Count Zeppelin for his part, when bowed down in apparent defeat and crushed beneath the burden of virtual bankruptcy, steadily refused to deal with agents of other nations than Germany--which at that time was turning upon him the cold shoulder. He declared that his genius had been exerted for his own country alone, and that his invention should be kept a secret from all but German authorities. A secret it would be to-day, except that accident and the fortunes of war revealed the intricacies of the Zeppelin construction to both France and England.
Santos-Dumont had the fire, enthusiasm, and resiliency of youth; Zeppelin, upon whom age had begun to press when first he took up aeronautics, had the dogged pertinacity of the Teuton. Both were rich at the outset, but Zeppelin's capital melted away under the demands of his experimental workshops, while the ancestral coffee lands of the Brazilian never failed him.
Of the two Zeppelin had the more obstinacy, for he held to his plan of a rigid dirigible balloon even in face of its virtual failure in the supreme test of war. Santos-Dumont was the more alert intellectually for he was still in the flood tide of successful demonstration with his balloons when he saw and grasped the promise of the airplane and shifted his activities to that new field in which he won new laurels.
Zeppelin won perhaps the wider measure of immediate fame, but whether enduring or not is yet to be determined. His airships impressive, even majestic as they are, have failed to prove their worth in war, and are yet to be fully tested in peace. That they remain a unique type, one which no other individual nor any other nation has sought to copy, cannot be attributed wholly to the jealousy of possible rivals. If the monster ship, of rigid frame, were indeed the ideal form of dirigible it would be imitated on every hand. The inventions of the Wrights have been seized upon, adapted, improved perhaps by half a hundred airplane designers of every nation. But nobody has been imitating the Zeppelins.
[Illustration: The Giant and the Pigmies.
Painting by John E. Whiting.]
That, however, is a mere passing reflection. If the Zeppelin has not done all in war that the sanguine German people expected of it, nevertheless it is not yet to be pronounced an entire failure. And even though a failure in war, the chief service for which its stout-hearted inventor designed it, there is still hope that it may ultimately prove better adapted to many ends of peace than the airplanes which for the time seem to have outdone it.
Stout-hearted indeed the old Luftgraaf--"Air Scout"--as the Germans call him, was. His was a Bismarckian nature, reminiscent of the Iron Chancellor alike physically and mentally. In appearance he recalls irresistibly the heroic figure of Bismarck, jack-booted and cuirassed at the Congress of Vienna, painted by von Werner. Heir to an old land-owning family, ennobled and entitled to bear the title Landgraf, Count von Zeppelin was a type of the German aristocrat. But for his title and aristocratic rank he could never have won his long fight for recognition by the bureaucrats who control the German army. In youth he was anti-Prussian in sentiment, and indeed some of his most interesting army experiences were in service with the army of South Germany against Prussia and her allied states. But all that was forgotten in the national unity that followed the defeat of France in 1872.
Before that, however, the young count--he was born in 1838--had served with gallantry, if not distinction, in the Union Army in our Civil War, had made a balloon ascension on the fighting line, had swum in the Niagara River below the falls, being rescued with difficulty, and together with two Russian officers and some Indian guides had almost starved in trying to discover the source of the Mississippi River--a spot which can now be visited without undergoing more serious hardships than the upper berth in a Pullman car.
