As a continuation of the works of Jacques Noiray, Michel Butor and Michel Serres, the present article intends to question the nature and expansion of the machine’s theme in the last phase of Émile Zola’s work, in order to show the porosity of the boundaries that separate the “machine” from the “media”. Therefore, the author will develop the hypothesis that, in spite of the low representation of the traditional media in the cycle <em>Les Trois Villes</em> (1893-1898), it is nevertheless possible to find a very rich media imaginary, if we focus on the effects of the machines and technical objects that inhabit it. The analysis will focus on two novels that open and close this ensemble, Lourdes and Paris. Will be studied and compared the railway (train and wagon) and cyclist’s (bicycle) devices.