Fig. 322.
Fig. 323.
Fig. 324.
In addition to the above contrivance, we have in [Figs. 322] and [323] another and simpler arrangement, in which only one train of clockwork is used. On the same axle as H is fixed a lever and weight, W, to balance the arm. A vertical rod, X, having a projection, Z, slides up and down in guides, Y Y, and carries the catgut, S and T. The quadrant, B, has cogs cut, between which Z slides and stops the motion of A, which is moved, as before, by clockwork. The lower part of X is connected direct with O. When X is slightly raised, as shown, A is free to move, but on exhausting air and drawing X down, Z enters the cogs and stops the hand over a card; continuing to exhaust, the thumb closes and the card is lifted up. The details of the clockwork the originator of this solution omits to give. He says there should be a fan on each train to regulate the speed. The figure should be so placed that an assistant can see the cards in the semi-circular rack [Fig. 324].
The next remarkable automatic figure exhibited by the dual mystifiers at the Egyptian Hall is that called Zoe. It represents a female figure seated upon a stand. Before her is placed a semicircular drawing board, which is attached to the seat upon which the figure rests. Zoe writes figures and draws portraits of popular characters. To all appearance there is no motive power off the stage, and the exhibitor has no physical connection with the figure, whose movements and skill are apparently spontaneous. This is one of the most simple mechanical contrivances of the kind that has ever been produced. A thin steel rod runs through the seat in which the figure is fixed. The body and the arms of Zoe are above the stage, beneath which another arm and drawing-board are placed exactly in the same position as those above the platform. The mechanism is made to work so that the hand above is moved precisely as the hand below is guided by the artist. Thus, when Zoe is told to draw a portrait, say, of the Earl of Beaconsfield, the artist below guides the unseen hand, while the hand above follows the movements of its guide below. The reader may see from the annexed plan at a glance the principles of the movement; but it must be understood that this is not the only mechanism employed. It will, however, fully explain the principles of its motion.
It will be seen that whatever movement be given to the arm at B, the arm at A must have the same movement simultaneously. As the figure is brought on to the stage, and then fixed on to the seat, all suspicion of complicity with persons below the stage is removed; but a rod is pushed through the pedestal and secured through the upper half while the exhibitor is seating the figure.