Another modern material is the mechanistic. This is the age of machinery, and even engines are run by ghost-power. Examples of the mechanical spook are legion. There is the haunted automobile in Harriet Prescott Spofford's story, _The Mad Lady_, that reproduces through its speaking tube the long-dead voice, that runs away with its occupants, reliving previous tragic experiences. A phantom Ford is an idea combining romanticism with realism surely! In connection with this extraordinary car is a house that erects itself out of dreams and is substantial enough for living purposes. Other specimens are John Kendrick Bangs's enchanted typewriter that clicks off psychograms in the dark, between midnight and three o'clock in the morning; Frank R. Stockton's machine for negativing gravity; Poe's balloon in which Hans Pfaal makes his magic trip to the moon; Wells's new accelerator that condenses and intensifies vital energy, enabling a man to crowd the forces of a week into an hour of emergency, as likewise his time machine that permits the inventor to project himself into the future or the past at will, to spend a week-end in any era. The butterfly in Hawthorne's story shows the spiritualization of machinery as the poor artist of the beautiful conceived it, the delicate toy imbibing a magnetism, a spiritual essence that gives it life and beauty and power of voluntary motion. This etherealized machinery is manifest in modern fiction as well as the diabolic constructions that wreck and ruin. Inanimate objects have a strange power in later fiction as Poe's ship that is said in certain seas to increase in size, as the trees told of by Algernon Blackwood that grow in the picture. There are various haunted portraits, as the picture of Dorian Gray that bears on its face the lines of sin the living face does not show, and whose hands are bloodstained when Dorian commits murder; and the painting told of in De Morgan's _A Likely Story_, that overhears a quarrel between an artist and his wife, the woman wrongly suspecting her husband and leaving him. The picture relates the story to a man who has the painting photographed and a copy sent to the wife. There is the haunted tapestry[215] that is curiously related to the living and to the long dead. [215] In Poe's _Metzengerstein_.