THE PUZZLING THEORY OF THE ORFFYREUS WHEEL EXPOUNDED WITH AN ORIGINAL INTERPRETATION

I would like to illustrate a theory on the secret of the Orffyreus wheel which is unique in the world. I have hereby purposely omitted long explanations since these are not required by those who known the history in question and hence will be able to understand (“intelligenti pauca sufficiunt”). I am no fanatic and am truly committed to this research, facing it as a task to be undertaken, yet with great humor and flexibility. I fully understand the usual preconceived ideas of skeptics, as it is handy and convenient to bask in conventional behavior. However, there are new paradigms, different to official views; these harm power plots and academic pride. In terms of plagiarism, I have taken suitable legal precautions to safeguard my idea and I hereby claim full copyright. If need be and prior to a mutual agreement I am prepared to set up a sincere collaboration with other earnest researchers to jointly reach an end goal.

 

Triumphans Perpetuum Mobile Orffyreanum

 

Orffyreus, in his book Triumphans Perpetuum Mobile Orffyreanum, expounds a puzzling theory to explain the function of his invention. Where the written portrayal, especially in certain critical passages, conceals behind an apparent picture or obvious description, a hidden significance different than the expressed one. Or, if taken literally it can mean one thing, while the author, in fact, means another. Such write-up is interspersed with allegorical phrases and words with an exclusively literary value; perhaps it also has a secret encrypted message. Anyhow, I believe the true theory lies between the lines, in the syntax and is to be found between the figures or words achieved. So considerable empathy with the author is required to reach a suitable conclusion.

Poetic apologia

Fig.2

While in his book entitled Poetic Apology Orffyreus focuses the secret of the mechanism in a simple flat drawing illustrated in fig. 2. If interpreted in a three-dimensional way it highlights the general principles of the function of his wheel.

This picture consists in a circle subdivided into six segments. Three of these are positioned at a right angle, are colored in black and set at 120 degrees; they form a circular space with the respective vertexes converging in the center and cut by a curvilinear profile; where a small black circle with a diameter slightly smaller than the same central space is inserted and inside, a small white circle and a black disk with white spot in the center; it reveals all the characteristics of a conic object which is geometrically flat.

The other three white segments measuring approx. 30 degrees are just the respective interspaces formed by the three black segments over the backdrop.

Fig. 3 : the same picture clear from any smears and imperfections of the era’s rudimentary print.

With the help of the following pictures I shall try to generally represent the three-dimension interpretation of the crucial pictures left by Orffyreus, based on my personal theory on the propulsive principle of his wheel.

Obviously, each researcher is convinced of his own theory on the subject. But while researchers hold different opinions, the subjective view of each one deserves respect as it can lead to new useful indications to complete the puzzle.

Hence I am all for a constructive debate without any sarcasm.

  Fig 4

  The Maschinen Tractate, the last manuscript by Orffyreus, contains a drawing initialed 137_560 ( Fig.4 ); I believe it is the key to the entire ENIGMA contained in the same manuscript, regarding the secret of the mechanism.

Fig.5 and 6

So the three-dimensional picture 137_560, represented above (Fig. 5 and 6), only shows a cylindrical wheel resembling a drum; inside it has 12 spokes set in a spiral. These form an empty space in the center where a cylinder with a small diameter is set in the same empty space formed by the spokes. From my point of view, Orffyreus wants to tell us that the principle of his mechanics is based on the eccentric wheel. Where each one of the spokes, in turn, slides above the central cylinder shifting the center of gravity horizontally.

However, this diagram only refers to the input, meaning the initial cue for his idea, because if it is executed to the letter, it shall not work. Hence Orffyreus had to come up with a different geometrical solution, simple and elegant, to render such identical principle functional.

 

The three-dimensional interpretation of the image in Poetic apologia

Fig 8 and 9

The summary of the functioning solution created by Orffyreus is precisely encrypted in the schematic picture drawn from the Poetic apologia. The three-dimensional interpretation of my theory concerns a cylinder with a sequence of spokes coupled in a bispiral fashion where each couple forms a cusp, probably with a right angle. Such spokes are shorter than the effective radius of the wheel, converge in the center with their ends shaped by a cycloidal curve, resting on a double cone-shaped changer (Figure 7, 8 and 9).

Basically, such a mechanism creates a series of inclined planes placed in a circle, where each one in turn – for a brief moment and with the weight of the entire wheel, when it is placed vertically over the central axis with the shape of a double cone – slides over it, changing the position of the wheel’s center of gravity horizontally. Linking together an uninterrupted sequence of propulsive moments for loss of balance caused by the continuous shift of the center of gravity to the rotation side.

Within this mechanism, 7 inverse actions come into play: two axial thrusts, one with right-hand and the other with left-hand spokes. And these two join becoming a third self-centering action, converging or diverging above the double cone depending on the rotation direction. The fourth action is the result of the unstable equilibrium caused by the cycloidal profile of each couple of spokes which stands eccentrically on top of the variable profile of the double cone, forming the inclined planes. The fifth action concerns the geometric shift of the center of gravity of the wheel horizontally on the side of rotation with relative loss of balance. The sixth action is a centripetal one where the geometrical radius contracts on the opposite side of the rotation, with recovery. The seventh is a centrifugal action towards the rotation sense, where the geometric radius expands with fall.

The sound and undulation resulting from the release of this type of mechanism is identical to the one described by distinguished history witnesses. Meaning, it produces muffled tolls which are akin to weights and counterweights moving inside, even though actually there is nothing of the kind.

 

Letters between Professor Gravesande and Isaac Newton

 

To support my theory I found several significant indications transpiring from the evidence provided by Professor Gravesande, the only one who in some way managed to secretly peek inside the wheel. After his inspection he wrote to his friend Isaac Newton, drawing in the same letter what I presume to be a depiction of the internal side of the wheel as it had appeared to him from a quick glance. Subsequently, Isaac Newton drew up a theory in his draft with what I presume to be a sketch of the drawing sent him by his friend Gravesande, to add details to the explanation of his theory on the matter.

From the writings of Isaac Newton I have only taken the drawing in question ( Fig. 10 ), as it reveals a surprising resemblance with my model.

 Fig.10

Probably professor Gravesande, with his fleeting eye, did not have sufficient time to understand the principle of the function. However, he managed to acquire an overall picture given the fact that he is * the only eyewitness of the time who approximately described the internal part of the wheel, sending a drawing to his friend Isaac Newton.

Hence, what Gravesande saw perhaps resembled figures 11, 12 and 13 quite a lot.

 

*Note for the punctilious – [ On the other hand, Prince Karl, patron saint of Orffyreus, knew the mechanism in detail, but always respected the secrecy agreement he had exchanged with the inventor, he only declared: <<…..the machine is so simple that even a building carpenter could copy its mechanism after seeing it……>> ] .

 

 

Fig.11

 

Fig.12

 Fig.13 The bispiral coupling of the wheel’s spokes, approximately forms a picture like this one.

<< When my wheel seen sideways or full-face it is as bright as a. peacock’s tail >>

 The probable sale of a rotor as a work of art.

   In order to raise the funds to finance my costly research which I have been carrying out privately, if the case should arise, I intend to sell a rotor, used in one of my experiments, as a work of art. It is a unique, superb item with a perfectly round shape and a 52 cm. diameter, finely created with high precision, ( material Ergal 70-75 ), as the pictures reveals. The item could appear to be a single wheel, but when observed in detail it shows significant symmetric characteristics of notable artistic value if understood. In fact, its internal components which go around in a circle, create the dazzling effect of a geometric chain reaction which flows in a central mechanical vortex.

Such creation, which I have called “Twistore,” represents an attempt to express the highly sought final solution, finding a simple and elegant equation between mathematics, geometry and force of gravity.

Obviously, the sale only refers to one item as a work of art. It does not imply granting the exclusive patent right of the mechanics concept to any purchaser, in any way whatsoever.

The sales price is exorbitant as the proceeds shall go to finance lengthy research. It shall be privately disclosed after acquiring necessary and accurate information to guarantee the purchaser’s identity, intentions and any references available.

 

Aram Rolf

 

Lascia un Commento

L'indirizzo email non verrà pubblicato. I campi obbligatori sono contrassegnati *

*

È possibile utilizzare questi tag ed attributi XHTML: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>