to multiply to the vision some few pieces of machinery within the trunk so as to give it the appearance of being crowded with mechanism.  Now the direct inference from this is that the machine is not a pure machine.  For if it were, the inventor, so far from wishing its mechanism to appear complex, and using deception for the purpose of giving it this appearance, would have been especially desirous of convincing those who witnessed his exhibition, of the simplicity of the means by which results so wonderful were brought about.

6.  The external appearance, and, especially, the deportment of the Turk, are, when we consider them as imitations of life, but very indifferent imitations.  The countenance evinces no ingenuity, and is surpassed, in its resemblance to the human face, by the very commonest of wax-works.  The eyes roll unnaturally in the head, without any corresponding motions of the lids or brows.  The arm, particularly, performs its operations in an exceedingly stiff, awkward, jerking, and rectangular manner.  Now, all this is the result either of inability in Maelzel to do better, or of intentional neglect—­accidental neglect being out of the question, when we consider that the whole time of the ingenious proprietor is occupied in the improvement of his machines.  Most assuredly we must not refer the unlife-like appearances to inability—­for all the rest of Maelzel’s automata are evidence of his full ability to copy the motions and peculiarities of life with the most wonderful exactitude.  The rope-dancers, for example, are inimitable.  When the clown laughs, his lips, his eyes, his eye-brows, and eyelids—­indeed, all the features of his countenance—­are imbued with their appropriate expressions.  In both him and his companion, every gesture is so entirely easy, and free from the semblance of artificiality, that, were it not for the diminutiveness of their size, and the fact of their being passed from one spectator to another previous to their exhibition on the rope, it would be difficult to convince any assemblage of persons that these wooden automata were not living creatures.  We cannot, therefore, doubt Mr. Maelzel’s ability, and we must necessarily suppose that he intentionally suffered his Chess Player to remain the same artificial and unnatural figure which Baron Kempelen (no doubt also through design) originally made it.  What this design was it is not difficult to conceive.  Were the Automaton life-like in its motions, the spectator would be more apt to attribute its operations to their true cause, (that is, to human agency within) than he is now, when the awkward and rectangular manoeuvres convey the idea of pure and unaided mechanism.

7.  When, a short time previous to the commencement of the game, the Automaton is wound up by the exhibiter as usual, an ear in any degree accustomed to the sounds produced in winding up a system of machinery, will not fail to discover, instantaneously, that the axis turned by the key in the box of the Chess-Player, cannot possibly be connected with either a weight, a spring, or any system of machinery whatever.  The inference here is the same as in our last observation.  The winding up is inessential to the operations of the Automaton, and is performed with the design of exciting in the spectators the false idea of mechanism.