mandrel. By the aid of the concentric or common chuck, every article you turn is circular; the lines forming the circle are enlarged or decreased as the tool approaches or recedes from the axis. The oval chuck, as its name signifies, works designs of an oval or spherical shape; the eccentric turns patterns of a circular form, but its peculiar properties enable the workman to alter the centre of his work at pleasure: the geometric and compound eccentric produce beautiful geometric and carved designs; the oblique and the epicycloidal also turn curious and intricate patterns, and the straight line chuck performs all its work in direct lines. These are the chucks most in use, but many of them are expensive and complicated, and they only execute the ornamental work; the shape and size of the object are accomplished by the lathe, without any aid but that of a common chuck and common tools.
The curious and varied mechanism of the above-mentioned chucks are truly wonderful, and the patterns they perform very beautiful; one of peculiar form, and exceedingly intricate, has been invented for bankers’ checks, to prevent forgery. There are also two rests, which are necessary appendages to them; the sliding rest, that moves in a direct line at any angle, and the circular rest, which enables the turner to ornament balls, spheres, and round objects. We must not omit, too, to mention the eccentric cutter, the drill, and the universal cutter, all exceedingly useful, and enabling the turner to execute a great variety of designs and patterns. The rose engine, also, is much admired for all kinds of ornamental work, but it is very expensive, and new inventions are daily adding to the machinery of the lathe, and rendering its powers more extensive.
The wonderful discovery of voltaic electricity, by which copper-plates, plaster casts, wood engravings, and medals may be copied, can also be applied in various ways to turning, either in wood or ivory. For instance, by its aid a wooden thimble may be changed into the resemblance of gold, or a box take the appearance of silver; thus, while your work retains its first beauty and delicacy, the material is apparently of much value. It would be going beyond the bounds of a work on turning, to give any directions for this transmutation, particularly as there are so many already published on the subject. We must also add, that by a careful and steady management, the drill may be made almost to take the place of the graver; by holding a plate of copper steadily against it, and using various tools, (not letting the lathe go too quick,) portraits and landscapes can be executed for printing.
Having now finished this short sketch, which we hope will not be unacceptable to our readers, and will perhaps induce them to follow this interesting and healthful occupation, we must beg that those who peruse “The Turner’s Companion,” and follow the directions it contains, will not be daunted by the first difficulties that assail them, but will patiently persevere till experience enables them to overcome and vanquish them, remembering that—