ANDR01DES. 



on the right side by an endless screw, 

 consisting of twelve threads, each placed 

 at the distance of a line and an half from 

 the other. Above this screw was fixed a 

 piece of copper, and in it a steel pivot, 

 which, falling in between the threads of 

 the screw, obliged the cylinder to follow 

 the threads, and, instead of turning di- 

 rectly round, it was continually pushed to 

 one side. Hence, if a lever was moved, 

 by a peg placed on the cylinder, in any 

 one revolution, it could not be moved by 

 the same peg in the succeeding revolu- 

 tion, because the peg would be moved a 

 line and a half beyond it by the lateral 

 motion of the cylinder. 



Thus, by an artificial disposition of these 

 pegs in different parts of the cylinder, the 

 statue wab made, by the successive ele- 

 vation of the proper levers, to exhibit all 

 the different motions of a flute-player, 

 to the admiration of every one who saw 

 it. Another figure, constructed by the 

 same artist, Vaucanson, played on the Pro- 

 vencal shepherd's pipe, held in its left 

 hand, and with the right beat upon a drum. 



The performances of Vaucanson were 

 imitated, and even exceeded, by M. de 

 Kempelin, of Presburg, in Hungary. The 

 androides constructed by this gentleman, 

 in 1760, was capable of playing chess. It 

 was brought over to England in 1783, and 

 remained here for more than a year. It is 

 thus described : The figure is as large as 

 life, in a Turkish dress, seated behind a 

 table, with doors 3 feet long, 2 deep, 

 and 2^ high. The chair on which it sits 

 is fixed to the table, which is made to run 

 on four wheels. It leans its right arm on 

 the table, and in its left hand holds a pipe ; 

 with this hand it plays after the pipe is 

 removed. A chess-board of 18 inches is 

 fixed before it. The table, or rather chest, 

 contains wheels, levers, cylinders, and 

 other pieces of mechanism, all of which 

 are publicly displayed. The vestments of 

 the figure were then lifted over its head, 

 and the body seen full of similar wheels 

 and levers. There is a little door in its 

 thigh, which is likewise opened: and 

 with this, and the table also open, and the 

 figure uncovered, the whole is wheeled 

 about the room. The doors are then shut, 

 and the automaton is ready to play ; and 

 it always takes the first move. At every 

 motion the wheels are heard, the image 

 moves its head, and looks over every part 

 of the chess-board. When it checks vhe 

 queen, it shakes its head twice, and thrice 

 in giving check to the king. It likewise 

 shakes its head when a false move is made, 

 replaces the piece, and makes its own 

 mo ve, by which means the adversary loses 



one. M. de Kempelin exhibited his auto- 

 maton at Petersburg, Vienna, Paris, and 

 London, before thousands, mun\ of whom 

 were mathematicians and chess-players, 

 and yet the secret by which he governed 

 the motion of its arih was never discover- 

 ed. He valued himself upon the construc- 

 tion of a mechanism, by which the arm 

 could perform ten or twelve moves. It 

 then needed to be wound up like a watch, 

 after which it was capable of continuing 

 the same number of motions. This auto- 

 maton could not play unless M. de Kem- 

 pelin, or his assistant, was near it, to di- 

 rect its movements. A small square box 

 was frequently consulted by the exhibit- 

 or during the game, and in this consisted 

 the secret, which the inventor declared 

 he could communicate in a moment. Any 

 person who could beat M. de Kempelin. 

 at chess, was sure of conquering the au- 

 tomaton. 



Remark by the British Editor. When 

 this piece of mechanism was exhibited in 

 London, it played a great number of 

 moves without requiring to be wound up, 

 and it was worked by a M. Anthon, who 

 walked about the room, without any appa- 

 rent communication, during the perform- 

 ance. The chess-board was part of the top 

 of the square counter, or table, to which 

 the figure was attached in a leaning pos- 

 ture. When the back of the figure was 

 opened, an upright iron axis was seen, 

 with two strong springs, which apparent- 

 ly were intended to restore the quiescent 

 position after any move; and when the 

 doors of the counter were opened, two 

 compartments were seen, formed by an 

 upright partition in the interior space. In 

 one of them was seen a brass barrel, re- 

 sembling that of a barrel organ, having 

 sixteen vertical bars or levers, so placed 

 as if to be tripped by the barrel; and 

 there was also some wheel-work : and in 

 the other compartment there was little, 

 except a brass horizontal arc, or quadrant, 

 with a brass radius, most 'probably capa- 

 ble of being set to different angular situ- 

 ations. The hand of the figure lay upon 

 a cushion, and every approaching move 

 was announced by the discharge of a 

 click, and the buzzing noise of a fly was 

 heard, until the move was completed. 

 The fore-arm was first raised about two 

 inches by a vertical motion at the elbow : 

 it was then carried horizontally, until the 

 hand was immediately over the piece to 

 betaken up, at which time the fingers 

 suddenly opened, the hand dropped, 

 seized the piece, rose again, made the 

 move, and dropped the piece on the 

 square to which it had arrived. But in. 



