Site.Pascaline1652 History
Hide minor edits - Show changes to markup - Cancel
(:title Pascaline ~1652 - working exemplar based on surviving machines:)
(:title Pascaline ~1650 - working exemplar based on surviving machines:)
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, a working exemplar which takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden1. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period. (A subsequent replica by Jan Meyer - of the “Queen of Poland” Pascaline - is also held in this collection.)
This beautiful version of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, a working exemplar which takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden2. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period. (A subsequent replica by Jan Meyer - of the “Queen of Poland” Pascaline - is also held in this collection.)
Other information provided in this site includes subsequent replica by Jan Meyer - of the “Queen of Poland” Pascaline, Operating Instructions for a Pascaline, 1759 diagram, Pascal’s original “avis nécessaire” pamphlet and other historical diagrams of the mechanism and details of surviving Pascalines and other replica Pascalines.
Other information provided in this site includes subsequent replica by Jan Meyer - of the “Queen of Poland” Pascaline, Operating Instructions for a Pascaline, 1759 diagram, Pascal’s original “avis nécessaire” pamphlet and other historical diagrams of the mechanism and details of surviving Pascalines and other exemplar and replica Pascalines.
(:title Pascaline ~1652 - replica based on surviving examples:)
(:title Pascaline ~1652 - working exemplar based on surviving machines:)
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden3. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period. (A subsequent replica by Jan Meyer - of the “Queen of Poland” Pascaline - is also held in this collection.)
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, a working exemplar which takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden4. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period. (A subsequent replica by Jan Meyer - of the “Queen of Poland” Pascaline - is also held in this collection.)
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden5. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period. (A subsequent replica by Jan Meyer - of the Queen of Poland Pascaline - is also held in this collection.)
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden6. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period. (A subsequent replica by Jan Meyer - of the “Queen of Poland” Pascaline - is also held in this collection.)
Other information provided in this site includes Operating Instructions for a Pascaline, 1759 diagram, Pascal’s original “avis nécessaire” pamphlet and other historical diagrams of the mechanism and details of surviving Pascalines and other replica Pascalines.
Other information provided in this site includes subsequent replica by Jan Meyer - of the “Queen of Poland” Pascaline, Operating Instructions for a Pascaline, 1759 diagram, Pascal’s original “avis nécessaire” pamphlet and other historical diagrams of the mechanism and details of surviving Pascalines and other replica Pascalines.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden7. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden8. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period. (A subsequent replica by Jan Meyer - of the Queen of Poland Pascaline - is also held in this collection.)
Other information provided in this site includes Operating Instructions for a Pascaline, 1759 diagram and other historical diagrams of the mechanism and details of surviving Pascalines and other replica Pascalines.
Other information provided in this site includes Operating Instructions for a Pascaline, 1759 diagram, Pascal’s original “avis nécessaire” pamphlet and other historical diagrams of the mechanism and details of surviving Pascalines and other replica Pascalines.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden9. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden10. As with the Queen of Sweden Pascaline this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including the Tardive and that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline}} but also of the [[http://meta-studies.net/pmwiki/uploads/PA_CNAM_Tardive.jpg|”tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden11. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline but also of the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden12. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving “Queen of Poland Pascaline” held in Dresden13. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving Queen of Sweden Pascaline}} but also of the [[http://meta-studies.net/pmwiki/uploads/PA_CNAM_Tardive.jpg|”tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris. It also has some elements of the surviving “Queen of Poland Pascaline” held in Dresden14. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving “Queen of Poland Pascaline” held in Dresden15. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving “Queen of Poland Pascaline” held in Dresden16. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
Other information provided in this site includes Operating Instructions for a Pascaline, and details of other replica Pascalines.
Other information provided in this site includes Operating Instructions for a Pascaline, 1759 diagram and other historical diagrams of the mechanism and details of surviving Pascalines and other replica Pascalines.
Carry Mechanism (sautoir) from Diderot17 (collection Calculant) | as recreated in collection Calculant |
Carry Mechanism (sautoir) from Diderot18 (collection Calculant) | as recreated in collection Calculant |
Carry Mechanism (sautoir) from Diderot19 collection Calculant | as recreated in collection Calculant |
Carry Mechanism (sautoir) from Diderot20 (collection Calculant) | as recreated in collection Calculant |
Carry Mechanism (sautoir) from Diderot21 | as recreated in collection Calculant |
Carry Mechanism (sautoir) from Diderot22 collection Calculant | as recreated in collection Calculant |
The carry mechanism is the classical “sautoir” as described by Diderot and d’Alembert23. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever pushes the spoke of the next gear (the tens) to rotate that gear by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot and d’Alembert24. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever pushes the spoke of the next gear (the tens) to rotate that gear by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
Carry Mechanism (sautoir) from Diderot25 | as recreated in collection Calculant |
Carry Mechanism (sautoir) from Diderot26 | as recreated in collection Calculant |
Carry Mechanism (sautoir) from Diderot | as recreated in collection Calculant |
Carry Mechanism (sautoir) from Diderot27 | as recreated in collection Calculant |
http://meta-studies.net/pmwiki/uploads/PA_DiderotMech1.jpg | http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg |
Carry Mechanism (sautoir) from Diderot | as recreated in Collection Calculant |
http://meta-studies.net/pmwiki/uploads/PA_Mech1.jpg | http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg |
Carry Mechanism (sautoir) from Diderot | as recreated in collection Calculant |
The carry mechanism is the classical “sautoir” as described by Diderot and d’Alembert28. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot and d’Alembert29. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever pushes the spoke of the next gear (the tens) to rotate that gear by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot30. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot and d’Alembert31. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot32. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot33. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot34. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot35. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot36. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot37. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot38. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot39. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot40. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
The carry mechanism is the classical “sautoir” as described by Diderot41. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
Other information provided in this site includes Operating Instructions for a Pascaline.
Other information provided in this site includes Operating Instructions for a Pascaline, and details of other replica Pascalines.
The carry mechanism is the classical “sautoir” as described by Diderot44. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit.
The carry mechanism is the classical “sautoir” as described by Diderot45. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit. For more detail on the mechanism of the Pascaline click here.
|| http://meta-studies.net/pmwiki/uploads/PA_DiderotMech1.jpg|| http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg||
|| Carry Mechanism
(sautoir) from Diderot|| as recreated in
Collection Calculant ||
http://meta-studies.net/pmwiki/uploads/PA_DiderotMech1.jpg | http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg |
Carry Mechanism (sautoir) from Diderot | as recreated in Collection Calculant |
Carry Mechanism (sautoir) from Diderot | as recreated in Collection Calculant |
|| Carry Mechanism
(sautoir) from Diderot|| as recreated in
Collection Calculant ||
http://meta-studies.net/pmwiki/uploads/PA_DiderotMech1.jpg | http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg |
|| http://meta-studies.net/pmwiki/uploads/PA_DiderotMech1.jpg|| http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg||
Carry Mechanism (Sautoir) from Diderot | as recreated in Collection Calculant |
Carry Mechanism (sautoir) from Diderot | as recreated in Collection Calculant |
Carry Mechanism Diderot | as recreated in Collection Calculant |
Carry Mechanism (Sautoir) from Diderot | as recreated in Collection Calculant |
Carry Mechanism Diderot | Collection Calculant |
||http://meta-studies.net/pmwiki/uploads/PA_DiderotMech1.jpg|| http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism (sautoir)||
Carry Mechanism Diderot | as recreated in Collection Calculant |
Carry Mechanism | (Sautoir) Diderot |
(collection Calculant) |
Carry Mechanism Diderot | Collection Calculant |
http://meta-studies.net/pmwiki/uploads/PA_DiderotMech1.jpg | http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg |
Carry Mechanism | (Sautoir) Diderot |
(collection Calculant) |
||http://meta-studies.net/pmwiki/PA_DiderotMech1.jpg|| http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism (sautoir)||
||http://meta-studies.net/pmwiki/uploads/PA_DiderotMech1.jpg|| http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism (sautoir)||
||http://meta-studies.net/pmwiki/PA_DiderotMech1|| http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism (sautoir)||
||http://meta-studies.net/pmwiki/PA_DiderotMech1.jpg|| http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism (sautoir)||
http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism (sautoir)
||http://meta-studies.net/pmwiki/PA_DiderotMech1|| http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism (sautoir)||
The carry mechanism is the classical “sautoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit.
The carry mechanism is the classical “sautoir” as described by Diderot46. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving “Queen of Poland Pascaline” held in Dresden. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving “Queen of Poland Pascaline” held in Dresden47. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
Other information provided in this site includes Operating Instructions for a Pascaline
Other information provided in this site includes Operating Instructions for a Pascaline.
Other information provided in this site includes Operating Instructions for a Pascaline
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving “Queen of Poland Pascaline” held in Dresden. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from brass and mahogany. The task of building this, together with three copies, took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” in contrast to most others (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
The carry mechanism is the classical “sautoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears, which proves impossible if more than 3 or 4 must be moved at once, Pascal used his sautoirs to store potential energy by lifting the weight as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for a carry and the sautoir fell.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” in contrast to most others of the surviving Pascalines (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
The carry mechanism is the classical “sautoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is then released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears (which proves impossible if more than 3 or 4 must be moved at once), Pascal used his sautoirs to store potential energy by lifting a weight (the fork) as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for the sautoir to fall causing the next gear to rotate forward by one unit.
The carry mechanism is the classical “sautoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit.
The carry mechanism is the classical “sautoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit. Thus unlike the Schickard which relied on single rotation from 0 to 9 to make all necessary carries along a row of gears, which proves impossible if more than 3 or 4 must be moved at once, Pascal used his sautoirs to store potential energy by lifting the weight as each gear rotated from 0–9. That stored energy was then ready to rotate the next gear by one unit when the time came for a carry and the sautoir fell.
House of Pascal50
House of Pascal51
House of Pascal
House of Pascal56
1 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
2 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
3 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
4 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
5 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
6 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
7 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
8 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
9 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
10 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
11 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
12 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
13 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
14 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
15 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
16 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
17 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). Original print, collection Calculant. (↑)
18 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). Original print, collection Calculant. (↑)
19 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). Original print, collection Calculant. (↑)
20 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). Original print, collection Calculant. (↑)
21 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). Original print, collection Calculant. (↑)
22 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). Original print, collection Calculant. (↑)
23 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, p. 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
24 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, p. 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013, and page from Diderot in this collection (see below) (↑)
25 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). (↑)
26 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). Original print, collection Calculant. (↑)
27 Denis Diderot and Jean le Rond d’Alembert, “Algebre et Arithmetique - Machine de Arithmetique de Pascal”, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, First folio edition, 1759, Volume 22, Plate 2. (Hand coloured). (↑)
28 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, p. 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
29 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, p. 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
30 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, p. 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
31 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, p. 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
32 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
33 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, p. 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
34 Diderot & D’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
35 Denis Diderot and Jean le Rond d’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
36 Diderot & D’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also http://encyclopedie.uchicago.edu, viewed 12 July 2013. (↑)
37 Diderot & D’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also Denis Diderot and Jean le Rond d’Alembert, Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, etc., eds. University of Chicago: ARTFL Encyclopédie Project, Spring 2013 Edition, Robert Morrissey (ed), http://encyclopedie.uchicago.edu/., viewed 12 July 2013; and in particular http://encyclopedie.uchicago.edu/.vol. 1, 680 http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.0:2906:6.encyclopedie0513.7646494, viewed 12 July 2013; see in particular diagram of mechanism http://artflsrv02.uchicago.edu/cgi-bin/philologic/getobject.pl?c.21:11:2.encyclopedie0513.79948, expanded image at http://artflsrv02.uchicago.edu/images/encyclopedie/V22/plate_22_2_12.jpeg (plate 22.2.12) (↑)
38 Diderot & D’Alembert, Encyclopédie de Diderot & d’Alembert, 1ere edition, vol. 1: see also http://encyclopedie.uchicago.edu, viewed 12 July 2013. (↑)
39 Diderot & D’Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers, par une Société de Gens de lettres, 1ere edition, vol. 1, 1751: see also http://encyclopedie.uchicago.edu, viewed 12 July 2013. (↑)
40 Diderot & D’Alembert, Encyclopédie de Diderot & d’Alembert, 1ere edition, vol. 1. (↑)
41 Diderot & D’Alembert, Encyclopédie de Diderot & d’Alembert, 1ere edition, vol. 1: see also http://encyclopedie.uchicago.edu, viewed 12 July 2013. (↑)
42 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer Itela, grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard).” From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
43 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énonceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguerite, la grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-père de Pascal (Note de J. Mesnard).” From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
44 Diderot & D’Alembert, Encyclopédie de Diderot & d’Alembert, 1ere edition, vol. 1. (↑)
45 Diderot & D’Alembert, Encyclopédie de Diderot & d’Alembert, 1ere edition, vol. 1. (↑)
46 Diderot & D’Alembert, Encyclopédie de Diderot & d’Alembert, 1ere edition, vol. 1. (↑)
47 Together with some minor internal mechanical design variations, most notably the ratcheting “pawls” are slightly offset from their usual position. (↑)
48 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer itela, grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard).” From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
49 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer Itela, grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard).” From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
50 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer itela,grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard).” From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
51 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer itela, grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard).” From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
52 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer itela,grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard). From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
53 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer itela,grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard).” From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
54 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb i gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer itela,grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard). From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
55 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb in gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer itela,grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard). From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
56 In a note by J. Mesnard cited in an article by Payen, the coat of arms of the Pascal family of Mons consisted of a paschal lamb i gold holding a banner and a “croisetée de gueules” - “En termes de blason ces armes s’énon ceraient : d’azur à un agneau pascal d’argent, tenant une banderole de même, croisetée de gueules. Ces armes étaient primitivement celles de la famille Pascal de Mons, à laquelle appartenait Marguer itela,grand-mère de Pascal. Elles furent adoptées ensuite par la famille Pascal, originaire de Cournon, à laquelle appar tenait Martin, époux de Marguerite et grand-pere de Pascal (Note deJ. Mesnard). From M Jacques Payen, “Les exemplaires conservés de la machine de Pascal”, Revue d’histoire des sciences et de leurs applications vol. 16 n°2., 1963, pp. 161–178. (↑)
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” in contrast to most others (including that at Dresden) which are “accounting Pascalines” configured to add the currency of the period.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which add the currency of the period.
This beautiful replica Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which add the currency of the period.
Engraved Coat
of Arms
House of Pascal
Engraved coat
of arms evoking
that of Pascal
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which add the currency of the period.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which add the currency of the period.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which add the currency of the period.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully handmade from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting hand made machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism
http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism (sautoir)
http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
Carry mechanism
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully worked brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully handmade from brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials and techniques, but with the capabilities of a modern workshop, the resulting machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
Input stylus
Input stylus
2011
JM
J 2011 M
Mechanism
seen through
bottom door
Sliding panel
for addition
& subtraction
Stop bar on
input wheel
Input stylus
beautifully worked
in grenadilla
Base and
turned leg
Inner
mechanism
Output
wheels
Inscription
replica
2011
JM
Bottom
hinges lovingly
crafted
Bottom carefully
worked in the
manner of
the Dresden Pascaline
Bottom as for
the Dresden
Pascaline
The input wheels
Input wheels
Chasis and mechanism
Chasis and
mechanism
Bottom carefully worked in the// manner of the Dresden Pascaline
Bottom carefully
worked in the
manner of
the Dresden Pascaline
Top view
The input wheels
Chasis and mechanism
Bottom carefully worked in the// manner of the Dresden Pascaline
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully worked brass and wood. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully worked brass and mahogany. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully worked brass and wood. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully worked brass and wood. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (with its entire mechanism, including its carry mechanism, following that embodied in surviving machines and historical records) will work reliably and smoothly. The resulting replica is a re-creation very much in the style of the surviving “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the surviving Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully worked brass and wood. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully worked brass and wood. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM (Conservatoire National des Arts et Métiers) in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
The carry mechanism is the classical “sortoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit.
The carry mechanism is the classical “sautoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit.
The carry mechanism is the classical “sortoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) turns up to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the fork falls the attached lever rotates the next gear (the tens) by one unit.
The carry mechanism is the classical “sortoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) is rotated from 0 to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the weighted fork falls the attached lever rotates the next gear (the tens) by one unit.
The carry mechanism is the classical “sortoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) turns up to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the fork falls the attached lever moves the next gear (the tens) by one unit.
The carry mechanism is the classical “sortoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) turns up to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the fork falls the attached lever rotates the next gear (the tens) by one unit.
This beautiful replica of a Pascaline was fashioned with great love and craftsmanship by Jan Meyer from skilfully worked brass and wood. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great dedication and craftsmanship by Jan Meyer from skilfully worked brass and wood. The task of building this and three others took him hundreds of hours over two full years. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
The carry mechanism is the classical “sortoir” as described by Diderot. It consists of a weighted metal fork with a lever and spring. As the first gear (say the units wheel) turns up to 9 the fork is lifted and is released as the gear passes from 9 to 0. As the fork falls the attached lever moves the next gear (the tens) by one unit.
http://meta-studies.net/pmwiki/uploads/PA_Sortoir.jpg
This beautiful replica of a Pascaline was made with great love and craftsmanship by Jan Meyer almost entirely from skilfully worked brass and wood. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was fashioned with great love and craftsmanship by Jan Meyer from skilfully worked brass and wood. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was made with great love and craftsmanship by Jan Meyer. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was made with great love and craftsmanship by Jan Meyer almost entirely from skilfully worked brass and wood. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was made with great love and craftsmanship by Jan Meyer as one of four.
This beautiful replica of a Pascaline was made with great love and craftsmanship by Jan Meyer. It is not a replica of any particular surviving machine, but rather, takes as its task to demonstrate that if the principles of the Pascaline are followed faithfully by a dedicated artisan, using the same sorts of materials, but with the capabilities of a modern workshop, the resulting machine (including its carry mechanism following that embodied in surviving machines) will work reliably and smoothly. The resulting replica is a recreation very much like the “tardive” Pascaline held by the CNAM in Paris, but also with some features of the Pascaline held in Dresden. As with the tardive this is a “scientific Pascaline” which adds decimal numbers, rather than an accounting machine like many of the others (including that held at Dresden) which are designed to add currency of the time.
This beautiful replica of a Pascaline was made with great love and craftsmanship by Jan Meyer as one of four.
(:table class=pictures width=95% align=center class=border cwidth=3:)
(:table class=pictures width=95% align=center class=border cwidth=4:)
(:table class=pictures width=95% align=center class=border cwidth=5:)
(:table class=pictures width=95% align=center class=border cwidth=3:)
(:Doc: L :)(:table class=pictures width=95% align=center class=border cwidth=5:)
(:table class=pictures width=95% align=center class=border cwidth=5:)
(:Doc: L :)(:table class=pictures width=95% align=center class=border cwidth=3:)
(:Doc: L :)(:table class=pictures width=95% align=center class=border cwidth=5:)
PA_1.jpg
http://meta-studies.net/pmwiki/uploads/PA_1.jpg