great master of experiment, threw out of the field every exhibit that did not reveal a new application of force, and naturally threw out, to begin with, almost the whole art-exhibit. Equally, he ignored almost the whole industrial exhibit. He led his pupil directly to the forces. His chief interest was in new motors to make his air-ship feasible, and he taught Adams the astonishing complexities of the new Daimler motor, and of the automobile, which, since 1893, had become a night-mare at a hundred kilometres an hour, almost as destructive as the electric tram which was only ten years older; and threatening to become as terrible as the locomotive steam-engine itself, which was almost exactly Adams's own age.
Then he showed his scholar the great hall of dynamos, and explained how little he knew about electricity or force of any kind, even of his own special sun, which spouted heat in inconceivable volume, but which, as far as he knew, might spout less or more, at any time, for all the certainty he felt in it. To him, the dynamo itself was but an ingenious channel for conveying somewhere the heat latent in a few tons of poor coal hidden in a dirty engine-house carefully kept out of sight; but to Adams the dynamo became a symbol of infinity. As he grew accustomed to the great gallery of machines, he began to feel the forty-foot dynamos as a moral force, much as the early Christians felt the Cross. The planet itself seemed less impressive, in its old-fashioned, deliberate, annual or daily revolution, than this huge wheel, revolving within arm's-length at some vertiginous speed, and barely murmuring,—scarcely humming an audible warning to stand a hair's-breadth further for respect of power,—while it would not wake the baby lying close against its frame. Before the end, one began to pray to it; inherited instinct taught the natural expression of man before silent and infinite force. Among the thousand symbols of ultimate energy, the dynamo was not so human as some, but it was the most expressive.
Yet the dynamo, next to the steam-engine, was the most familiar of exhibits. For Adams's objects its value lay chiefly in its occult mechanism. Between the dynamo in the gallery of machines and the engine-house outside, the break of continuity amounted to abysmal fracture for a historian's objects. No more relation could he discover between the steam and the electric current than between the Cross and the
