Sept. 1, 1864] THE TECHNOLOGIST. 



THE BASIS OF TECHNOLOGY. 79 



mill. As examples of the application of motive power to the production 

 of mechanical transformation, I shall content myself here with refer- 

 ring to the conversion of wool, silk, flax, and cotton into woven fabrics, 

 and of rags into paper. 



So far as the second aspect of mechanical force is concerned, namely, 

 as an inducer of alterations in the external configuration of bodies, it 

 will be sufficient here to refer to the arts of the stone-cutter and 

 wood-carver, and to those of sculptors, carvers, and engravers of all 

 kinds. 



As for the third aspect of mechanical force, namely, to induce 

 internal molecular change, such processes as the tempering of metals, 

 the annealing of glass, and the baking of porcelain, in certain of its 

 stages, may serve as illustrations. 



In contrasting mechanical with chemical transforming force, it is 

 curioirs to notice how in one respect the former is the more imposing, 

 in another the latter. Mechanical force, when exerted as a motive 

 power, can be employed by man on a much grander scale than the 

 similar power of chemical force, except in the case of explosives. Arti- 

 ficial chemical processes, again, on however large a plan they are con- 

 ducted, are, with few exceptions, such as that of the iron blast-furnace, 

 striking only in their results. But the movements of massive pieces of 

 machinery, even though moving aimlessly, still more when working for 

 a purpose, always awaken in us the idea of power ; and often also create 

 emotions of awe and sublimity akin to those which are begotten by the 

 spectacle of great natural phenomena. The sweep of a railway train 

 across the country, and the dash of a war-steamer against the waves 

 with which it measures its strength, never become paltry pageants, even 

 though we are ignorant of the errands on which these swift coursers are 

 bound. Still more striking are those actions of machinery which 

 involve not only swift irresistible motion, but also transformation of 

 the materials on which the moving force is exerted. Take, for example, 

 a cotton-mill, which some never tire of representing as dreary and 

 prosaic. In the basement story revolves an immense steam-engine, 

 unresting and unhasting as a star, in its stately, orderly movements. It 

 stretches its strong iron arms in every direction throughout the build- 

 ing ; and into whatever chamber you enter, as you climb stair after 

 stair, you find its million hands in motion, and its fingers, which are as 

 skilful as they are nimble, busy at work. They pick cotton and cleanse 

 it, card it, rove it, twist it, spin it, dye it, and weave it. They will work 

 any pattern you select, and in as many colours as you choose ; and do 

 all with such celerity, dexterity, unexhausted energy, and skill, that you 

 begin to see what was prefigured in the legend of Michael Scott, and his 

 " Sabbathless" demons (as Charles Lamb would have called them), to 

 whom the most hateful of all things was rest, and ropemaking, though 

 it were of sand, more welcome than idleness. For my own part, I gaze 

 with untiring wonder and admiration on the steam Agathodsemons of a 



