Then we clicked back ‘Good-by,’ and the trial was over. We were satisfied; yes, more, we were delighted.
As a boy staying with his cousins in Livorno, Marconi had befriended an elderly blind man, a retired telegraph operator. Marconi would read aloud to him and in return he was taught the Morse code and the technique of tapping it out with a Morse key. This was a skill which had been acquired by thousands of young men, and some women, working in the telegraph business in the latter half of the nineteenth century. Alexander Graham Bell’s telephone, which of course required no specialist skills to operate, had not replaced the cable telegraph. Dots and dashes which spelled out letters and punctuation in all languages remained, in Marconi’s boyhood and for a very long time afterwards, universal. Morse messages could be sent much greater distances than any phone communication, and they could easily accommodate ciphers, which gave a degree of confidentiality.
It was quite by chance that Morse code proved to be ideally suited to Marconi’s primitive spark transmitters, which could only send messages in the form of long and short bursts of electromagnetic waves. In fact, had Morse code not been devised more than half a century before Marconi began to create his wireless system at the Villa Griffone, he would have had to invent something very like it. In all probability, he would not have had the idea of wireless telegraphy at all.
The man who gave his name to the code was Samuel Finley Breese Morse. He was born in Charlestown, Massachusetts, in 1791 and studied at Yale University, where he took an interest in science. His ambition, however, was to be a great painter. He studied in Europe, and had some success with his landscapes and more dramatic canvases. In London he won prizes for his depiction of The Dying Hercules as well as for his sculpture. But in America he found it hard to earn a living. He had an unpaid academic post in New York, and got by painting portraits which fetched only about $15 each. On a trip back from Europe on the sailing packet Scully in 1837 he fell into conversation with fellow passengers about the uses of electricity, and conceived the idea of an electric telegraph. It was not an original idea, and Morse was not the man to turn it into a workable invention: he lacked the meticulous craftsmanship which was Marconi’s greatest talent. But it was his inspiration which led to the development of the telegraph code which would for ever after bear his name.
Morse’s original idea was to assign to hundreds of words a dedicated number, and to use electric current to activate a machine at a distance which would record a series of figures on paper. In September 1837 he set up a demonstration in a lecture theatre at New York University, with wires wound around the hall to give a distance of about a third of a mile. It was not a working system, but the prototype for something which with a bit of imagination might be made commercial. Morse and his brother Sidney were the publishers of the Journal of Commerce, which was read by, among others, the very inventive Vail family of Speedwell, New Jersey. Stephen Vail, the father, had turned a local blacksmith’s works into a thriving iron foundry which had built the steam engine for the SS Savannah, which in 1819 had become the first ship to cross the Atlantic powered by paddle-wheels as well as sail. His son Alfred had studied at New York University, and saw there by chance one of Morse’s telegraph demonstrations. He introduced himself, and with his father’s agreement subsequently offered to help develop the system.
Morse had no money, while the Vails had prospered from their steam engines and the casting of hundreds of miles of track for the railways which were beginning to spread out across America. An agreement was signed by which Alfred Vail and his brother George would share with Morse all the rights and rewards of a commercial telegraph system. The Vail brothers went to work on improving the technology, while Morse handled the publicity. A deadline was set for 1 January 1838, by which time Morse wanted to be able to offer the US government and businesses a workable system. It was a tall order: the only available electric cable was milliners’ copper wire, used to give a structure to the ‘skyscraper’ bonnets which were then fashionable. The Vails’ first batteries were made of cherry wood, with beeswax as insulation.
The local people in the Vails’ town of Speedwell thought Alfred and George had lost their minds as they worked long hours on what was regarded as a crazy venture. Meanwhile, Morse continued to compile his dictionary, assigning to each of five thousand words a specific number – England, for example, was ‘252’. However, devising a machine which could write ‘252’ proved too much for the Vails. They were close to despair when Alfred had the brainwave that a lever which had an up-and-down movement could more easily mark dots and dashes, and these, rather than whole numbers, could represent letters and numerals. Alfred and George had missed their deadline, but they had cracked the problem.
Alfred feverishly studied the letters of the alphabet, and found that ‘E’ was used more frequently than any other. He assigned it one dot. Other letters were then given their codes – ‘S’ became three dots, for example. It took until 1844 before the first commercial telegraphy system using what became known as ‘Morse code’ went into service in the United States. It was in truth Alfred Vail who devised it, but he allowed Samuel Morse to take the plaudits and enjoy the innumerable international honours which were showered upon him.
Operating Morse keys was an entirely new skill, as was the interpretation of the dots and dashes. With the invention of the telephone receiver a tape printer was no longer necessary, for the operator could simply listen to the urgent staccato of the Morse messages, translating them instantaneously from dots and dashes to letters and words. Very soon those with experience found they could recognise the styles of other individual Morse operators; some claimed they could tell the difference between the styles of men and women. Competitions were held to find the most skilful operators, and, ever attentive to the texture of contemporary life, McClure’s magazine sent a reporter to one such public demonstration held in New York at the turn of the century. It was a ‘fast sending competition’, held in a great hall in which ‘sets of shining telegraph instruments’ had been set up. Most of the audience were themselves telegraph operators, there to see which of the dozen young male contestants was adjudged the best. McClure’s described the scene:
One by one the contestants stepped to the test table, and manipulated the key. There was a tense stillness throughout the hall, broken when ‘time’ was called by a trill of metallic pulsations read by most of the audience as from a printed page. The text of the matter is of no concern, an excerpt from a great speech, a page of blank verse, or only the ‘conditions’ found at the top of a telegraph form. Speed and accuracy alone are vital. Forty, forty-five, fifty words a minute are rattled off, seven hundred and fifty motions of the wrist and still the limit is not reached. The contestants show the same evidences of strain that characterise the most strenuous physical contest – the dilating nostril, the quick or suspended breathing, the starting eye.
Presently a fair-haired young man takes the chair, self confidence and reserve force in every gesture. Away he goes, and his transmission is as swift and pure as a mountain stream … The audience, enthralled, forgets the speed, and hearkens only to the beauty of the sending. On and on fly the dots and dashes, and though it is clear that his pace is not up to that set by the leaders, nevertheless there is a finish – an indefinable quality of perfection in the performance that at the end brings the multitude to its feet in a spontaneous burst of applause; such an outburst as might have greeted a great piece of oratory or acting.
Marconi was at this time using exactly the same shining Morse keys as the contestants used for their New York sending competition. But he could not hope to match their speed, and certainly nobody would hearken to the beauty of his sending. Each dot and dash sent by wireless was created by a deafening spark – the operators soon took to wearing earplugs. At