Vaucanson has, however, never been outdone; after his Flautist, he produced a figure which accompanied a flageolet played with one hand, with a tambourine struck with the other. But his most wonderful achievements were in imitating animals. His duck became a wonder of the world. He simulated nature in the minutest point. Every bone, every fibre, every organ, were so accurately constructed and fitted, that the mechanism waddled about in search of grain; and, when it found some, picked it up with its bill and swallowed it. "This grain" (we quote from the Biographie Universelle) "produced in the stomach a species of trituration, which caused it to pass into the intestines, and to perform all the functions of digestion." The wonderful duck was not to be distinguished from any live duck. It muddled the water with its beak, drank, and quacked to the life. From men and ducks Vaucanson descended to insects. When Marmontel brought out his tragedy of "Cleopatra," Vaucanson obliged the author with a mechanical Aspic, in order that the heroine might be stung with the closest imitation of nature. At the proper moment the insect darted forth from the side-scenes, and settled upon the actress, hissing all the while. A wit, on being asked his opinion of the play, answered pithily, "I agree with the Aspic."
One never contemplates these wonders without regretting that so much mechanical genius should have been mis-expended upon objects by which mankind are no gainers beyond a little fleeting gratification. Vaucanson did not, however, wholly waste himself upon ingenious trifling. He was appointed by Cardinal Fleury, Inspector of Silk Manufactories, into which he introduced, during a visit to Lyons, some labor-saving improvements. In return for this, the workmen stoned him out of the town; but he conveyed his opinion of their folly by constructing and setting to work a machine which produced a very respectable flower pattern in silk damask by the aid of an Ass. Had his genius confined itself wholly to the useful arts, it is not to be doubted that Vaucanson would have advanced the productive powers of machinery, and, consequently, the prosperity of mankind, at least half a century. In point of abstract ingenuity, his useless contrivances equal, if they do not exceed in inventive power and mechanical skill, the important achievements of Arkwright and Watt. Vaucanson's inventions died with him; those of the great English engineers will live to increase the happiness and comfort of mankind forever.
Single mechanical figures, including the automaton Chess-player (which was scarcely a fair deception, and is too well known to need more than a passing allusion), although surprising for their special performances, were hardly more attractive than the groups of automata which have been from time to time exhibited. One of the Memoirs of the French Academy of Sciences describes, in 1729, a set of mechanical puppets, which were at that time performing a pantomime in five acts. In 1746, Bienfait, the show-man, brought out "The Bombardment of the City of Antwerp," which was performed in the most soldier-like manner, by automata; all the artillery being served and discharged with that regularity which is always attributed to clock-work. A year or two later, the same artist produced "The Grand Assault of Bergem-op-Zoom," with unequivocal success. He called his company Comédiens praticiens.
The latest notable effort of mechanical puppet manufacture is exhibited at Boulogne at the present time. It is that of a jeweler, who has devoted eight years of his life to the perfection of a clock-work conjuror; which he has made a thorough master of the thimble-rig. Dressed in an Eastern costume, this necromancer stands behind a table, covered, as the tables of professors of legerdemain usually are, with little boxes and cabinets, from which he takes the objects he employs during the exhibition. He produces his goblets, and shows the balls under them; which vanish and reappear in the most approved style: now two or three are conjured into a spot, a moment before vacant; presently, these disappear again, and are perpetually divided and re-united.
At every exclamation of the spectators, the little conjuror turns his eyes from side to side, as if looking round the house; smiles, casts his eyes modestly down, bows, and resumes his sleight-of-hand. He not only takes up the goblets from a stand, and places them over the balls, but leaves them there for a minute, and holds his hands up, to show the audience that he conceals nothing in his palm or sleeve. He then seizes the goblets again and goes on. This trick over, he puts his cups away, and shuts his cabinet. He then knocks on his table, and up starts an egg, to which he points, to secure attention; he touches the egg (which opens lengthwise) and a little bird starts into life; sings a roundelay, claps its enameled wings—which are of real hummingbirds' feathers, beyond any metallic art in lustre—and then falls back into its egg. The little conjuror nods, smiles, rolls his eyes right and left, bows as before, and the egg disappears into the table; he bows again, and then sits down to intimate that the performance is over. The height of this little gentleman is about three inches; his table and every thing else being in due proportion. He stands on a high square pedestal, apparently of marble. It is, however, of tin, painted white, and within it are all the wheels and works containing the heart of the mystery.
This jeweler sold to a dealer, who re-sold to a Persian Prince, not long since, a Marionnette flute-player; but whose fingering in the most elaborate pieces, although as accurate as if Drouet or Nicholson had been the performers, had no influence over the tune; which was played by a concealed musical box. It was therefore, much inferior to those mechanical flautists we have already described. The jeweler has never ceased to regret having sold this toy. He could have borne to have parted with it if it had remained in Europe, but that it should have been conveyed, as he says, "to the other world," has been too cruel a blow. "Tout le monde," he exclaims, "sera enchanté de mon ouvrage; mais, on ne parlera pas de moi, là-bas"—all the world will be enchanted with my work, but no one will speak of me yonder—by which distant region, he probably means Ispahan.
He is now perfecting a beautiful bird, which flies from spray to spray, and sings when it alights, somewhat similarly to the little Swiss bird which warbled so sweetly at the Great Exhibition.
MY TRAVELING COMPANION.
My picture was a failure. Partial friends had guaranteed its success; but the Hanging Committee and the press are not composed of one's partial friends. The Hanging Committee thrust me into the darkest corner of the octagon-room, and the press ignored my existence—excepting in one instance, when my critic dismissed me in a quarter of a line as a "presumptuous dauber." I was stunned with the blow, for I had counted so securely on the £200 at which my grand historical painting was dog-cheap—not to speak of the deathless fame which it was to create for me—that I felt like a mere wreck when my hopes were flung to the ground, and the untasted cup dashed from my lips. I took to my bed, and was seriously ill. The doctor bled me till I fainted, and then said, that he had saved me from a brain-fever. That might be, but he very nearly threw me into a consumption, only that I had a deep chest and a good digestion. Pneumonic expansion and active chyle saved me from an early tomb, yet I was too unhappy to be grateful.
But why did my picture fail? Surely it possessed all the elements of success! It was grandly historical in subject, original in treatment, pure in coloring; what, then, was wanting? This old warrior's head, of true Saxon type, had all the majesty of Michael Angelo; that young figure, all the radiant grace of Correggio; no Rembrandt showed more severe dignity than yon burnt umber monk in the corner; and Titian never excelled the loveliness of this cobalt virgin in the foreground. Why did it not succeed? The subject, too—the "Finding of the Body of Harold by Torch-light"—-was sacred to all English hearts; and being conceived in an entirely new and original manner, it was redeemed from the charge of triteness and wearisomeness. The composition was pyramidal, the apex being a torch home aloft for the "high light," and the base showing some very novel effects of herbage and armor. But it failed. All my skill, all my hope, my ceaseless endeavor, my burning visions, all—all had failed; and I was only a poor, half-starved painter, in Great Howland-street, whose landlady was daily abating in her respect, and the butcher daily abating in his punctuality; whose garments were getting threadbare, and his dinners hypothetical, and whose day-dreams of fame and fortune had faded into the dull-gray of penury and disappointment. I was broken-hearted, ill, hungry; so I accepted an invitation from a friend, a rich manufacturer in Birmingham, to go down to his house for the Christmas holidays. He had a pleasant place in the midst of some iron-works, the blazing chimneys of which, he assured me, would afford me some exquisite studies of "light" effects.