HKB
the most beautiful and accurate description, but exquisite figure-work, and complicated geometrical designs, depending upon the cycloidal and eccentric movements which were from time to time added to the machine.
The artisans of the Middle Ages were very skilful in the use of the lathe, and turned out much beautiful screen and stall work, still to be seen in our cathedrals, as well as twisted and swash-work for the balusters of staircases and other ornamental purposes. English mechanics seem early to have distinguished themselves as improvers of the lathe; and in Moxon's 'Treatise on Turning,' published in 1680, we find Mr. Thomas Oldfield, at the sign of the Flower-de-Luce, near the Savoy in the Strand, named as an excellent maker of oval-engines and swash-engines, showing that such machines were then in some demand. The French writer Plumier[3] also mentions an ingenious modification of the lathe by means of which any kind of reticulated form could be given to the work; and, from it's being employed to ornament the handles of knives, it was called by him the "Machine a manche de Couteau d'Angleterre." But the French artisans were at that time much better skilled than the English in the use of tools, and it is most probable that we owe to the Flemish and French Protestant workmen who flocked into England in such large numbers during the religious persecutions of the sixteenth and seventeenth centuries, the improvement, if not the introduction, of the art of turning, as well as many other arts hereafter to be referred to. It is certain that at the period to which we refer numerous treatises were published in France on the art of turning, some of them of a most elaborate character. Such were the works of De la Hire,[4] who described how every kind of polygon might be made by the lathe; De la Condamine,[5] who showed how a lathe could turn all sorts of irregular figures by means of tracers; and of Grand Jean, Morin,[6] Plumier, Bergeron, and many other writers.
The work of Plumier is especially elaborate, entering into the construction of the lathe in its various parts, the making of the tools and cutters, and the different motions to be given to the machine by means of wheels, eccentrics, and other expedients, amongst which may be mentioned one very much resembling the slide rest and planing-machine combined.[7] From this work it appears that turning had long been a favourite pursuit in France with amateurs of all ranks, who spared no expense in the contrivance and perfection of elaborate machinery for the production of complex figures.[8] There was at that time a great passion for automata in France, which gave rise to many highly ingenious devices, such as Camus's miniature carriage (made for Louis XIV. when a child), Degennes' mechanical peacock, Vancanson's duck, and Maillardet's conjuror. It had the effect of introducing among the higher order of artists habits of nice and accurate workmanship in executing delicate pieces of machinery; and the same combination of mechanical powers which made the steel spider crawl, the duck quack, or waved the tiny rod of the magician, contributed in future years to purposes of higher import,--the wheels and pinions, which in these automata almost eluded the human senses by their minuteness, reappearing in modern times in the stupendous mechanism of our self-acting lathes, spinning-mules, and steam-engines.