Inclined to wander, as well as to disassemble and reassemble anything his little hands touched, not long after his second birthday it had become necessary to remove him from the house and install him in his own dedicated section of the family barn, where Hephaestus kept his tools and maintained his blacksmith’s forge.
Here the father had designed a kind of labyrinth to keep the boy’s insatiable sense of experimentation occupied (and also to keep him somewhat protected from the prying eyes of visiting neighbors, whose dry, thick Zanesville tongues took to wagging whenever anything, let alone anyone, out of the ordinary crossed their paths). This combination of protective and distractive measures proved to have remarkable consequences.
What to other parents might have seemed a rather dangerous obstacle course of materials of various kinds (the debris of Hephaestus’s own inventions, miscellaneous bits of scrap metal and lumber, spare tools, and the like) provided yet more spark to the boy’s intellect and hunger for creation. To the blacksmith’s astonishment, the miniature minotaur embraced the labyrinth and began turning it into a working machine of its own unique kind, so that he was soon in no sense constrained by it but using it in the prosecution of new discovery and manufacture.
“If I didn’t know better,” Hephaestus said to himself, “I’d say that he had somehow a very good idea of what a first-rate metal shop, carpenter’s barn, and apothecary’s formulary looked like.”
It was not long before the supposed labyrinth become laboratory and workshop began to produce its own strange offspring-articulated puppets, for instance, brutish in appearance, perhaps, but subtle in their capabilities.