Chapter VII: Introduction (5)

The idea of erecting a tower 1,000 feet high was not of itself new. It had been entertained in England as early as 1833, in America in 1874, and in Paris itself in 1881. It has been reserved for M. Gustave Eiffel, a native of Dijon, who commenced to practise as an engineer in 1855, to realize this ambitious project. He has long been occupied in the construction of great railway bridges and viaducts, and in these he has adopted a system peculiar to himself of braced wrought-iron piers without masonry or cast-iron columns. He also was the first French engineer to erect bridges of great span without scaffolding. In the Garabit viaduct he planned an arch of 541 feet, crossing the Truyère at a height of nearly 400 feet above it. One result of M. Eiffel’s studies in connection with these lofty piers was his proposal to erect the tower for the Paris Exhibition of 1889. This proposal met with great opposition on the part of many influential people in Paris—authors, painters, architects, and others protesting with great energy against the modern Tower of Babel, which was, as they said, to disfigure and profane the noble stone buildings of Paris by the monstrosities of a machine maker, etc. etc. The Eiffel Tower is now constructed, and no one has heard that it has dishonoured the monuments of Paris, for it has been instead a triumph of French skill, the glory of its designer, and the wonder of the Exhibition.

FIG. 26_b_.—_The Eiffel Tower in course of construction._
]

The tower rests on four independent foundations, each at the angle of a square of about 330 feet in the side, and it may be noted that the two foundations near the Seine had to be differently treated from the other two, where a bed of gravel 18 feet thick was found at 23 feet below the surface, and where a bed of concrete, 7 feet thick, gave a good foundation. The foundations next the river had to be sunk 50 feet below the surface to obtain perfectly good foundations. Underlying the whole is a deep stratum of clay; but this is separated from the foundations by a layer of gravel of sufficient thickness. Above this are beds of concrete, covering an area of 60 square metres, and on the concrete rests a pile of masonry. Each of the four piles is bound together by two great iron bars, 25 feet long and 4 inches diameter, uniting the masonry by means of iron cramps, and anchoring the support of the structure, although its stability is already secured by its mere weight. The tower is of curved pyramidal form, so designed that it shall be capable of resisting wind pressure, without requiring the four corner structures to be connected by diagonal bracing. The four curved supports are, in fact, connected with each other only by girders at the platforms on the several stages, until at a considerable length they are sufficiently near to each other to admit the use of the ordinary diagonals. The work was begun at the end of January, 1887, and M. Eiffel notes how the imagination of the workmen was impressed by the notion of the vast height of the intended structure. Not steel, but iron is the material used throughout, and the weight of it is about 7,300 tons, without reckoning what is used in the foundations, and in the machinery connected with the lifts, etc. It has long ago been found that stone would be an unsuitable material for a structure of this kind, and it is obvious that only iron could possibly have been used to build a tower of so vast a height and within so short a space of time, for it was completed in April, 1889. A comparison of heights with the loftiest stone edifices may not be without interest. The highest building in Paris is the dome of the Invalides, 344 feet; Strasburg Cathedral rises to 466 feet; the Great Pyramid to 479 feet; the apex of the spire in the recently completed Cathedral at Cologne to 522 feet. These are overtopped by the lofty stone obelisk the Americans have erected at Washington, which attains a height of more than 550 feet. Such spires and towers have been erected only at the cost of immense labour. But iron, which can be so readily joined by riveting, lends itself invitingly to the skill of the constructor, more particularly by reason of the wonderful tensile strength it possesses. It is scarcely possible to convey any adequate idea of the great complicated network of bracings by which in the Eiffel Tower each standard of the columns is united to the rest to form one rigid pile. The horizontal girders unite the four piers in forming the supports of the first storey some 170 feet above the base. The arches which spring from the ground and rise nearly to the level of these girders are not so much intended to add to the strength of the structure as to increase its architectural effect. The first storey stands about 180 feet above the ground, and is provided with arcades, from which fine views of Paris may be obtained. Here there are spacious restaurants of four different nationalities. And in the centre of the second storey (380 feet high) is a station where passengers change from the inclined lifts to enter other elevators that ascend vertically to the higher stages of the tower. On the third storey, 900 feet above the ground, there is a saloon more than 50 feet square, completely shut in by glass, whence a vast panorama may be contemplated. Above this again are laboratories and scientific observatories, and, crowning all, is the lighthouse, provided with a system of optical apparatus for projecting the rays from a powerful electric light. This light has been seen from the Cathedral at Orléans, a distance of about 70 miles.

FIG. 26_c_.—_The Eiffel Tower._
]

The buildings of the Paris Exhibition of 1889 are themselves splendid examples, not only of engineering skill, but of good taste and elegant design in iron structures and their decorations. The vast _Salle des Machines_ (machinery hall) exceeds in dimensions anything of the kind in existence, for it is nearly a quarter of a mile long, and its roof covers at one span its width of 380 feet, rising to a height of 150 feet in the centre. This great hall is to remain permanently, as well as the other principal galleries with their graceful domes.

The Eiffel Tower having proved one of the most striking features of the great Paris Exhibition, and of itself a novelty sufficient to attract visitors to the spot, and having, long before the Exhibition closed, completely defrayed the expense of its construction, with a handsome profit besides, its success has naturally provoked similar enterprises,—as, for instance, at Blackpool, a seaside resort in Lancashire, there has been erected an openwork metal tower, resembling the Paris structure, but of far less altitude.

_Tall Buildings in American Cities._

In several of the great cities of the United States, the last few years have witnessed a novel and characteristic development of the use of iron in architecture. In many structures on the older continent, this material has been frankly and effectively employed, forming the obvious framework of the erection, even when the leading motive was quite other than a display of engineering skill. The Crystal Palace at Sydenham and other erections have been referred to, in which iron has taken its place as the main component of structures designed more or less to fulfil æsthetic requirements: the guiding principle in “tall office buildings” in the cities of the Western continent is, on the contrary, avowedly utilitarian. Iron has, of course, long been used in the form of pillars, beams, etc., in ordinary buildings, and it is only the extraordinary extension of this employment of it, after the lift or elevator had been perfected, and the ground-space in great commercial centres was daily becoming more valuable, that has led to the erection of structures of the “sky-scraper” class in American cities. For a given plot at a stated rent, a building of many stories, let throughout as offices, will obviously bring to its owner a greater return than one of few stories. The elevators now make a tenth story practically as accessible as a third storey, and the tall building readily fills with tenants. No claim for artistic beauty has been advanced for these structures, which aim simply at being places of business, and if provision be made for sufficient floor-space and daylight, and for artificial lighting, heating, and ventilation, together with the ordinary conveniences of modern life, and ready elevator service, nothing more is required by the utilitarian spirit, that seeks only facilities for money-getting. These tall buildings are usually erected on plots disproportionately small, and the architectural effect is apt to be bizarre and incongruous, especially when the structure shoots up skyward in some comparatively narrow street amid more modest surroundings. They are really engineering structures, but invested with features belonging to edifices of quite another order of construction. If they are necessities of the place and period, and are “come to stay,” it cannot be doubted but that decoration of an appropriate and harmonious character will, in course of time, be evolved along with them, when the conventionality that clings to architecture shall be broken through, and a new style appear, as consistent, and therefore as beautiful, in relation to the “tall office building,” as were those of the Greek temple and the Gothic minster in their free and natural adaptation.

PLATE IV.

THE AMERICAN TRACT SOCIETY BUILDING.
]

FIG. 26_d_.—_St. Paul Building, N. Y._
]

Here, apparently, is the opportunity for the advent of a new and characteristic style. There is great ingenuity displayed in the arrangement and internal finish of these buildings. But besides the somewhat novel application of iron, the most notable circumstances regarding them are the tendency to make them of greater and greater height, and the wonderfully short time in which, upon occasion, they can be run up. Chicago has recently been noted for its tall edifices, among which may be named _The Reliance Building_, erected upon a site only 55 feet in breadth, but rising in fourteen stories to the height of 200 feet, and presenting the appearance of a tower. There are no cast iron pillars, but the whole metal framework is of rolled steel, the columns consisting of eight angle-sections, bolted together in two-story lengths, adjoining columns breaking joint at each floor, and braced together with plate girders, 24 inches deep, bolted to the face of the columns, with which they form a rigid connection. Externally, the edifice shows nothing but white enamelled terra-cotta and plate glass. This building was originally a strongly-built structure of five stories, the lower one being occupied as a bank. The foundations and the first story were taken out, and prepared for the lofty edifice, the superstructure being the while supported on screws. Then the three upper stories were taken down, and the building was continued from the second story, which was filled with tenants while the building was in course of erection above.

FIG. 26_e_.—_Manhattan Insurance Co.’s Building, in course of
erection._
]

Still more lofty edifices have been going skyward in other places. Already in New York there are a great number of lofty piles due to the introduction of the lifts or elevators, by which an office on the tenth floor is made as convenient as one on the second. These buildings usually receive the name of the owners of the structure, who occupy, perhaps, only one floor. To mention only a few. There is the American Tract Society building, with its twenty-three stories, 285 feet high, which is one of the latest and handsomest of these tall piles in the city. See Plate IV. Still loftier is the St. Paul building, fronting the New York Post-Office at the junction of Park Row and Broadway. This structure is splayed at the angle between Ann Street and Broadway, where its width is 39½ feet, while its _loftiest_ part has frontages of about 30 feet along each of these thoroughfares. The height is no less than 313 feet above the pavement, and the number of stories is twenty-five. This building is faced with light yellow limestone, and although it was commenced only in the summer of 1895, it was expected to be ready for occupation by the autumn of 1896. Even this great height is overtopped by the Manhattan Life Insurance Company’s building, rising 330 feet, and remarkable as perhaps beyond previous record of quickness in building a gigantic structure. Obviously, the foundations of such a building must be most seriously considered, prepared and tested, before the great bulk of the building is begun, and in the _New York Engineering Magazine_ one of the architects has given a full account, with complete illustrations, of all the works, from the rock foundation to the completed edifice. A description of the foundation work, though most interesting for the professional engineer, would probably have little attraction for the general reader; but its importance may be inferred from the fact of its having taken nearly six months for its completion, while the huge superstructure required only eight months. The eighteenth tier of beams was reached in “three months from the time the foundations were ready on which to set the first piece of steel, composing the bolsters that support the cantilever system.... The substructure, which starts in bed-rock and continues to the cellar-floor, consists of fifteen piers, varying in size from 9 feet in diameter, to 21 feet 6 inches by 25 feet square.... The number of bricks used in the piers amounted to 1,500,000. From this it may be seen that a good-sized building was sunk out of sight before any part of the superstructure could be begun.” An open court within the main structure, special framing for the arrangements of the company’s offices on the sixth floor, the great height and weight of the tower, and the requisite provision for wind-bracing, delayed in some degree a regular advance of the stories; but within three months no less than 5,800 tons were placed in position. There were girders weighing 40 tons, many columns of 10 and 12 tons, and cantilevers of 80 tons weight and 67 feet long. Strange to say, that in a building of this magnitude, where such masses had to be raised 300 feet into the air, there was not a single accident involving loss of life. When four stories of the steel framework had been put up, the bricklayers were set to work, and they followed the frame-setters throughout. After the masons came the pipe-layers, with their ten miles of pipes, followed by electricians, fixing their thirty-five miles of communicating wires. Thirty thousand cubic feet of stone was cut and set on the Broadway front in eighty days. Then craftsmen of the different trades followed each other, or worked in harmony together, story after story upwards: the engineers for boilers, heating, and elevators, the plumbers, the decorators, the carpenters and cabinet-makers, the plasterers, the marble and tile workers, the gasmen, etc. In fine, every story was completely finished and ready for occupation in eight months after the start from the foundations.

FIG. 26_f_.—_Manhattan Insurance Co.’s Buildings nearly completed._
]

The shortness of the time in which these lofty buildings were run up is not less remarkable than the completeness of their fittings, which comprise everything requisite for communication within the premises and in connection with the outer world. The elevators or lifts are the perfection of mechanism in their way, and act with wonderful smoothness and regularity; of these are usually two at least, as well as an ample staircase. Notwithstanding all these appliances, some disastrous and fatal conflagrations have occurred at buildings erected on the “tall” principle; and as “business premises” of even 380 feet high are projected, the authorities have been considering the desirability of restricting the heights. It has been proposed that offices should not exceed in height 200 feet; hotels, 150 feet; and private houses, 75 feet.

_BIG WHEELS._

The Paris example of an engineering feat upon an unprecedented scale having proved sufficiently captivating for the general public to ensure for itself a great commercial success, even amid the attractions of an International Exhibition, was not lost upon the enterprising people of the States when the “World’s Fair” at Chicago was in preparation in 1893. It was then that Mr. G. W. G. Ferris, the head of a firm of bridge constructors at Pittsburg, conceived the idea of applying his engineering skill to the erection of a huge wheel, revolving in a vertical plane, with cars for persons to sit in, constituting, in fact, an enormous “merry-go-round,” as the machine once so common at country fairs was called. The novelty of the Chicago erection was, therefore, not the general idea, but the magnitude of the scale, which, for that reason, involved the application of the highest engineering skill, and the solution of hitherto unattempted practical problems. Several thousand pounds were, in fact, expended on merely preliminary plans and designs. The great wheel at Chicago was 250 feet in diameter, and to its periphery were hung thirty-six carriages, each seating forty persons. At each revolution, therefore, 1,440 people would be raised in the air to the height of 250 feet, and from that elevation afforded a splendid prospect, besides an experience of the peculiar sensation like that of being in a balloon, when the spectator has no perception of his own motion, but the objects beneath appear to have the contrary movement, that is to say, they seem to be sinking when he is rising, and _vice versâ_. The axle of the Chicago wheel was a solid cylinder, 32 inches in diameter and 45 feet long; on this were two hubs, 16 feet in diameter, to which were attached spoke rods, 2½ inches in diameter, passing in pairs to an inner crown, which was concentric with the outer rim, but 40 feet within it. The inner and outer crowns were connected together, and the former joined to the crown of the twin wheel by an elaborate system of trusses and ties, which, however, left an open space between the rims of 20 feet from the outside. These last were formed of curved riveted hollow beams, in section 25½ inches by 19 inches, and between them, slung upon iron axles through the roofs, were suspended, at equal intervals, the thirty-six carriages, each 27 feet long, and weighing 13 tons without its passengers, who added 3 tons more to the weight. The wheel with its passengers was calculated to weigh about 1,200 tons, and it rested on two pyramidal skeleton towers of ironwork 140 feet high, having bases 50 feet by 60 feet. The wheel was moved by power applied at the lowest point, the peripheries of both the rims having great cogs 6 inches deep and 18 inches apart, which engaged a pair of large cog-wheels, carried on a shaft 12 inches in diameter.

FIG. 26_g_.—_Original Design for the Great Wheel._
]

This curious structure was not begun until March, 1893, yet it was set in motion three months afterwards, having cost about £62,500. The Company had to hand over to the Exhibition one half of the receipts after the big wheel had paid for its construction, but even then they realised a handsome profit, and at the close of the World’s Fair, they sold the machine for four-thirds of its cost, in order that it might be re-erected at Coney Island.

No sooner had the great Ferris wheel at Chicago proved a financial success than an American gentleman, Lieutenant Graydon, secured a patent for a like machine in the United Kingdom; and as it has now become almost a matter of course that some iron or steel structure, surpassing everything before attempted, should form a part of each great exhibition, a Company was at once formed in London, under the title of “The Gigantic Wheel and Recreation Towers Co., Limited,” to construct and work at the Earl’s Court Oriental Exhibition of 1895, a great wheel, similar in general form to that of Chicago. But the design of the London wheel had some new features, as will be seen from the sketches, Fig. 26_c_ (from _The Engineer_ of 20th April, 1894), and, moreover, having been planned of larger dimensions than its American prototype, presented additional engineering problems of no small complexity. After due deliberation the scheme of the work was entrusted to Mr. Walter B. Basset, a talented young engineer, connected with the firm of Messrs. Maudslay, Sons, & Field, and already experienced in designing iron structures. Under this gentleman, with the assistance of Mr. J. J. Webster in carrying out some of the details, the work has been so successfully accomplished that the “Great Wheel” of 1895 may be cited as one of the crowning mechanical triumphs of the nineteenth century. The original design has not been followed so far as regards the lower platforms for refreshment rooms, &c. Plate V., for which we are indebted to Mr. Basset, is a photographic representation of the actual structure.

The wheel at Earl’s Court exceeds the Ferris wheel in diameter by 50 feet, being 300 feet across. It is supported on two towers, 175 feet high, each formed by four columns 4 feet square, built of steel plates with internal diaphragms, and surmounted by balconies that may be ascended in elevators raised by a weight of water, which, after having been discharged into a reservoir under the ground level, is again pumped up to the top of the towers. Between the balconies on each tower there is also a communication _through the axle_ of the wheel, which, instead of being solid as at Chicago, is a tube of 7 feet diameter, and 35 feet long, made in sections, riveted together, of steel 1 inch thick, and weighing no less than 58 tons. The raising and fixing in its high place of such a mass of metal required specially ingenious devices, which have been greatly appreciated by professional engineers. But for these devices, the erection of scaffolding in the ordinary way of proceeding would have entailed an outlay simply enormous. The axle is stiffened by projecting rings, and, between pairs of these, the spoke rods are attached by pins 3 inches in diameter. The axle was the production of Messrs. Maudslay, Field & Co.; all the rest of the metal work was made at the Arrol Works at Glasgow, and the carriages were constructed by Brown, Marshall & Co., of Birmingham. The Earl’s Court wheel is turned by a mechanism different from that of the Chicago wheel, for whereas the latter was provided with cogs, the former has two chains, each 1,000 feet long and 8 tons weight, surrounding the periphery of the wheel on either side. The chains go over drums in the engine-shed, from which they pass underground to guide-pulleys, and as they unwind from the Great Wheel, they again go over guide-pulleys to lead them back to the drums. These chains are firmly held throughout in the jaws of V-shaped grooves, and there are arrangements for taking up the slack. The drums are actuated by wheel gearing, connected with two horizontal Robey steam engines, each of 50 horse-power, one on either side, capable of being worked singly or together. It is, however, found sufficient to use the engine of one side only, and even then to work it at but 16 horse-power, and the operation can be controlled by one man, who has also the command of a brake. Both starting and stopping are accomplished with the greatest smoothness and absence of strain or jar. There are forty carriages, each 25 feet long, 9 feet wide, and 10 feet high. Each will accommodate forty passengers, and these enter at the ends from eight platforms at different heights from the ground, so arranged as to be on the level of the eight lowest carriages while the wheel is stationary. The passengers who have had their ride leave at the other end of the carriages by eight similar platforms on the other side of the wheel. After the change of passengers in one set of eight carriages, the wheel is turned through exactly one-fifth of a revolution, which has the effect of bringing the next eight carriages to the level of the platforms, and it is again brought to a standstill whilst the change of passengers is taking place; and so on, until the whole freight of say 1,600 persons has been changed during the five stoppages in one revolution, for which about thirty-five minutes are required, and the process of emptying and filling eight carriages at once is repeated. There are first and second class carriages, the charge for the former being two shillings, and for the latter one shilling; so that, reckoning 800 passengers of each class, one turn would bring to the treasury the handsome sum of £120.

The sensations experienced in a journey on the Great Wheel are, as already mentioned, comparable to those enjoyed by the aërial voyagers in a balloon, where all perception of proper motion is lost, and it is the world beneath that seems to recede and float away, presenting the while a strangely changing panorama. Many people who have never made a balloon ascent yet know the calm delight of floating in a boat without effort down some placid stream, unconscious of any motion beyond that vaguely inferred from the silent apparent gliding by of the banks. Very similar are, in part, the feelings of the passenger who is almost imperceptibly carried up into the air in a carriage of the Great Wheel, but the vertical direction of the movement, and the gradual expansion of the horizon as the vertex is approached, lend an unwonted novelty to the situation. From the Earl’s Court Wheel the view is both interesting and extensive, for on a clear day the prospect stretches as far as the Royal Castle of Windsor.

The “Gigantic Wheel” at Earl’s Court was inaugurated on the 11th July, 1895, in the presence of an assemblage of 5,000 people, including many distinguished personages, who were all treated to a ride. Plate I. shows a portion of the wheel and carriages as in motion.

PLATE V.

GENERAL VIEW OF THE GREAT WHEEL AT EARL’S COURT.
]

FIG. 27.—_Sir Joseph Whitworth._
]

TOOLS.

Of the immense variety of tools and mechanical contrivances employed in modern times, by far the greatest number are designed to impart to certain materials some definite shape. The brickmaker’s mould, the joiner’s plane, the stonemason’s chisel, the potter’s wheel, are examples of simple tools. More elaborate are the coining press, the machine for planing iron, the drilling machine, the turning lathe, the rolling mill, the Jacquard loom. But all such tools and machines have one principle in common—a principle which casual observers may easily overlook, but one which is of the highest importance, as its application constitutes the very essence of the modern process of _manufacture_ as distinguished from the slow and laborious mode of making things by hand. The principle will be easily understood by a single example. Let it be required to draw straight lines across a sheet of paper. Few persons can take a pen or pencil, and do this with even an approach to accuracy, and at best they can do it but slowly and imperfectly. But with the aid of a ruler any number of straight lines may be drawn rapidly and surely. The former case is an instance of _making_ by hand, the latter represents _manufacturing_, the ruler being the tool or machine. Let it be observed that the ruler has in itself the kind of form required—that is to say, straightness—and that in using it we copy or transfer this straightness to the mark made on the paper. This is a simple example of the _copying principle_, which is so widely applied in machines for manufacturing; for, in all of these, materials are shaped or moulded by various contrivances, so as to reproduce certain definite forms, which are in some way contained within the machine itself. This will be distinctly seen in the tools which are about to be described.

FIG. 28.—_Whitworth’s Screw Dies and Tap._
]

Probably no one mechanical contrivance is so much and so variously applied as the _Screw_. The common screw-nail, which is so often used by carpenters for fastening pieces of metal on wood, or one piece of wood to another, is a specimen of the screw with which everybody is familiar. The projection which winds spirally round the nail is termed the _thread_ of the screw, and the distance that the thread advances parallel to the axis in one turn is called the _pitch_. It is obvious that for each turn the screw makes it is advanced into the wood a depth equal to the pitch, and that there is formed in the wood a hollow screw with corresponding grooves and projections. Screws are formed on the ends of the bolts, by which various parts are fastened together, and the hollow screws which turn on the ends of the bolts are termed _nuts_. The screws on bolts and nuts, and other parts of machines, were formerly made with so many different pitches that, when a machine constructed by one maker had to be repaired by another, great inconvenience was found, on account of the want of uniformity in the shape and pitch of the threads. A uniform system was many years ago proposed by Sir Joseph Whitworth, and adopted by the majority of mechanical engineers, who agreed to use only a certain defined series of pitches. The same engineer also contrived a hand tool for cutting screws with greater accuracy than had formerly been attained in that process. A mechanic often finds it necessary to form a screw-thread on a bolt, and also to produce in metal a hollow screw. The reader may have observed gas-fitters and other workmen performing the first operation by an instrument having the same general appearance as Fig. 28. This contains hard steel _dies_, which are made to press on the bolt or pipe, so that when the _guide-stock_ is turned by the handles, the required grooves are cut out. The arrangement of these dies in Sir Joseph Whitworth’s instrument is shown in Fig. 28, which represents the central part of the guide-stock; A, B, C are the steel dies retained in their places, when the instrument is in use, by a plate which can be removed when it is necessary to replace one set of dies by another, according to the pitch of thread required. The figure also shows the set of dies, A, B, C, removed from the guide-stock. D is the work, pressed up against the fixed die, A, by B and C, the pressure being applied to these last as required by turning the nut, thus drawing up the key, E, so that the inclined planes, _f_, _g_, press against similar surfaces forming the ends of the dies. For producing the hollow screws, _taps_ are provided, which are merely well-formed screws, made of hard steel and having the threads cut into detached pieces by several longitudinal grooves, as represented in the lower part of Fig. 28.

FIG. 29.—_Screw-cutting Lathe._
]

The method of forming screws by dies and taps is, however, applicable only to those of small dimensions, and even for these it is not employed where great accuracy is required. Perfect screws can only be cut with a lathe, such as that represented in Fig. 29. In this we must first call the reader’s attention to the portion of the apparatus marked A, which receives the name of the _slide-rest_. The invention of this contrivance by Maudsley had the effect of almost revolutionizing mechanical art, for by its aid it became possible to _produce true surfaces in the lathe_. Before the slide-rest was introduced, the instrument which cut the wood or metal was held in the workman’s hand, and whatever might be his skill and strength, the steadiness and precision thus obtainable were far inferior to those which could be reached by the grip of an iron hand, guided by unswerving bars. The slide-rest was contrived by Maudsley in the first instance for cutting screws, but its principle has been applied for other purposes. This principle consists in attaching the cutting tool to a slide which is incapable of any motion, except in the one direction required. Thus the slide, A, represented in Fig. 29, moves along the _bed_ of the lathe, B, carrying the cutter with perfect steadiness in a straight line parallel to the axis of the lathe. There are also two other slides for adjusting the position of the cutter; the handle, _a_, turns a screw, which imparts a transverse motion to the piece, _b_, and the tool receives another longitudinal movement from the handle, _c_. The pieces are so arranged that these movements take place in straight lines in precisely the required direction, and without permitting the tool to be unsteady, or capable of any rocking motion. In Whitworth’s lathe, between the two sides of the bed, and therefore not visible in the figure, is a shaft placed perfectly parallel to the axis of the lathe. One end of this shaft is seen carrying the wheel, C, which is connected with a train of wheels, D, and is thus made to revolve at a speed which can be made to bear any required proportion to that of the mandril, E, of the lathe, by properly arranging the numbers of the teeth in the wheels; and the machine is provided with several sets of wheels, which can be substituted for each other. The greater part of the length of this shaft is formed with great care into an exceedingly accurate screw, which works in a nut forming part of the slide-rest. The effect, therefore, of the rotation of the screw is to cause the slide-rest to travel along the bed of the lathe, advancing with each revolution of the screw through a space equal to its pitch distance. There is an arrangement for releasing the nut from the guiding-screw, by moving a lever, and then by turning the winch the slide-rest is moved along by a wheel engaging the teeth of a rack at the back of the lathe. Now, if the train of wheels, C D, be so arranged that the screw makes one revolution for each turn of the mandril, it follows that the cutting tool will move longitudinally a distance equal to the pitch of the guiding-screw while the bar placed in the lathe makes one turn. Thus the point of the cutter will form on the bar a screw having the same pitch as the guiding-screw of the lathe.

Here we have a striking illustration of the copying principle, for the lathe thus produces an exact copy of the screw which it contains. The screw-thread is traced out on the cylindrical bar, which is operated upon by the combination of the circular motion of the mandril with the longitudinal movement of the slide-rest. By modifying the relative amounts of these movements, screw-threads of any desired pitch can be made, and it is for this purpose that the _change wheels_ are provided. If the thread of the guiding-screw makes two turns in one inch, one revolution of the wheel C will advance the cutter half an inch along the length of the bar. If the numbers of teeth in the wheels be such that the wheel D makes ten revolutions while C is making one, then in the length of half an inch the thread of the screw produced by the cutter will go round the core ten times, or, in technical language, the screw will be of 1/20 inch pitch.

FIG. 30.—_Whitworth’s Measuring Machine._
]

Since a screw turning in a nut advances only its pitch distance at each revolution, a finely-cut screw furnishes an instrument well adapted to impart a slow motion, or to measure minute spaces. Suppose a screw is cut so as to have fifty threads in an inch, then each turn will advance it 1/50 in.; half a turn 1/100 in.; a quarter of a turn, 1/200, and so on. It is quite easy to attach a graduated circle to the head of the screw, so that, by a fixed pointer at the circumference, any required fraction of a revolution may be read off. Thus if the circle had two hundred equal parts, we could, by turning the screw so that one division passed the index, cause the screw to advance through 1/200 of 1/50 inch, or 1/10000 part of an inch. This is the method adopted for moving the cross-wires of the instruments for measuring very small spaces under the microscope. Sir Joseph Whitworth, who has done so many great things in mechanical art, was the first mechanician to perceive the importance of extreme accuracy of workmanship, and he invented many beautiful instruments and processes by which this accuracy might be attained. Fig. 30 represents one of his measuring machines, intended for practical use in the workshop, to test the dimensions of pieces of metal where great precision is required. The base of the machine is constructed of a rigid cast iron bed bearing a fixed headstock, A, and a movable one, B, the latter sliding along the bed, C, with a slow movement, when the handle, D, is turned. This slow motion is produced by a screw on the axis, _a_, working in the lower part of the headstock, just as the slide-rest is moved along the bed of the lathe. The movable headstock, when it has been moved into the position required, is firmly clamped by a thumbscrew. The face of the bed is graduated into inches and their subdivisions. Here it should be explained that the machine is not intended to be used for ascertaining the absolute dimensions of objects, but for showing by what fraction of an inch the size of the work measured differs from a certain standard piece. Each headstock carries a screw of 1/20 inch pitch, made with the greatest possible care and accuracy. To the head of the screw in the movable headstock is attached the wheel, _b_, having its circumference divided into 250 equal parts, and a fixed index, _c_, from which its graduations may be counted. An exactly similar arrangement is presented in connection with the screw turning in the fixed headstock, but the wheel is much larger, and its circumference is divided in 500 equal parts. It follows, therefore, that if the large wheel be turned so that one division passes the index, the bar moves in a straight line 1/500 of the 1/20 of an inch, that is, 1/10000 an inch. The ends of the bars, _d_ and _e_, are formed with perfectly plane and parallel surfaces, and an ingenious method is adopted of securing equality of pressure when comparisons are made. A plate of steel, with perfectly parallel faces, called a _gravity-piece_, or _feeler_, is placed between the flat end of the bar and the standard-piece, and the pressure when the screw-reading is taken must be just sufficient to prevent this piece of steel from slipping down, and that is the case when the steel remains suspended and can nevertheless be easily made to slide about by a touch of the finger. Thus any piece which, with the same screw-readings, sustains the gravity-piece in the same manner as the standard, will be of exactly the same length; or the number of divisions through which the large wheel must be turned to enable it to do so tells the difference of the dimensions in ten-thousandth parts of an inch. By this instrument, therefore, gauges, patterns, &c., can be verified with the greatest precision, and pieces can be reproduced perfectly agreeing in their dimensions with a standard piece. Thus, for example, the diameters of shafting can be brought with the greatest precision to the exact size required to best fit their bearings.

In another measuring machine on the same principle the delicacy of the measurement has been carried still farther, by substituting for the large divided wheel one having 200 teeth, which engage an endless screw or worm. This will easily be understood by reference to Fig. 31, where a similar arrangement is applied to another purpose. Imagine that a wheel like P, Fig. 31, but with 200 teeth, has taken the place of E in Fig. 30, and that the wheel, T, on the axis of the endless screw is shaped like E, Fig. 30. One turn of the axis carrying the endless screw, therefore, turns the wheel through 1/200 of a revolution, and as this axis bears a graduated head, having 250 divisions, the screw having 20 threads to the inch, is, when one division passes the index, advanced through a space equal to 1/250 × 1/200 × 1/20, or 1/1000000 an inch; that is, the one-millionth part of an inch. This is an interval so small that ten times its length would hardly be appreciated with the highest powers of the microscope, and the machine is far too delicate for any practical requirements of the present day. It will indicate the expansion caused by heat in an iron bar which has merely been touched with the finger for an instant, and even the difference of length produced by the heat radiated from the person using it. A movement of 1/1000000 of an inch is shown by the gravity-piece remaining suspended instead of falling, and the piece falls again when the tangent-screw is turned back through 1/250 of a revolution, a difference of reading representing a possible movement of the measuring surface through only 2/1000000 an inch. This proves the marvellous perfection of the workmanship, for it shows that the amount of play in the bearings of the screws does not exceed one-millionth of an inch.

A good example of a machine-tool is the _Drilling Machine_, which is used for drilling holes in metal. Such a machine is represented in Fig. 31, where A is the strong framing, which is cast in a single piece, in order to render it as rigid as possible. The power is applied by means of a strap round the speed pulley, B, by which a regulated speed is communicated to the bevel wheel, C, which drives D, and thus causes the rotation of the hollow shaft, E. In the lower part of the latter is the spindle which carries the drilling tool, F, and upon this spindle is a longitudinal groove, into which fits a projection on the inside of E. The spindle is thus forced to rotate, and is at the same time capable of moving up and down. The top of the spindle is attached to the lower end of the rack, G, by a joint which allows the spindle to rotate freely without being followed in its rotation by the rack, although the latter communicates all its vertical movements to the spindle, as if the two formed one piece. The teeth of the rack are engaged by a pinion, which carries on its axis the wheel H, turned by an endless screw on the shaft, I, which derives its motion by means of another wheel and endless screw from the shaft, K. The latter is driven by a strap passing over the _speed pulleys_, L and M, and thus the speed of the shaft K can be modified as required by passing the strap from one pair of pulleys to another. The result is that the rack is depressed by a slow movement, which advances the drill in the work, or, as it is technically termed, gives the _feed_ to the drill. By a simple piece of mechanism at N the connection of the shafts K and I can be broken, and the handle O made to communicate a more rapid movement to I, so as to raise up the drill in a position to begin its work again, or to bring it quickly down to the work, and then the arrangement for the self-acting feed is again brought into play. By turning the wheel, P, the table, Q, on which the work is fastened, is capable of being raised or lowered, by means of a rack within the piece R, acted on by a pinion carried on the axle, P. The table also admits of a horizontal motion by the slide S, and may besides be swung round when required.

FIG. 31.—_Whitworth’s Drilling Machine._
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The visitor to an engineer’s workshop cannot fail to be struck with the operation of the powerful _Lathes_ and _Planing Machines_, by which long thick flakes or shavings of iron are removed from pieces of metal with the same apparent ease as if the machine were paring cheese. The figure on the opposite page represents one of the larger forms of the planing machine, as constructed by Sir J. Whitworth. The piece of work to be planed is firmly bolted down to the table, A, which moves upon the Ꮩ-shaped surfaces, running its whole length, and accurately fitting into corresponding grooves in a massive cast iron bed. The bevel wheel, of which a portion is seen at B, is keyed on a screw, which extends longitudinally from end to end of the bed. This screw works in nuts forming part of the table, and as it turns in sockets at the ends of the bed, it does not itself move forward, but imparts a progressive movement to the table, and therefore to the piece of metal to be planed. As this table must move backwards and forwards, there must be some contrivance for reversing the direction of the screw’s rotation, and this is accomplished in a beautifully simple manner by an arrangement which a little consideration will enable any one to understand. It will be observed that there are three drum-pulleys at C. Let the reader confine, for the present, his attention to the nearest one, and picture to himself that the shaft to which it is attached is placed in the same horizontal plane as the axis of the screw and at right angles to it, passing in front of bevel wheel B. A small bevel wheel turning with this shaft, and engaging the teeth of the wheel B, may, it is plain, communicate motion to the screw. Now let the reader consider what will be the effect on the _direction_ of the rotation of B of applying the bevelled pinion to the nearer or to the farther part of its circumference, supposing the direction of the rotation of this pinion to be always the same. He will perceive that the direction in one case will be the reverse of that in the other. The shaft to which the nearest pulley is attached carries a pinion engaging the wheel at its farther edge, and therefore the rotation of this pulley in the same direction as the hands of a watch causes the wheel B to rotate so that its upper part moves towards the spectator. The farthest pulley, _a_, turns with a hollow shaft, through which the shaft of the nearest pulley simply passes, without any connection between them, and this hollow shaft carries a pinion, which engages the teeth of B at the nearer edge, and, in consequence, the rotation of the farther pulley, _a_, in the direction of the hands of a watch, would cause the upper part of B to be moving from the spectator. The middle pulley, _b_, runs loosely on the shaft, and the driving-strap passes through the guide, _c_, and it is only necessary to move this, so as to shift the strap from one drum to another, in order to reverse the direction of the screw and the motion. This shifting of the strap is done by a movement derived from the table itself, on which are two adjustable stops, D and E, acting on an arrangement at the base of the upright frame when they are brought up to it by the movement of the table, so as not only to shift the strap, but also to impart a certain amount of rotation to upright shaft, F, in each direction alternately. The piece which carries the tools, G and H, is placed horizontally, and can be moved vertically by turning the axis, I, thus causing an equal rotation of two upright screws of equal pitch, which are contained within the uprights and work in nuts, forming part of the tool-box. The pieces carrying the tools are moved horizontally by the screws which are seen to pass along the tool-box, and these screws receive a certain regulated amount of motion at each reversal of the movement of the table from the mechanism shown at K. The band-pulley, L, receives a certain amount of rotation from the same shaft, and the catgut band passing round the tops of the cylinders which carry the cutters is drawn in alternate directions at the end of each stroke, the effect being to turn the cutters half round, so as always to present their cutting edges to the work. There are also contrivances for maintaining the requisite steadiness in the tools and for adjusting the depth of the cut. The cutting edge of the tools is usually of a Ꮩ-shape, with the angle slightly rounded, and the result of the process is not the production of a plane, but a grooved surface. But by diminishing the amount of horizontal _feed_ given to the cutters, the grooves may be made finer and finer, until at length they disappear, and the surface is practically a plane. Planing machines are sometimes of a very large size. Sir J. Whitworth has one the table of which is 50 ft. in length, and the machine is capable of making a straight cut 40 ft. long in any article not exceeding 10 ft. 6 in. high or 10 ft. wide.

FIG. 32.—_Whitworth’s Planing Machine._
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FIG. 33.—_Pair of Whitworth’s Planes, or Surface Plates._
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The copying principle is evident in this machine; for the plane surface results from the combination of the straightness of the bed with the straightness of the transverse slide along which the tools are moved. It should, moreover, be observed that it is precisely this machine which would be employed for preparing the straight sliding surfaces required in the construction of planing and other machines, and thus one of these engines becomes the parent, as it were, of many others having the same family likeness, and so on _ad infinitum_. Thus, having once obtained perfectly true surfaces, we can easily reproduce similar surfaces. But the reader may wish to know how such forms have been obtained in the first instance; how, for example, could a perfectly plane surface be fashioned without any standard for comparison? This was first perfectly done by Sir J. Whitworth, forty-five years ago. Three pieces of iron have each a face wrought into comparatively plane surfaces; they are compared together, and the parts which are prominent are reduced first by filing, but afterwards, as the process approaches completion, by scraping, until the three perfectly coincide. The parts where the plates come in contact with each other are ascertained by smearing one of them with a little oil coloured with red ochre: when another is pressed against it, the surfaces of contact are shown by the transference of the red colour. Three plates are required, for it is possible for the prominences of No. 1 exactly to fit into the hollows of No. 2, but in that case _both_ could not possibly exactly coincide with the surface of No. 3; for if one of them did (say No. 1), then No. 3 must be exactly similar to No. 2, and consequently when No. 2 was applied to No. 3, hollow would be opposed to hollow and prominence to prominence. A little reflection will show that only when the three surfaces are truly plane will they exactly and entirely coincide with each other. The planes, when thus carefully prepared, approach to the perfection of the ideal mathematical form, and they are used in the workshop for testing the correctness of surfaces, by observing the uniformity or otherwise of the impression they give to the surface when brought into contact with it, after being covered by a very thin layer of oil coloured by finely-ground red ochre.

Fig. 33 represents a small pair of Whitworth’s planes. When one of these is placed horizontally upon the other, it does not appear to actually come in contact with it, for the surfaces are so true that the air does not easily escape, but a thin film supports the upper plate, which glides upon it with remarkable readiness (A). When, however, one plate is made to slide over the other, so as to exclude the air, they may both be lifted by raising the upper one (B). This effect has, by several philosophers, been attributed to the mere pressure of the atmosphere; but recent experiments of Professor Tyndall’s show that the plates adhere even in a vacuum. The adhesion appears therefore to be due to some force acting between the substances of the plates, and perhaps identical in kind with that which binds together the particles of the iron itself.

FIG. 34.—_Interior of Engineer’s Workshop._
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FIG. 35.—_The Blanchard Lathe._
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_THE BLANCHARD LATHE._