Chess Automatons - The Turk : Issue 2

cover: The Turk

Mephisto,

the Marvellous Automaton

Ajeeb, the Pride of the Eden Musée

The Turk Issue #1: The Automaton Chess-player - Cornhill Magazine Inanimate Reason by Carl-Gottlieb von Windisch The Turk - Joseph Friedrich Freiherr zu Racknitz Issue #2: Brewster's Letters on Natural Magic Robert-Houdin and the Turk An Attempt to Analyse the Automaton Chess Player by Robert Willis Observations on an Automaton Chess Player by an Oxford Graduate. 1819.

Issue #3: The Chess Automaton by George Walker Maelzel, Schlumberger and the Turk The Turk at Odds Issue #4: E.A. Poe and the Turk The Automaton by John Timbs The Turk - from the Diary of Robert Gilmor Address to the Automaton Chess-player The Last of a Veteran Chess Player by Silas Weir Mitchell Ajeeb Issue #5: The Strange and Wondrous Ajeeb Eden Musée The Mysterious Ajeeb - The Pride of the Eden Musée The Mysterious Ajeeb - Chess Reporter 1932 Ajeeb - Odds and Ends The Automaton Whist-player Mephisto Issue #6: Mephisto the Magnificent How Mephisto Was Caught: Chess Legend Mephisto - promotional material

ISSUE 2

CHESS AUTOMATONS THE TURK

Around the time when America was soon to become the United States, the very year that Napoleon Bonaparte was born, the first chess automaton made its debut. A chess automaton is a mechanism that purports to play chess, i.e. act intelligently of its own accord, but in reality is controlled by some exterior and unsuspected source, usually an established chess master. Some people call them hoaxes, some call them marvels, but since they were paraded about for entertainment and not for scientific advancement, they possibly more correctly fall within the category of legerdemain.

There were three well known chess automatons: the first and greatest was the Turk which existed from 1769 to 1854 and toured mainland Europe, England and America ; the second was a strange fellow called Mephisto; and last was a carnival act call Ajeeb.

This series intends to examine all three of these creations mainly through historical documentation.

The Turk will be the first subject. This automaton had four distinct periods – its creation and subsequent exhibitions by it’s creator; its resurrection and exhibitions in mainland Europe and England; its emigration to the United States where it exhibited for a dozen years and finally its slow and almost ignoble demise. Some of the documentations scurry over these periods helter-skelter, while some just dwell on single times. Together, however, they form a powerful picture of the machine that bewildered Ben Franklin, upstaged Philidor and intrigued E.A. Poe.

In 1784 Philip Thicknesse, who fancied himself an expert at exposing hoaxes, had written a pamphlet called, "The speaking figure and the automaton chess-player exposed and detected," after witnessing an exhibition in London. According to Thicknesse, a small boy was concealed in the automaton's chess cavity and followed the game through a mirror placed in the ceiling. That same year, Henri Decremps, in his book, "La Magie Blance Devoilee," speculated that not a child but a dwarf was concealed in the chest cavity.

As will seen here, the Turk was considered a phenomenon, a wondrous mixture of science and magic perhaps, worthy of the attention of great minds.

In his 1821 compilation of Letters on Natural Magic, former child prodigy David Brewster (1781-1868), who invented and named the kaleidoscope in 1816, discussed various natural phenomena as used in magic such as : optical illusions, spectral illusions, magic lantern, feats of strength, automata, Babbage's calculating machines, ventriloquism, wonders of chemistry, alchemy, breathing fire, and spontaneous combustion. 13 pages (and 11 ilustrations) were devoted to the Turk. Those are included below.

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from - Letters on Natural Magic

by Sir David Brewster

Ingenious as all these machines are, they sink into insignificance when compared with the automaton chess-player, which for a long time astonished and delighted the whole of Europe. In the year 1769, M. Kempelen, a gentleman of Presburg in Hungary, constructed an automaton chess-player, the general appearance of which is shown in the annexed figures. The chess-player is a figure as large as life, clothed in a Turkish dress sitting behind a large square chest or box three feet and a half long, two feet deep, and two and a half high. The machine runs on casters, and is either seen on the floor when the doors of the apartment are thrown open, or is wheeled into the room previous to the commencement of the exhibition. The Turkish chess-player sits on a chair fixed to the square chest. His right arm rests on the table, and in the left he holds a pipe, which is removed during the game, as it is with this hand that he makes the moves. A chess-board, eighteen inches square, and bearing the usual number of pieces is placed before the figure.

Fig. 61 a perspective view of the automaton seen in front with all the doors thrown open

Fig. 62 an elevation of the automaton, as seen from behind

The exhibitor then announces to the spectators his intention of shewing them the mechanism of the automaton. For this purpose he unlocks the door A, Fig. 61, and exposes to view a small cupboard lined with black or dark coloured cloth, and containing cylinders, levers, wheels, pinions, and different pieces of machinery, which have the appearance of occupying the whole space. He next opens the door B, Fig 62, at the back of the same cupboard and, holding a lighted candle at the opening, he still farther displays the enclosed machinery to the spectators, placed in front of A, Fig. 61. When the candle is withdrawn, the door B is then locked; and the exhibitor proceeds to open the drawer G G, Fig. 6l, in front of the chest. Out of this drawer he takes a small box of counters, a set of chess-men, and a cushion for the support of the automaton's arm, as if this was the sole object of the drawer.

The two front doors C, C, of the large cupboard, Fig. 61, are then opened, and at the back-door D of the same cupboard, Fig. 62, the exhibitor applies a lighted candle, as before, for the purpose of shewing its interior, which is lined with dark cloth like the other, and contains only a few pieces of machinery. The chest is now wheeled round, as in Fig. 62: The garments of the figure are lifted up, and the door E in the trunk, and another door F, in the thigh, are opened, the doors B and D having been previously closed. When this exhibition of the interior of the machine is over, the chest is wheeled back into its original position on the floor. The doors A, C, C, in front, and the drawer G, G, are closed and locked, and the exhibitor, after occupying himself for some time at the back of the chest, as if he were adjusting the mechanism, removes the pipe from the hand of the figure, and winds up the machinery.

The automaton is now ready to play, and when an opponent has been found among the company, the figure takes the first move. At every move made by the automaton, the wheels of the machine are heard in action; the figure moves its head, and seems to look over every part of the chess-board. When it gives check to its opponent, it shakes its head thrice, and only twice when it checks the Queen. It likewise shakes its head when a false move is made, replaces the adversary's piece on the square from which it

was taken, and takes the next move itself. In general, though not always, the automaton wins the game.

During the progress of the game, the exhibitor often stands near the machine, and winds it up like a clock after it has made ten or twelve moves. At other times he went to a corner of the room, as if it were to consult a small square box, which stood open for this purpose.

The chess-playing machine, as thus described, was exhibited after its completion in Presburg, Vienna, and Paris, to thousands, and in 1783 and 1784 it was exhibited in London and different parts of England, without the secret of its movements having been discovered. Its ingenious inventor, who was a gentleman and a man of education, never pretended that the automaton itself really played the game. On the contrary, he distinctly stated, "that the machine was a bagatelle which was not without merit in point of mechanism, but that the effects of it appeared so marvellous only from the boldness of the conception, and the fortunate choice of the methods adopted for promoting the illusion."

Upon considering the operations of this automaton, it must have been obvious that the game of chess was performed either by a person enclosed in the chest, or by the exhibitor himself. The first of these hypotheses was ingeniously excluded by the display of the interior of the machine, for as every part contained more or less machinery, the spectator invariably concluded that the smallest dwarf could not be accommodated within, and this idea was strengthened by the circumstance, that no person of this description could be discovered in the suite of the exhibitor. Hence the conclusion was drawn, that the exhibitor actuated the machine either by mechanical means conveyed through its feet, or by a magnet concealed in the body of the exhibitor. That mechanical communication was not formed between the exhibitor and the figure, was obvious from the fact, that no such communication was visible, and that it was not necessary to place the machine on any particular part of the floor.

Hence the opinion became very prevalent that the agent was a magnet; but even this supposition was excluded, for the exhibitor allowed a strong and well armed loadstone to be placed upon the machine during the progress of the game: Had the moving power been a magnet, the whole action of the machine would have been deranged by the approximation of a loadstone concealed in the pockets of any of the spectators.

As Baron Kempelen himself had admitted that there was an illusion connected with the performance of the automaton, various persons resumed the original conjecture, that it was actuated by a person concealed in its interior, who either played the game of chess himself, or performed the moves which the exhibitor indicated by signals. A Mr J. F. Freyhere of Dresden published a book on the subject in 1789, in which he endeavoured to explain, by coloured plates, how the effect was produced; and he concluded, "that a well-taught boy, very thin and tall of his age, (sufficiently so that

he could be concealed in a drawer almost immediately under the chess-board) agitated the whole".

In another pamphlet which had been previously published at Paris in 1785, the author not only supposed that the machine was put in motion by a dwarf, a famous chessplayer, but he goes so far as to explain the manner in which he could be accommodated within the machine. The invisibility of the dwarf when the doors were opened was explained by his legs and thighs being concealed in two hollow cylinders, while the rest of his body was out of the box, and hid by the petticoats of the automaton. When the doors were shut the clacks produced by the swivel of a ratchetwheel permitted the dwarf to change his place and return to the box unheard; and while the machine is wheeled about the room, the dwarf had an opportunity of shutting the trap through which he passed into the machine. The interior of the figure was next shown, and the spectators were satisfied that the box contained no living agent.

Although these views were very plausible, yet they were never generally adopted; and when the automaton was exhibited in Great Britain in 1819 and 1820, by M. Maelzel, it excited as intense an interest as when it was first produced in Germany. There can be little doubt, however, that the secret has been discovered; and an anonymous writer has shown in a pamphlet, entitled "An attempt to analyse the automaton chessplayer of M. Kempelen," that it is capable of accommodating an ordinarily sized man; and he has explained in the clearest manner how the inclosed player takes all the different positions, and performs all the motions which are necessary to produce the effects actually observed. The following is the substance of his observations: The drawer G G when closed does not extend to the back of the chest, but leaves a space O, behind it, (See Fig. 69, 70, and 71,) fourteen inches broad, eight inches high, and three feet eleven inches long. This space is never exposed to the view of spectators. The small cupboard seen at A is divided into two parts by a door or screen I, Fig. 66, which is moveable upon a hinge, and is so constructed that it closes at the same instant that B is closed. The whole of the front compartment as far as I is occupied with the machinery H. The other compartment behind I is empty, and communicates with the space O behind the drawer, the floor of this division being removed. The back of the great cupboard C C is double, and the part P Q, to which the quadrants are attached, moves on a joint Q, at the upper part, and forms when raised an opening S, between the two cupboards, by carrying with it part of the partition R, which consists of cloth tightly stretched. The false back is shown closed in Fig. 69, while Fig. 70 shows the same back raised, so as to form the opening S between the chambers.

When the spectator is allowed to look into the trunk of the figure by lifting up the dress, as in Fig. 70, it will be observed that a great part of the space is occupied by an inner trunk N, Fig. 70, 71, which passes off to the back in the form of an arch, and conceals from the spectators s portion of the interior. This inner trunk N opens and

communicates with the chest by an aperture T, Fig. 72, about twelve inches broad and fifteen high. When the false back is raised the two cupboards, the trunk N, and the space O behind the drawer, are all connected together.

The construction of the interior being thus understood, the chess-player may be introduced into the chest through the sliding panel U, Fig. 69. He will then raise the false back of the large cupboard, and assume the position represented by the shaded figure in Fig. 63 and 64. Things being in this state, the exhibitor is ready to begin his process of deception. He first opens the door A of the small cupboard, and from the crowded and very ingenious disposition of the machinery within it, the eye is unable to penetrate far beyond the opening, and the spectator concludes without any hesitation, that the whole of the cupboard is filled, as it appears to be, with similar machinery. This false conclusion is greatly corroborated by observing the glimmering light which plays among the wheel work when the door B is opened, and a candle held at the opening. This mode of exhibiting the interior of the cupboard satisfies the spectator also that no opaque body capable of holding or concealing any of the parts of a hidden agent is interposed between the light and the observer. The door B is now locked and the screen I closed, and as this is done at the time that the light is withdrawn it will wholly escape observation.

Fig. 63 an elevation of the front of the chest, the shaded figure representing the enclosed player in his first position, or when the door A is opened

Fig. 64 a side elevation, the shaded figure representing the player in the same position

The door B is so constructed as to close by its own weight, but as the head of the chess-player will soon be placed very near it, the secret would he disclosed if, in turning round, the chest door should by any accident fly open. This accident is prevented by turning the key, and, lest this little circumstance should excite notice, it would probably be regarded as accidental, as the keys were immediately wanted for the other locks.

As soon as the door B is locked, and the screen I closed, the secret is no longer exposed to hazard, and the exhibitor proceeds to lead the minds of the spectators still farther from the real state of things. The door A is left open to confirm the opinion that no person is concealed within, and that nothing can take place in the interior without being observed.

The drawer G G is now opened, apparently for the purpose of looking at the chessmen, cushion and counters which it contains; but the real object of it is to give time to the player to change his position, as shown in the annexed figure, and to replace the false back and partition preparatory to the opening of the great cupboard. The chessplayer, as the figure shows, occupies with his body the back compartment of the small cupboard, while his legs and thighs are contained in the space O, behind the drawer G G, his body being concealed by the screen I, and his limbs by the drawer G G.

Fig. 65 a front elevation, the shaded figure showing the player in his second position, or that which he takes after the door B and screen I are closed, and the great cupboard opened

The great cupboard C C is now opened, and there is so little machinery in it that the eye instantly discovers that no person is concealed in it. To make this more certain, however, a door is opened at the back, and a lighted candle held to it, to allow the spectators to explore every corner and recess.

The front doors of the great and small cupboard being left open, the chest is wheeled round to show the trunk of the figure, and the bunch of keys is allowed to remain in the door D, as the apparent carelessness of such a proceeding will help to remove any suspicion which may have been excited by the locking of the door B. When the drapery of the figure has been raised, and the doors E and F in the trunk and thigh opened, the chest is wheeled round again into its original position, and the doors E and F closed. In the meantime the player withdraws his legs from behind the drawer, as he cannot so easily do this when the drawer G G is pushed in.

In all these operations, the spectator flatters himself that he has seen in succession every part of the chest, while in reality some parts have been wholly concealed from his view, and others but imperfectly shown, while at the present time nearly half of the chest is excluded from view.

When the drawer G G is pushed in, and the doors A and C closed, the exhibitor adjusts the machinery at the back, in order to give time to the player to take the position shown in a front view in Fig. 66, and in profile in Fig. 67. In this position he will experience no difficulty in executing every movement made by the automaton.

As his head is above the chess-board, he will see through the waistcoat of the figure, as easily as through a veil, the whole of the pieces on the board, and he can easily

take up and put down a chess man without any other mechanism than that of a string communicating with the finger of the figure. His right hand being within the chest may be employed to keep in motion the wheel-work for producing the noise which is heard during the moves, and to perform the other movements of the figure, such as that of moving the head, tapping on the chest, &c.

Fig. 66 a front elevation, the shaded figure showing the player in his third position or that in which he plays the game

Fig. 67 a side elevation, showing the figure in the same position

A very ingenious contrivance is adopted to facilitate the introduction of the player's left arm into the arm of the figure. To permit this, the arm of the figure requires to be drawn backwards; and for the purpose of concealing, and at the same time explaining this strained attitude, a pipe is ingeniously placed in the automaton's band. For this reason the pipe is not removed till all the other arrangements are completed. When every thing has been thus prepared, the pipe is taken from the figure, and the exhibitor winds up as it were the inclosed machinery, for the double purpose of impressing upon the company the belief that the effect is produced by machinery, and of giving a signal to the player to put in motion the head of the automaton.

Fig. 68 an horizontal section of the chest through the line W W in Fig. 66

Fig. 69 a vertical section of the chest through the line X X in Fig. 68

This ingenious explanation of the chess automaton is, our author states, greatly confirmed by the regular and undeviating mode of disclosing the interior of the chest; and he also shows that the facts which have been observed respecting the winding up

of the machine, "afford positive proof that the axis turned by the key is quite free and unconnected either with a spring or weight, or any system of machinery."

Fig. 70 a vertical section through the line Y Y, Fig.66 showing the false back closed

Fig. 71 a similar vertical section showing the false back raised

The following letters of reference are employed in all the figures: A. Front door of the small cupboard B. Back door of ditto.

C C. Front doors of large cupboard D. Back door of ditto.

E. Door of ditto.

F. Door of the thigh.

G G. The drawer.

H. Machinery in front 'of the small cupboard.

I. Screen behind the machinery.

K. Opening caused by the removal of part of the floor of the small cupboard. L. A box which serves to conceal an opening in the floor of the large cupboard, made to facilitate the first position; and which also series as s seat for the third position.

M. A similar box to receive the toes of the player in the first position.

N. The inner chest filling up part of the trunk.

O. The space behind the drawer.

P Q. The false back turning on a joint at Q. R. Part of the partition formed of cloth stretched tight, which is carried up by the false back to form the opening between the chambers.

S. The opening between the chambers.

T. The opening connecting the trunk and chest, which is partly concealed by the false back.

U. Panel which is slipt aside to admit the player.

Jean Eugène Robert-Houdin was by far the most famous magician of his day and appropriately enough, a great illusionist. As such, his memoirs, much of which are now considered fiction, carried a lot of weight and his tale of the Turk, a mixture of fact and fantasy, is still a source of much misinformation. from The Memoirs of Robert-Houdin Robert-Houdin

My story commences in Russia: the first division of Poland in 1792 had produced a certain fermentation, the effects of which were felt some years later. In 1796, a revolt broke out in a half-Russian, half-Polish regiment stationed at Riga, at the head of the rebels being an officer of the name of Worousky, a man of great talent and energy. He was of short stature, but well built; and he exercised such influence, that the troops sent to suppress the revolt were beaten back with considerable loss.

However, reinforcements came from St. Petersburg, and the insurgents were defeated in a pitched battle. A great

number perished, and the rest took to flight across the marshes, where the soldiers pursued them, with orders to grant no quarter.

In this rout Worousky had both thighs shattered by a cannon-ball, and fell on the battle-field; however, he escaped from the general massacre by throwing himself into a ditch behind a hedge. At nightfall Worousky dragged himself along with great difficulty to the adjacent house of a physician of the name of Osloff, whose benevolence was well known, and the doctor, moved by his sufferings, attended upon, and promised to conceal, him. His wound was serious, but the doctor felt confident of curing him, until gangrene set in, and his life could only be saved at the cost of half his body. The amputation was successful, and Worousky saved.

During this time, M. de Kempelen, a celebrated Viennese mechanician, came to Russia to pay a visit to M. Osloff, with whom he had long been acquainted. He was travelling about to learn foreign languages, the study of which he afterwards displayed in his splendid work on the "Mechanism of Words," published at Vienna in 1791. M. de Kempelen stopped a short time in every country the language of which he desired to learn, and his aptitude was so great that he acquired it very speedily.

This visit was the more agreeable to the doctor, as for some time he had been alarmed as to the consequences of the noble action he had performed; he feared being compromised if it were found out, and his embarrassment was extreme, for, living alone with an old housekeeper, he had no one to consult or to help him. Hence, he told M. de Kempelen his secret, and begged his aid. Though at first startled by sharing such a secret-for he knew that a reward was offered for the insurgent chief, and that the act of humanity he was about to help in might send him to Siberia -still, M. de Kempelen, on seeing Worousky's mutilated body, felt moved with ompassion, and began contriving some plan to secure his escape.

Dr. Osloff was a passionate lover of chess, and had played numerous games with his patient during his tardy convalescence; but Worousky was so strong at the game that the doctor was always defeated. Then Kempelen joined the doctor in trying to defeat the skilful player, but it was of no use; Worousky was always the conqueror.

His superiority gave M. de Kempelen the idea of the famous Automaton Chessplayer. In an instant his plan was formed, and he set to work immediately. The most remarkable circumstance is, that this wonderful chef-d'oeuvre, which astonished the whole world, was invented and finished within three months.

M. de Kempelen was anxious his host should make the first essay of his automaton; so, he invited him to play a game on the 10th October, 1796. The automaton represented a Turk of the natural size, wearing the national costume, and seated behind a box of the shape of a chest of drawers. In the middle of the top of the box was a chess-board. Prior to commencing the game, the artist opened several doors in the chest, and M. Osloff could see inside a large number of wheels, pulleys, cylinders, springs, &c., occupying the larger part. At the same time, he opened a long drawer, from which he produced the chessmen and a cushion, on which the Turk was to rest his arm. This examination ended, the robe of the automaton was raised, and the interior of the body could also be inspected.

The doors being then closed, M. de Kempelen wound up one of the wheels with a key he inserted in a hole in the chest; after which the Turk, with a gentle nod of

salutation, placed his hand on one of the pieces, raised it, deposited it on another square, and laid his arm on the cushion before him. The inventor had stated that, as the automaton could not speak, it would signify check to the king by three nods, and to the queen by two.

The doctor moved in his turn, and waited patiently till his adversary, whose movements had all the dignity of the Sultan he represented, had moved. The game, though slow at first, soon grew animated, and the doctor found he had to deal with a tremendous opponent; for, in spite of all his efforts to defeat the figure, his game was growing quite desperate. It is true, though, that for some minutes past, the doctor's attention had appeared to be distracted, and one idea seemed to occupy him. But while hesitating whether he should impart his thoughts to his friend, the figure gave three nods. The game was over.

"By Jove!" the loser said, with a tinge of vexation, which the sight of the inventor's smiling face soon dispelled, "if I were not certain Worousky is at this moment in bed, I should almost believe I had been playing with him. His head alone is capable of inventing such a checkmate. And besides," the doctor said, looking fixedly at M. Kempelen, "can you tell me why your automaton plays with the left hand, just like Worousky?" * [* The automaton chess-player always used the left handa defect falsely attributed to the carelessness of the constructor.]

The mechanician began laughing, and not wishing to prolong the mystification, the prelude to so many others, he confessed to his friend that he had really been playing with Worousky.

"But where the deuce have you put him, then?" the doctor said, looking round to try and discover his opponent.

The inventor laughed heartily. "Well! do you not recognise me?" the Turk exclaimed, holding out his left hand to the doctor in reconciliation, while Kempelen raised the robe, and displayed the poor cripple stowed away in the body of the automaton.M. Osloff could no longer keep his countenance, and he joined the others in their laughter. But he was the first to stop, for he wanted an explanation.

"But how do you manage to render Worousky invisible?"

M. de Kempelen then explained how he concealed the living automaton before it entered the Turk's body.

"See here!" he said, opening the chest, "these wheels, pulleys, and cranks occupying a portion of the chest, are only a deception. The frames that support them are hung on hinges, and can be turned back to leave space for the player while you were examining the body of the automaton.

"When this inspection was ended, and as soon as the robe was allowed to fall, Worousky entered the Turk's body we have just examined, and, while I was showing you the box and the machinery, he was taking his time to pass his arms and hands into those of the figure. You can understand that, owing to the size of the neck, which is hidden by the broad and enormous collar, he can easily pass his head into this mask, and see the chess-board. I must add, that when I pretend to wind up the machine, it is only to drown the sound of Worousky's movements."

"Very good, then," the doctor replied, to show he perfectly understood the plan;

"while I was examining the chest, my confounded Worousky was in the Turk's body, and when the robe was lifted, he had passed into the chest. I frankly allow," M. Osloff added, "that I was done by this ingenious arrangement; but I console myself with the idea that cleverer persons than I will be deceived."

The three friends were the more delighted by the result of this private rehearsal, as this instrument furnished an excellent means of escape for the poor prisoner, and at the same time assured him a livelihood. The same evening the road by which the frontier should be reached was agreed on, as well as the precautions to be taken during the journey. It was also arranged that, in order to arouse no suspicions, performances should be given in all the towns they passed through, beginning with Toula, Kalouga, Smolensk, &c.

A month later, Worousky, now entirely recovered, gave a first specimen of his marvellous skill to a numerous audience at Toula. I possess a copy of the original bill, which was given me by M. Hessler, nephew of Dr. Osloff, who also supplied me with all these details. Worousky won every game he played at Toula, and the papers were full of praises of the automaton. Assured of success by the brilliance of their début, M. de Kempelen and his companion proceeded towards the frontier.

It was necessary that Worousky should be concealed from sight somewhere even while travelling; hence he was literally packed up. The enormous chest in which the automaton was conveyed only travelled very slowly, apparently through fear of breaking the machinery, but in reality to protect the skilful chess-player who was shut up in it, while air-holes were made in the side of this singular post-chaise to enable Worousky to breathe. The poor cripple endured all this inconvenience calmly, in the hope of soon being out of reach of the Muscovite police, and arriving safely and sound at the end of this painful journey. The fatigue, it must be granted, was considerably alleviated by the enormous receipts they netted by the exhibition.

Our travellers had arrived at Vitebsk, on the road to the Russian frontier, when one morning Kempelen rushed into the room where Worousky was concealed.

"A frightful misfortune hangs over us," the mechanician said, in a terrible state of alarm, and showing a letter dated St. Petersburg.

"Heaven knows how we shall escape it! The empress Catherine, having heard through the papers of the automaton's wonderful talent, desires to play a game with it, and requests me to bring it straight to the imperial palace. We must hit on some plan to evade this dangerous honour."

To Kempelen's extreme surprise, Worousky heard this great news very calmly, and even seemed to be pleased at it.

"Refuse such a visit!-by no means: the wishes of the Czarina are orders which cannot be infringed without peril; we must, therefore, obey her as quickly as possible.

Your zeal will have the double effect of gaining her favour, and removing any suspicions that might arise about your automaton. Besides," the bold soldier added, with a degree of pride, "I confess I should like to find myself face to face with the great Catherine, and show her that the head on which she set the price of a few roubles is, under certain circumstances, as good as her own."

"Madman that you are!" M. de Kempelen exclaimed, startled by the excitement of the impetuous insurgent. "Remember, that we may be discovered, and you will lose

your life, while I shall be sent to Siberia."

"Impossible!" Worousky quietly replied; "your ingenious machine has already deceived so many skilful persons, that I am convinced we shall soon have one dupe more. Besides, what a glorious reminiscence, what an honour it will be to us, if we can say some day that the Empress Catherine II., the haughty Czarina, whom her courtiers proclaim the most intellectual person in her vast empire, was deceived by your genius, and conquered by me!"

Kempelen, though not sharing Worousky's enthusiasm, was obliged to yield.

Hence, they set off without further argument; the journey was very long and fatiguing, but Kempelen did not quit his companion for a moment, and did all in his power to ameliorate his position. At length they reached their journey's end, but though they had travelled as fast as they could, Catherine, on receiving Kempelen, appeared rather angry.

"My roads must be very bad, sir, if you require fifteen days to travel from Vitebsk to St. Petersburg."

"Will your majesty," the crafty technician replied, "allow me to make a confession which will serve as my excuse?"

"Do so," Catherine replied, "provided it is not a confession of the incapacity of your marvellous machine."

"On the contrary, I would confess that, being aware of your majesty's skill at chess, I desired to offer you a worthy opponent. Hence, before starting, I made some additions which were indispensable for so important a game.

"Ah!" the empress said, with a smile, smoothed down by this flattering explanation. "And you fancy these new arrangements will enable your automaton to beat me?"

"I should be much surprised were it otherwise."

"Well, we shall see, sir," the empress continued, nodding her head ironically.

"But," she added, in the same tone, "when will you bring my terrible opponent before me?"

"Whenever your majesty may please."

"If that is the case, I am so impatient to measure my strength with the conqueror of the most skilful players in my country, that I will receive him this very evening in my library. Put up your machine there, and at eight o'clock I will join you. Be punctual!"

Kempelen took leave of Catherine, and hastened to make his preparations for the evening. Worousky was delighted at the prospect of amusing the empress; but, although Kempelen was resolved to risk the adventure, he wished to take all possible precautions, so that he might have a way of escape in case of danger. Hence, he had the automaton carried to the palace in the same chest in which it travelled.

When eight o'clock struck, the empress, accompanied by a numerous suite, entered the library and took her place at the chess-board. I have forgotten to say that Kempelen never allowed any one to pass behind the automaton, and would not consent to begin the game till all the spectators were in front of the board.

The court took their places behind the empress, unanimously predicting the defeat of the automaton. The chest and the Turk's body were then examined, and when all were perfectly convinced they contained nothing but the clockwork I have already

mentioned, the game began. It proceeded for some time in perfect silence, but Catherine's frowning brow speedily revealed that the automaton was not very gallant towards her, and fully deserved the reputation it had gained. The skilful Mussulman captured a bishop and a knight, and the game was turning much to the disadvantage of the lady, when the Turk, suddenly forgetting his dignified gravity, gave a violent blow on his cushion, and pushed back a piece his adversary had just moved.

Catherine II, had attempted to cheat; perhaps to try the skill of the automaton, or for some other reason. At any rate, the haughty empress, unwilling to confess her weakness, replaced the piece on the same square, and regarded the automaton with an air of imperious authority. The result was most unexpected-the Turk upset all the pieces with a blow of his hand, and immediately the clockwork, which had been heard during the whole game, stopped. It seemed as if the machinery had got out of repair. Pale and trembling, M. de Kempelen, recognising in this Worousky's impetuous temper, awaited the issue of this conflict between the insurgent and his sovereign.

"Ah, ah! my good automaton! your manners are rather rough," the empress said, good humouredly, not sorry to see a game she had small chance of winning end thus.

"Oh! you are a famous player, I grant; but you were afraid of losing the game, and so prudently upset the pieces. Well, I am now quite convinced of your skill and your violent character."

M. de Kempelen began to breathe again, and regaining courage, tried to remove the unfavourable impression which the little respect shown by the automaton must have produced. Hence he said, humbly, "Will your majesty allow me to offer an explanation of what has just happened?"

"By no means. M. de Kempelen," Catherine said, heartily - "by no means; on the contrary, I find it most amusing, and your automaton pleases me so much, that I wish to purchase it. I shall thus always have near me a player, somewhat quick perhaps, but yet able to hold his own. You can leave it here tonight, and come to me to-morrow morning to arrange the price."

There is some reason to believe that Catherine wished to commit an indiscretion when she evinced a desire that the figure should remain at the palace till the next morning. Fortunately, the skilful mechanician managed to baffle her feminine curiosity by carrying Worousky off in the big chest. The automaton remained in the library, but the player was no longer there.The next day Catherine renewed her proposition to purchase the chess-player, but Kempelen made her understand that, as the figure could not perform without him, he could not possibly sell it. The empress allowed the justice of these arguments; and, while complimenting the mechanician on his invention, made him a handsome present.

Three months after, the automaton was in England, under the management of Mr. Anthon, to whom Kempelen had sold it. I know not if Worousky was still attached to it, but I fancy so, owing to the immense success the chess-player met with. Mr. Anthon visited the whole of Europe, always meeting with the same success; but, at his death, the celebrated automaton was purchased by Maëlzel, who embarked with it for New York. It was then, probably, that Worousky took leave of his hospitable Turk, for the automaton was not nearly so successful in America. After exhibiting his

mechanical trumpeter and chess-player for some time, Maëlzel set out again for France, but died on the passage of an attack of indigestion. His heirs sold his apparatus, and thus Cronier obtained his precious relic.

An Attempt to Analyse the Automaton Chess Player

by Robert Willis

1821

THE Automaton Chess Player was first introduced into England by Mr. de Kempelen, its inventer, about the year 1783. It was brought again into this country two years ago, and exhibited under the direction of a very ingenious gentleman, Mr. Maelzel.

The annexed drawings, (plate 1, figs. 1 and 2,) represent the general appearance of the machine. It runs on castors, and is either seen on the floor when the doors of the apartment are thrown open, or is wheeled into the room at the commencement of the exhibition.

The exhibiter, in order to shew the mechanism, as he informs the spectators, unlocks the door (a, fig. 1.) of the chest, which exposes to view a small cupboard, lined with

black or dark coloured cloth, and containing different pieces of machinery, which seem to occupy the whole space. He next opens the door (b, fig. 2.) at the back of the same cupboard, and, holding a lighted candle at the opening, still further exposes the machinery within. The candle being withdrawn, the door (b) is then locked. The drawer (G G, fig. 1.) in the front of the chest is next opened, and a set of chess men, a small box of counters, and a cushion for the support of the Automaton's arm, are taken out of it. The exhibiter now opens the two front doors (c c, fig. L) of the large cupboard, and the back door (d, fig. 2.) of the same, and applies a candle as in the former case. This cupboard is lined with cloth like the other, but it contains only a few pieces of machinery. The chest is now wheeled round, the garments of the figure are lifted up, and the door (E, fig. 2,) in the trunk, and another (f,) in the thigh, are opened. But it must be observed that the doors (B and D) are closed. The circumstance is mentioned, because Mr. de Windisch, in his letters on this subject, has a passage which would seem to imply that Mr. Maelzel's mode of exhibiting the interior differs from that which Mr. de Kempelen employed. " But do not imagine," says De Windisch, " like many others, that the inventer shuts one door as he opens another; the entire Automaton is seen at the same time uncovered, his garments turned up, and the drawer opened, as well as all the doors of the chest."

Now a reference to De Kempelen's second drawing, published by Mechel, and annexed to De Windisch's letters, will shew that, when the chest was turned round, the doors (B and D) were actually closed, as they always have been under the direction of Mr. Maelzel. In the chest of the latter gentleman, indeed, the doors in question are suspended by hinges attached to the upper part, (as in fig. 2), and consequently close by their own gravity. But the fact is, that the exhibiter never fails to lock them, though he leaves the keys in one of the locks. The other doors are allowed to swing about whilst the chest is wheeled round.

The chest is now restored to its former position on the floor; the doors in front, and the drawer, are closed and locked; and the exhibiter, after he has occupied some time at the back of the chest, in apparently adjusting the machinery, removes the pipe from the hand of the figure, winds up the works, and the Automaton begins to move.

These movements, resulting, as they appear to do, from mere mechanism, yet strongly impressed with the distinctive character of an intellectual guidance, have excited the admiration of the curious during a period little short of forty years. In that time various conjectures have been offered to the world as solutions of the problem; but no one, as far as I know, having attempted to imitate the movements, it is fair to conclude, either that the means proposed are inadequate to the end, or that the description of them is too imperfect to enable a workman to complete the machinery.

Automata may be divided into three classes—the simple—the compound—and the spurious.

The first class comprises those insulated Automata whose movements result from mechanism alone ; by the aid of which they perform certain actions, and continue them, so long as the moving force is kept in an active state.

The second, class includes those Automata, which, like the former, are moved by machinery ; but, possessing at the same time a communication, not immediately apparent, with human agency, are enabled to change the regular order and succession of their movements, according to existing circumstances; and hence, in some measure, to assume the character of living beings.

The third class contains those Automata which, under the semblance only of mechanism, are wholly directed and controlled by a concealed human agent.

The phenomena of the Chess Player are inconsistent with the effects of mere mechanism ; for, however great and surprising the powers of mechanism may be, the movements which spring from it, are necessarily limited and uniform: it cannot usurp and exercise the faculties of mind; it cannot be made to vary its operations, so as to meet the ever-varying circumstances of a game of chess. This is the province of intellect alone; and the Chess Player must consequently relinquish all claim to be admitted into the first division. Let us examine its title to be ranked in the second class.

The chess board contains sixty-four squares, and in order to execute the movements of the Chess Player, distinct trains of machinery must be formed, which shall be capable, when set in motion, of conveying the hand of the Automaton to each, and to any, of these several squares. Having arrived at a square, and taken up a chess man, it will be requisite, either to withdraw the hand towards the side, and without the limits of the board, for the purpose of letting drop the chess man there, and thence to proceed to another square, and remove a chess man to a third square; or it may be required to pass at once from the first square to any other on the board, and there to deposit the man. These movements must be promptly performed, and repeated as often as the circumstances of the game may call for them.

Setting aside a great variety of minor details, it will be evident to any person, even slightly acquainted with mechanics, that the execution of these movements, so extensive, so complicated, and so variable, would be attended with difficulties almost insurmountable; but we will suppose for a moment that these obstacles are overcome; let it be conceded that a machine has been constructed so perfect, that, on giving motion to the respective trains, the required movement shall be instantly performed.

"What then ? The main object will be still unattained ! Where is the intelligence and the "promethean heat" that can animate the Automaton and direct its operations ? Not only must an intellectual agent be provided, but between such an agent and his deputy, the Automaton, a direct communication must be formed and preserved, liable to no interruption, and yet so secret that the penetrating eye of the most inquisitive

observer may not be able to detect it. Till this be done, the Chess Player's title to be admitted into the second division will, at any rate, continue in abeyance.

I am aware that on this part of the subject conjecture has been busy, and different plans have been devised for the maintenance of the intercourse alluded to. The task has been imposed on the exhibiter of the machine, he being the only person on whom it could devolve with even a shadow of probability; and to effect his purpose it has been suggested that he might touch certain springs, or pull " a wire not much thicker than a hair," or be furnished with a powerful magnet. But such conjectures are unworthy of serious refutation; for besides the uncertainty and constant liability to interruption of such modes of communication, they are actually at variance with the uniform conduct of the exhibiter. Whoever has witnessed the exhibition will have seen that the exhibiter is not confined to a particular spot in the room, but, on the contrary, that he is frequently, during the progress of the game, at a distance from the chest, far beyond the sphere of influence of any of these proposed modes; and if, at such times, the Automaton can move a single joint, it is proof decisive that its action springs from another source.

Having now shewn how difficult, and perhaps impossible, it would be to execute the movements of the Chess Player by mechanism, and maintain, at the same time, a communication with the agent, who would be required to give life, as it were, and intelligence to the operations, it becomes necessary to inquire whether the prevailing opinion, which attributes these movements to machinery, be, or be not, established in fact; for, if this opinion should be found, on examination, to originate merely in the artful management and display of some parts of the apparatus, and to rest on no solid basis, there would be no longer any embarrassment in appreciating the real value of the Chess Player, nor in apportioning a proper station for it, considered as a work of art.

At the commencement of the exhibition the spectators are gratuitously made acquainted with the interior of the chest, which is divided into two unequal compartments, and occupied by pieces of machinery., so arranged, as apparently to render the concealment of any human being impossible. When the movements of the Automaton begin, the beholders, in the first moments of surprise, and in the absence of any ostensible living cause, very naturally refer the effect to the mechanism, which has been exhibited; and with likelihood enough, for the movements immediately follow the familiar action and well known sound of winding up clockwork, and are moreover very skillfully accompanied by the grating noise of moving wheels. But, these indications excepted, where is the evidence that the machinery moves, or that the slightest influence is exerted by it on the arm of the Automaton ? The whole is excluded from view, and a moment's reflection will convince any one that no stress can be laid on the winding up, nor on the accompanying sounds, which are imitable in various ways.

If, however, no proof can be given of the actual movement of the machinery, the following considerations will tend to shew that it remains quiescent, and is probably not formed for motion.

An artist, whose talents had enabled him to contrive machinery capable of executing the varied and extensive movements displayed by the Automaton, would surely be desirous of laying open to view as much of the mechanism of his contrivance, while in actual motion, as he could do, consistently with the reservation of his secret; if for no other reason, at least to convince the lookers-on that deception formed no part of his plan. Now it cannot be reasonably urged, in vindication of the inventer's forbearance, in the instance of the Chess Player, that even a glance at any part of the machinery in motion would betray the secret; for a question will immediately arise, Why then is the machinery at rest so freely exposed ? On that score no apprehension seems to be entertained; the chest is ostentatiously opened, and the semblance, at least, of wheels, and pullies, and levers, is submitted to inspection without reserve: but when their reality should appear, and their connection with the Automaton be made manifest, the doors are carefully closed, and the spectators are required to pay large drafts on their credulity, without any means of further examination. The glaring contradiction between eager display on the one hand, and studied concealment on the other, can only be reconciled by considering the axhibition of the mechanism as a mere stratagem, calculated to distract the attention, and mislead the judgment, of the spectators.

The truth of this opinion receives additional support from the regular and undeviating mode of disclosing the interior of the chest. If the mechanism were the real object in view, the whole being quiescent, it would be matter of indifference which part was first laid open; and accident alone, unless powerful reasons operated against it, would lead occasionally to some variation. But no variation has ever been observed to take place. One uniform order, or routine, is strictly adhered to, and this circumstance alone is sufficient to awaken suspicion, for it shews plainly that more is intended by the disclosure than is permitted to meet the eye.

It has already been suggested, that little stress could be laid on the winding up : indeed the simple act of turning round a key or winder can offer no argument in proof of the efficiency of the machinery, unless at the same time it could be shewn that the key, in turning, either acted upon a spring, or pulled up a weight, for the purpose of giving motion to the machinery in question. But unluckily for the Chess Player, the phenomena afford positive proof that the axis turned by the key is quite free, and unconnected, either with a spring, or a weight, or any system of machinery.

In all machines requiring to be wound up, two consequences are inseparable from their construction: the first is, that, in winding up the machinery, the key is limited in the number of its revolutions; and the second is, that some relative proportion must be constantly maintained betwixt the winding up and the work performed, in order to enable the machine to continue its movements. Now these results are not observable

in the Chess Player; for the Automaton will sometimes execute sixty-three moves with only one winding up; at other times the exhibiter has been observed to repeat the winding up after seven moves, and even three moves; and once, probably from inadvertence, without the intervention of a single move; whilst, in every instance, and the circumstance, though trifling, calls for particular attention, (for, in these matters, be it remembered, " trifles light as air, are confirmations strong,") the key appeared to perform the same number of revolutions; evincing thereby, that the revolving axis was unconnected with machinery, except, perhaps, a ratchet-wheel and click, or some similar apparatus, to enable it to produce the necessary sounds, and consequently that the key, like that of a child's watch, might be turned, whenever the purposes of the exhibition seemed to require it.

I shall now pass on to the third division, and point out a method by which any person, well skilled in the game, and not exceeding the ordinary bulk or stature, may secretly animate the Automaton, and successfully imitate the movements of Mr. De Kempelen's Chess Player, The general plan and dimensions of the chest will be understood by inspecting the plates, but some particulars, relative to the interior, will require further explanation.

The drawer (G G, plate 5,) when closed, does not reach to the back of the chest; it leaves a space (O) behind it, about 1 foot 2 inches broad, 8 inches high, and 3 feet 11 inches long. This space is never exposed to view.

The small cupboard is divided into two parts by the door or screen (I, fig. 6,) which is moveable on a hinge, and is so contrived that when B is closed, this screen may be closed also. The machinery (H) occupies the whole of the front division as far as i; the hinder division is nearly empty, and communicates with the space behind the drawer, the floor of this division being removed.

The back of the great cupboard is double, and the part (P Q,) to which the quadrants, &c. are attached, moves on a joint (Q), at the upper part, and forms, when raised, an opening (S) between the two cupboards, by carrying with it part of the partition (R), which is composed of cloth stretched tight. Fig. 10 shews the false back closed. Fig. 11 shews the same raised, forming the opening (S) between the chambers.

When the trunk of the figure is exposed by lifting up the dress, it will be seen that a great part of it is occupied by an inner trunk (N), which passes off towards the back in the form of an arch, (fig. 2), and conceals a portion of the interior from the view of the spectators. This inner trunk opens to the chest by an aperture (T, fig. 9), about 1 foot 3 inches high, by 1 foot broad.

When the false back is raised, the two chambers, the trunk, and the space behind the drawer, are all connected together.

The player may be introduced into the chest through the sliding panel (U, fig. 6), at the end. He will then elevate the false back of the large cupboard, and assume the position represented by the dotted lines in figs. 3 and 4. Every thing being thus prepared, " the charm's wound up," and the exhibiter may begin his operations by opening the door (A). From the crowded and very ingenious disposition of the machinery in this cupboard, the eye is unable to penetrate far beyond the opening, and the spectator is led to conclude that the whole space is occupied with a similar apparatus. This illusion is strengthened and confirmed by observing the glimmering light Avhich plays among the intricacies of the machinery, and occasionally meets the eye, when the lighted candle is held at the door (BB). A fact, too, is ascertained, which is equally satisfactory, though indeed for opposite reasons, to the spectator and the exhibiter, viz. that no opake body of any magnitude is interposed between the light and the spectator's eye. The door (B) must now be locked, and the screen (I) closed, which being done at the moment the light is withdrawn, will wholly escape observation.

It has already been mentioned, that the door (B), from its construction, closes by its own weight; but as the player's head will presently be very near it, the secret would be endangered, if, in turning round the chest, this door were, by any accident, to fly open ; it becomes necessary, therefore, " to make assurance double sure," and turn the key.

If the circumstance should be observed, it will probably be considered as accidental, the keys being immediately wanted for the other locks.

The opening (B) being once secured, and the screen (I) closed, the success of the experiment may be deemed complete. The secret is no longer exposed to hazard; and the exhibiter is at liberty to shape his conduct in any way, he may think, most likely to secure the confidence of the spectators, and lead them insensibly from the main object of pursuit. The door (A) may be safely left open; and this will tend to confirm the opinion, which the spectators probably formed on viewing the candle through this cupboard, that no person was concealed within it: it will further assure them that nothing can pass in the interior without their knowledge, so long as this door continues open.

The drawer stands next in the order of succession: it is opened, apparently, for the purpose of taking out the chess men* cushion, &c. but really to allow time for the player to change his position, (see fig. 5.) and to replace the false back and the partition, preparatory to the opening of the great cupboard.

The machinery is so thinly scattered over this cupboard, that the eye surveys the whole space at one glance, and it might seem unnecessary to open a door at the back, and to hold a lighted candle there, as in the former instance; but the artifice is dictated by sound policy, which teaches that the exhibiter cannot be too assiduous in affording facilities to explore every corner and recess, which, he well knows, contain nothing that he is desirous of concealing.

The chest may now be wheeled round for the purpose of shewing the trunk of the figure; leaving, however, the front doors of the great chamber open. The bunch of keys, too, should be suffered to remain in the door (D); for the apparent carelessness of such a proceeding will serve to allay any suspicion, which the circumstance of locking the door (B) might have excited, more especially as the two doors resemble one another in point of construction.

When the drapery has been lifted up, and the doors in the trunk and thigh opened, the chest may be returned to its former situation, and the doors be closed. In the meantime the player should withdraw his legs from behind the drawer, as he will not so easily effect this movement after the drawer has been pushed in.

Here let us pause awhile, and compare the real state of the chest at this time, with the impression which, at a similar period of an exhibition of the Chess Player, has generally been left on the minds of the spectators; the bulk of whom have concluded that each part of the chest had been successively exposed; and that the whole was at that time open to inspection: whereas, on the contrary, it is evident that some parts had been entirely withheld from view, others but obscurely shewn, and that nearly half of the chest was then excluded from their sight. Hence we learn how easily, in matters of this sort, the judgment may be led astray by an artful combination of circumstances, each assisting the other towards the attainment of one object.

When the doors in front have been closed, the exhibiter may occupy as much time, as he finds necessary, in apparently adjusting the machinery at the back, whilst the player is taking the position described in figs. 7 and 8. In this position he will find no difficulty in executing every movement required of the Automaton: his head being above the table, he will seethe chess-board through the waistcoat, as easily as through a veil; and his left hand extending beyond the elbow of the figure, he will be enabled to guide its hand to any part of the board, and to take up and let go a chess man with no other " delicate mechanism" than a string communicating with the fingers. His right hand being within the chest, may serve to keep in motion the contrivance for producing the noise, which is heard during the moves, and to perform the other tricks of moving the head, tapping on the chest, &c.

In order to facilitate the introduction of the player's left arm into the arm of the figure, the elbow of the latter is obliged to be drawn backwards; and to account for, and conceal, this strained attitude, a pipe is ingeniously placed in the Automaton's hand.

This pipe must not be removed till the other arrangements are completed.

When all is ready, and the pipe removed, the exhibiter may turn round the winder, or key, to give the impression to the spectators of winding up a spring, or weight, and to serve as a signal to the player to set the head of the Automaton in motion.

The above process is simple, feasible, and effective; shewing indisputably that the phenomena may be produced without the aid of machinery, and thereby rendering it

probable that the Chess Player belongs in reality to the third class of Automata, and derives its merit solely from the very ingenious mode by which the concealment of a living agent is effected. .

In conducting this analysis, the author disclaims even the slightest wish or intention to depreciate, or detract from, the real merits of Mr. De Kempelen : those merits have long since received the stamp of public approbation ; indeed, a more than ordinary share of skill and ingenuity must have fallen to his lot, who could imagine and execute a machine (it matters not by what means the phenomena are brought about) which has never failed to delight the spectators, by exciting and maintaining, above all other contrivances of the kind, that pleasing delusion in the mind, which the Roman poet has so happily denominated " Mentis gratissimus error."

December, 1820

EXPLANATION OF THE PLATES. PLATE I. Fig. 1. A perspective view of the Automaton, seen in front, with all the doors thrown open.

Fig. 2. An elevation of the back of the Automaton.

PLATE II. Fig. 3. An elevation of the front of the chest, the dotted lines representing the player in the first position.

Fig. 4. A side elevation, shewing the player in the same position.

PLATE III. Fig. 5. A front elevation, shewing the second position.

Fig. 6. An horizontal section through the line WW. fig. 5.

PLATE IV. Fig. 7. A front elevation, shewing the third position. Fig. 8. A side elevation of the same position.

PLATE V. Fig. 9. A vertical section through the line XX, fig. 8. Fig. 10. A vertical section through the line YY, fig. 7, shewing the false back closed.

Fig. H. A similar section, shewing the false back raised.

C

THE FOLLOWING LETTERS OF REFERENCE ARE EMPLOYED IN ALL THE PLATES. A - Front door of the small cupboard, B - Back door of ditto.

CC - Front doors of the large cupboard.

D - Back door of ditto K - Door in the trunk F - Door in the thigh.

GG - The drawer.

H - Machinery in front of the small cupboard.

I - Screen behind the machinery.

K - Opening caused by the removal of part of the floor of the small cupboard.

L - A box which serves to conceal an opening in the floor of the large cupboard, made to facilitate the first position; and which also serves as a seat for the player in the third position.

M - A similar box to receive the toes of the player in the first position.

N - The inner chest, filling up part of the trunk. O The space behind the drawer. PQ The false back, turning on a joint at Q. R Part of the partition formed of cloth stretched tight, which is carried up by the false back, to form the opening between the chambers. S The opening between the chambers. T The opening connecting the trunk and chest, which is partly concealed by the false back. U Panel which is slipped aside to admit the player.

In his Letters on Natural Magic David Brewster used the following article as a prime source.

OBSERVATIONS ON THE

AUTOMATON

CHESS PLAYER, NOW EXHIBITED IN LONDON, AT 4, SPRING GARDENS.

_____

BY AN OXFORD GRADUATE. _____ ----ut speciosa dehinc miracula promat----Hor. ______________________

London : PRINTED FOR J. HATCHARD, NO, 190, OPPOSITE ALBANY< PICCADILLY ; AND SOLD BY ALL THE BOOKSELLERS.

1819. _____ Price One Shilling Pages 14-35

The room where it is at present exhibited, has an inner apartment, within which appears the figure of a Turk, as large as life, dressed after the Turkish fashion, sitting behind a chest of three feet and a half in length, two feet in breadth, and two feet and a half in height, to which it is attached by the wooden seat on which it sits. The chest is placed upon four casters, and together with the figure, may be easily moved to any part of the room. On the plain surface formed by the top of the chest, in the centre, is a raised immoveable chess-board of handsome dimensions, upon which the figure has its eyes fixed; its right arm and hand being extended on the chest, and its left arm somewhat raised, as if in the attitude of holding a Turkish pipe, which originally was placed in its hand.

The exhibiter begins by wheeling the chest to the entrance of the apartment within which it stands, and in face of the spectators. He then opens certain doors contrived in the chest, two in front, and two at the back, at the same time pulling out a long shallow drawer at the bottom of the chest made to contain the chess men, a cushion for the arm of the figure to rest upon, and some counters. Two lesser doors, and a green cloth screen, contrived in the body of the figure, and in its lower parts, are likewise opened, and the Turkish robe which covers them is raised ; so that the construction both of the figure and chest internally is displayed. In this state the Automaton is moved round for the examination of the spectators; and to banish all suspicion from the most sceptical mind, that any living subject is concealed within any part of it, the exhibiter [sic and all that follow] introduces a lighted candle into the body of the chest and figure, by which the interior of each is, in a great measure, rendered transparent, and the most secret corner is shown. Here it may be observed, that the same precaution to remove suspicion is used, if requested, at the close as at the commencement of a game of Chess with the Automaton.

The chest is divided, by a partition, into two unequal chambers. That to the right of the figure is the narrowest, and occupies scarcely one third of the body of the chest. It is filled with little wheels, levers, cylinders, and other machinery used in clock-work.

That to the left contains a few wheels, some small barrels with springs, and two quarters of a circle placed horizontally. The body and lower parts of the figure contain certain tubes which seem to be conductors to the machinery. After a sufficient time, during which each spectator may satisfy his scruples and his curiosity, the exhibiter recloses the doors of the chest and figure, and the drawer at bottom; makes some arrangements in the body of the figure, winds up the works with a key inserted into a small opening on the side of the chest, places a cushion under the left arm of the figure, which now rests upon it, and invites any individual present to play a game of Chess.

At one and three o'clock in the afternoon, the Automaton plays only ends of games, with any person who may be present. On these occasions the pieces are placed on the board, according to a preconcerted arrangement ; and the Automaton invariably wins the game. But at eight o'clock every evening, it plays an entire game against any antagonist who may offer himself, and generally is the winner, although the inventor had not this issue in view as a necessary event.

In playing a game, the Automaton makes choice of the white pieces, and always has the first move. These are small advantages towards winning the game which are cheerfully conceded. It plays with the left hand, the right arm and hand being constantly extended on the chest, behind which it is seated. This slight incongruity proceeded from absence of mind in the inventor, who did not perceive his mistake till the machinery of the Automaton was too far completed to admit of the mistake being rectified. At the commencement of a game, the Automaton moves its head, as if taking a view of the board; the same motion occurs at the close of a game. In making a move, it slowly raises its left arm from the cushion placed under it, and directs it

towards the square of the piece to be moved. Its hand and fingers open on touching the piece, which it takes up, and conveys to any proposed square. The arm, then, returns with a natural motion to the cushion upon which it usually rests. In taking a piece, the Automaton makes the same motions of the arm and hand to lay hold of the piece, which it conveys from the board; and then returning to its own piece, it takes it up, and places it on the vacant square. These motions are performed with perfect correctness; and the dexterity with which the arm acts, especially in the delicate operation of castling, seems to be the result of spontaneous feeling, bending at the shoulder, elbow, and knuckles, and cautiously avoiding to touch any other piece than that which is to be moved, nor ever making a false move.

After a move made by its antagonist, the Automaton remains for a few moments only inactive, as if meditating its next move; upon which the motions of the left arm and hand follow. On giving check to the King, it moves its head as a signal. When a false move is made by its antagonist, which frequently occurs, through curiosity to observe in what manner the Automaton will act: as, for instance, if a Knight be made to move like a Castle, the Automaton taps impatiently on the chest, with its right hand, replaces the Knight on its former square, and not permitting its antagonist to recover his move, proceeds immediately to move one of its own pieces : thus appearing to punish him for his inattention. The little advantage in play which is hereby gained, makes the Automaton more a match for its antagonist, and seems to have been contemplated by the inventor as an additional resource towards winning the game.

It is of importance that the person matched against the Automaton, should be attentive, in moving a piece, to place it precisely in the centre of its square; otherwise the figure, in attempting to lay hold of the piece, may miss its hold, or even sustain some injury in the delicate mechanism of the fingers. When the person has made a move, no alteration in it can take place : and if a piece be touched, it must be played somewhere. This rule is strictly observed by the Automaton. If its antagonist hesitates to move for a considerable time, it taps smartly on the top of the chest with the right hand, which is constantly extended upon it, as if testifying impatience at his delay.

During the time that the Automaton is in motion, a low sound of clockwork running down is heard, which ceases soon after its arm returns to the cushion; and then its antagonist may make his move. The works are wound up at intervals, after ten or twelve moves, by the exhibiter, who is usually employed in walking up and down the apartment in which the maton is shown, approaching, however, the chest from time to time, especially on its right side.

At the conclusion of the exhibition of the Automaton, on the removal of the chess men from the board, one of the spectators indiscriminately is requested to place a Knight upon any square of the board at pleasure. The Automaton immediately takes up the Knight, and beginning from that square, it moves the piece, according to its

proper motion, so as to touch each of the sixty-three squares of the chess board in turn, without missing one, or returning to the same square. The square from which the Knight proceeds is marked by a white counter; and the squares successively touched, by red counters, which at length occupy all the other squares of the board.

The description now given of the Automaton Chess Player, with respect to its construction, so far as that can be explained, and its general manner of working, naturally suggests an interesting inquiry : What are the immediate causes by which its unparalleled phenomena are produced ?

To this inquiry no satisfactory answer has yet been made. It is allowable, therefore, to hazard some observations in reply to it. The causes sought for appear to be two, which are distinct from each other —a moving force from which the left arm and hand of the Automaton derive the action peculiar to those parts of the body; and a directing force, by which the same arm and hand, when raised and prepared to act, are guided on this side or that, according to circumstances, many of which cannot possibly be anticipated, and each of which requires the exertion of the reasoning faculty, sometimes in a high degree. To explain the nature of the moving force,, which is employed, is the province of the professed mechanician, who can account for it upon fixed mechanical principles. The operation of that force at a certain time after each move of an antagonist, seems to depend upon the momentary interference of the exhibiter, who though usually employed in walking up and down, approaches the chest when the Automaton is about to make a move (p. 20), and appears to touch some spring, near to the arm of the figure, on the right side, which spring may set in motion the works by which the arm and hand of the Automaton are raised from the cushion, are made to bend at their several joints, so as to grasp the piece to which they may be guided by the directing force, and to retain it for a given moment of time, after which, on disposing of the piece, the arm and hand become relaxed, and are brought back to their usual position. In case a piece is to be taken, or a false move is made by an antagonist, or the Automaton castles (p. 21), by a peculiar manner of touching the spring, these mechanical motions of the arm and hand might be repeated de suite; with a variation only in the return of the arm, which would not take place until the end of the repetition. But the mystery in the action of the Automaton—a mystery not less hard to be solved by professed mechanicians., than by persons unacquainted with the science of mechanics, arises from the nature and operation of the directing force by which the arm and hand of the Automaton, when raised and prepared to act by the moving force, are guided with a precision and judgment that baffles the skill even of experienced chess players. Various conjectures have been made upon this subject. It was supposed, for a time, that the directing force was some concealed loadstone, until the inventor of the Automaton showed the groundless nature of such a supposition, by permitting any person to place the most powerful loadstone in contact with the figure, or upon any part of the chest to which it is attached.

The most obvious solution of the nature and operation of the directing force may be drawn from the hypothesis, that a living subject is enclosed within the left or larger chamber of the chest, who guides the arm and hand of the Automaton when raised, either in this or that direction, according to the ever varying appearance of the game, which might be discerned through a transparent chess-board. It is sufficient, however, in order to refute this hypothesis, to repeat what has been already mentioned in page 17, that both before and after the exhibition of the Automaton, the exliibiter is willing to lay open for the examination of every spectator its entire construction internally, so as to satisfy the most incredulous person, that no concealment whatsoever of a living subject can take place.

With more semblance of reason, it has been conjectured that there is a communication between the left arm and hand pf the Automaton, and a person placed in an adjoining room, who, though unseen, himself, is a spectator of the game; and that by means of this communication, the directing force required may be conveyed at the time when the arm and hand are raised. This conjecture, however plausible, may be answered by the statement of a plain fact, referred to before, that M. de Kempelen exhibited his Automaton, on two different occasions, at the Imperial palace of Vienna; and it is absolutely chimerical to suppose, that upon those occasions, any communication could be opened with an adjoining apartment in the palace to that in which the Automaton was exhibited. Still the question returns, What is the nature and operation of the directing force, by which the left arm and hand of the Automaton when raised, and prepared to act, are guided ?

With respect to the nature of this directing force, there can be only one reasonable opinion, that it must proceed from the immediate direction of some human agent; and since there is no communication with such an agent concealed within the chest, or in a room adjoining, it must proceed from the immediate direction of the exhibiter himself.

Nevertheless the operation of this directing force, or in what secret manner the exhibiter directs the arm and hand of the Automaton when raised, yet remains to be explained. M. de Kempelen once threw out a hint, that the chief merit of his invention lay in the successful manner in which he deceived the spectators; by which hint lie seemed to imply not only that the exhibiter does interfere in an un- perceived manner in directing the arm and hand of the Automaton when raised, according to the varying circumstances of a game of Chess; but that the mode of such interference is very simple. In fact, when the arm and hand are raised and prepared to act by the operation of the moving force already explained, the action of. a wire or piece of catgut, not much thicker than a hair, would be sufficient to guide them in any direction; which action, from the delicacy of the medium used, might be communicated in a manner wholly unperceived by the spectators*. * There can be little doubt that the peculiar action of the Automaton (p. 24), by which the Knight is made to touch each of the 68 squares of the chess-board in turn, depends

upon the action of -machinery alone, without any interference of the exhibiter, except in previously winding up the works, The motions of the head of the figure, and its tapping on the chest (pp. 20—23), are a kind of hors d'oeuvre.

The next issue will focus more on the Turk under the control of Maelzel, particularly the time spent in England and America.