A History of Inventions, Discoveries, and Origins, Volume I (of 2). Johann Beckmann
even if he had not enjoyed that advantage. The same quickness of apprehension which he manifested in mechanics he showed also in other things. His observations on most subjects were judicious, and peculiar to himself; so that it may be said, without exaggeration, that he was born with a philosophical mind.
A little before his death he had the pleasure of seeing a curious harpsichord he had made, which was purchased by his Prussian Majesty, and placed in an elegant apartment in the new palace at Potsdam. As he had for some time neglected this instrument, the too great attention which he bestowed on putting it in order contributed not a little to bring on that disease which at last proved fatal to him. His clock having become deranged during his illness, he could not be prevented, notwithstanding the admonition of his friend and physician Dr. Stahls, from repairing it. Close application occasioned some obstructions which were not observed till too late; and an inflammation taking place, he died in 1771, at the house of Count de Podewils, in the 60th year of his age.
[The instrument now generally used in this country for measuring the distance gone over, is that invented by Mr. Payne, watchmaker, of Bond-street. In this ingenious contrivance motion is communicated from the traveller to the machinery of the pedometer, by means of a horizontal lever, which is furnished with a weight at one end and a pivot or axis at the other; under the lever is a spring, which keeps the lever when at rest close up to a regulating screw; the spring is so arranged as to be only just sufficiently strong to overcome the weight of the lever and to prevent its falling downwards.
When the body of the traveller is raised in progression, the lever is impelled downwards by the jerk, and immediately returned to its place by the spring, and so long as the motion is continued the lever is constantly in a state of vibration. A small ratchet-wheel is fixed to the axis of the lever, and beneath it is another and larger ratchet-wheel which fits on the same axis, but is not attached to it. These two wheels are connected by a ratchet or pale in such a manner, that when the lever falls, both wheels are moved forward one or more teeth, but when the lever rises again from the force of the spring, the larger ratchet-wheel is held stationary by a ratchet. The larger wheel is connected with a series of toothed wheels and pinions, by means of a pinion fixed on its under-surface. The centre wheel carries an index or hand, which points to figures on the dial-plate. The whole apparatus packs into the case of a watch26.]
MACHINE FOR NOTING DOWN MUSIC
As I have occasionally mentioned in the preceding article, a machine for noting down any piece of music played on a harpsichord or other musical instrument, I shall here add a short history of the invention of it, as far as I know; and with the greater pleasure, as another nation has laid claim to it, though it belongs to my countrymen.
It appears incontestable, that a proposal for inventing such a machine was first made known by an Englishman. In the month of March 1747, John Freke transmitted to the Royal Society a paper written by a clergyman of the name of Creed, which was printed in the Philosophical Transactions under the following title: – A Demonstration of the possibility of making a machine that shall write extempore voluntaries, or other pieces of music, as fast as any master shall be able to play them upon an organ, harpsichord, &c.; and that in a character more natural and more intelligible, and more expressive of all the varieties those instruments are capable of exhibiting, than the character now in use27. The author of this paper however points out the possibility only of making such a machine, without giving directions how to construct it.
In the year 1745, John Frederic Unger, then land-bailiff and burgomaster of Einbec, and who is known by several learned works, fell upon the same invention without the smallest knowledge of the idea published in England. This invention however, owing to the variety of his occupations, he did not make known till the year 1752, when he transmitted a short account of it, accompanied with figures, to the Academy of Sciences at Berlin. The Academy highly approved of it, and it was soon celebrated in several gazettes, but a description of it was never printed.
A few days after Euler had read this paper of Unger’s before the Academy, M. Sulzer informed Hohlfeld of the invention, and advised him to exert his ingenuity in constructing such a machine. In two weeks this untaught mechanic, without having read Unger’s paper, and even without inspecting the figures, completed the machine, which Unger himself had not been able to execute through want of an artist capable of following his ideas.
Unger’s own description of his invention was printed, with copper-plates, at Brunswick, in the year 1774, together with the correspondence between him and Euler, and other documents. A description of Hohlfeld’s machine, illustrated with figures, was published after his death by Sulzer, in the new memoirs of the Academy of Berlin, 1771, under the title of ‘Description of a machine for noting down pieces of music as fast as they are played upon the harpsichord.’ Sulzer there remarks, that Hohlfeld had not followed the plan sketched out by Unger, and that the two machines differed in this – that Unger’s formed one piece with the harpsichord, while that of Hohlfeld could be applied to any harpsichord whatever.
When Dr. Burney visited Berlin, he was made acquainted with Hohlfeld’s machine by M. Marpurg; and has been so ungenerous, or rather unjust, as to say in his Musical Travels, that it is an English invention, and that it had been before fully described in the Philosophical Transactions. This falsehood M. Unger has sufficiently refuted. Without repeating his proofs, I shall here content myself with quoting his own words, in the following passage: – “How can Burney wish to deprive our ingenious Hohlfeld of the honour of being the sole author of that invention, and to make an Englishman share it with him, because our German happened to execute successfully what his countryman Creed only suggested? Such an attempt is as unjust in its consequences as it is dishonourable to the English nation and the English artists. When we reflect on the high estimation in which music is held in England, the liberality of the English nobility, and their readiness to spare no expenses in bringing forward any useful invention, a property peculiar to the English, it affords just matter of surprise that the English artists should have suffered themselves to be anticipated by a German journeyman lace-maker. To our Hohlfeld, therefore, will incontestably remain the lasting honour of having executed a German invention; and the Germans may contentedly wait to see whether Burney will find an English mechanic capable of constructing this machine, from the information given by his countryman Creed.”
REFINING GOLD AND SILVER ORE BY QUICKSILVER
It is well known that quicksilver unites very readily with almost all metals, and when added in a considerable quantity forms with them a paste which can be kneaded, and which is called amalgam. On the other hand, as it does not unite with the earths, being a metallic substance, it furnishes an excellent medium for separating gold and silver from the substances with which they are found. The amalgam is squeezed through a piece of leather, in which these precious metals remain with a certain portion of the quicksilver; and the former are freed from the latter by means of fire, which volatilizes the mercury. This amalgam made with gold serves also for gilding metals (water-gilding)28, if it be rubbed over them, and afterwards heated till the quicksilver be driven off.
The first use of quicksilver is commonly reckoned a Spanish invention, discovered about the middle of the sixteenth century; but it appears from Pliny, that the ancients were acquainted with amalgam and its use, not only for separating gold and silver from earthy particles, but also for gilding29. Vitruvius describes the manner of recovering gold from cloth in which it has been interwoven. The cloth, he says, is to be put into an earthen vessel, and placed over the fire, in order that it may be burnt. The ashes are to be thrown into water, and quicksilver added to them. The latter attracts the particles of the gold, and unites with them. The water is then to be poured off, and the residue put into a piece of cloth; which being squeezed with the hands, the quicksilver, on account of its fluidity, oozes through the pores, and the gold is left pure in a compressed mass30. Isidore of Seville says also, that quicksilver is best preserved in vessels of glass, as it penetrates all other substances; and that without it neither silver nor brass can be gilded
There is a figure of it in the Penny Cyclopædia, vol. xvii. p. 367.
[Among the improvements of recent date there are perhaps none of greater importance than those of electro-gilding and gilding by immersion, which have almost entirely superseded the process of gilding by an amalgam of mercury and gold, so fatal to the workmen exposed to the deleterious effects of the mercurial vapours. It is not our intention to enter at present into a history of the invention of these processes; they will more properly be reserved for a future volume, in which the discoveries of the present century will be treated of. The following short outline may however not prove uninteresting to the reader: – It had long been known to experimentalists on the chemical action of voltaic electricity, that solutions of several metallic salts were decomposed by its agency, and the metal produced in its free state. The precipitation of copper by the voltaic current was noticed by Mr. Nicholson1613 in a paper entitled ‘Account of the new Electrical Apparatus of Sig. Alex. Volta, and experiments performed with the same;’ but the earliest recorded process in electro-gilding is probably that contained in a letter from Brugnatelli to Van Mons1614, in which he states that he had deposited a film of gold on ten silver medals by bringing them into communication by means of a steel wire with the negative pole of a voltaic pile, and keeping them one after the other immersed in ammoniuret of gold newly made and well-saturated. This announcement of a process identical with those now extensively used, attracted no attention at the time it was made, and no further experiments on the application of electricity to the deposition of metals for the purposes of the arts were published until the year 1830, when Mr. E. Davy read a paper before the Royal Society, in which he distinctly states that he had gilded, silvered, coppered and tinned various metals by the voltaic battery1615. The experiments of Brugnatelli and Davy were however completely lost sight of, and the art may be said to date its origin from the period when the late Professor Daniell described his constant battery. Since that time the art has continued to advance most rapidly, either in the perfecting of the apparatus or in the pointing out of more suitable salts of gold and silver, from which the metals might be precipitated. Among those who have contributed to its advancement we may particularly instance the names of our countrymen, Woolrich, Spencer, Jordan, Mason, Murray, Smee, Elkington, Fox Talbot, and Tuck. Nearly all the gilt articles manufactured at Birmingham are now gilded by the process patented by Mr. Elkington, in which, after the articles have been cleansed by a weak acid, they are placed in a hot solution of nitro-muriate of gold, to which a considerable excess of bicarbonate of potash has been added; in the course of a few seconds they thus receive a beautiful and permanent coating of gold.]
Lib. xxxiii. cap. 6.
Vit. lib. vii. c. 8.