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The room where it is at present exhibited, has an inner apartment,within which appears the figure of a Turk, as large as life, dressedafter the Turkish fashion, sitting behind a chest of three feet anda half in length, two feet in breadth,[Pg 16] and two feet and a half inheight, 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 surfaceformed by the top of the chest, in the centre, is a raised immovablechess-board of handsome dimensions, upon which the figure has its eyesfixed; its right arm and hand being extended on the chest, and its leftarm somewhat raised, as if in the attitude of holding a Turkish pipe,which originally was placed in its hand.

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The exhibiter begins by wheeling the chest to the entrance of theapartment within which it stands, and in face of the spectators. Hethen opens certain doors contrived in the chest, two in front, and twoat the back, at the same time pulling put a long shallow drawer at thebottom of the[Pg 17] chest made to contain the chess men, a cushion for thearm of the figure to rest upon, and some counters. Two lesser doors,said a green cloth screen; contrived in the body of the figure, and inits lower parts, are likewise opened, and the Turkish robe which coversthem is raised; so that the construction both of the figure and chestinternally is displayed. In this state the Automaton is moved round forthe examination of the spectators; and to banish all suspicion from themost sceptical mind, that any living subject is concealed within anypart of it, the exhibited introduces a lighted candle into the bodyof the chest and figure, by which the interior of each is, in a greatmeasure, rendered transparent, and the most secret corner is shown:Here it may be observed, that the same precaution to remove suspicionis used, if requested, at the close as at[Pg 18] the commencement of a gameof Chess with the Automaton.

At the conclusion of the exhibition of the Automaton, on the removal ofthe chess men from the board, one of the spectators indiscriminately isrequested to place a Knight upon any square of the board at pleasure.The Automaton immediately takes up the Knight, and beginning from thatsquare, it moves the piece, according to its proper motion, so as totouch each of the sixty-three squares of the chess board in turn,without missing one, or returning to the same square. The square fromwhich the Knight proceeds is marked by a white counter; and the squaressuccessively touched, by red counters, which at length occupy all theother squares of the board.

The most obvious solution of the nature and operation of the directingforce may be drawn from the hypothesis, that a living subject isenclosed within the left or larger chamber of the chest, who guidesthe arm and hand of the Automaton when raised, either in this or thatdirection, according to the ever varying appearance of the game,which might be discerned through a transparent chess-board. It issufficient, however, in order to refute this hypothesis, to repeat whathas been already mentioned in page 17, that both before and after theexhibition of the Auto[Pg 29]maton, the exhibiter is willing to lay open forthe examination of every spectator its entire construction internally,so as to satisfy the most incredulous person, that no concealmentwhatsoever of a living subject can take place.

[3] There can be little doubt that the peculiar action ofthe Automaton (p. 24), by which the Knight is made to touch each ofthe 68 squares of the chess-board in turn, depends upon the action ofmachinery alone, without any interference of the exhibiter, exceptin previously winding up the works. The motions of the head of thefigure, and its tapping on the chest (pp. 20-23), are a kind of horsd'uvre. ff782bc1db