It remains to be explained, in what manner the dwarf hidden in the commode can know the game played by his adversary, and can direct the arm of the automaton at his pleasure. The most probable solution is, that the chess-board was made semi-transparent, so as effec tually to conceal the person within, but to suffer the entrance of sufficient light for the dwarf to perceive whatever was done without. As for the means em ployed to give the necessary motions to the androides, little mechanical ingenuity is required. According to our authority, this was accomplished on the principles of the pantograph ; an interior lever being governed by the dwarf, and made to describe a smaller circuit, while the arm of the machine described a similar circuit on an enlarged scale.
At the time that M. Kempelen was in London, with his chess-playing androides, he exhibited in a private apartment, a speaking machine, which he said was not then completely finished. It consisted of a rectangular box, about three feet long, placed on a table, and cover ed with a cloth. Any particular words being mentioned by the company, 1V1. Kempelen caused his machine to pronounce them, by introducing his hands beneath the cloth, and apparently giving motion to certain parts of the apparatus. The principle upon which this effect was produced, is not perfectly understood; and perhaps the chess-playing dwarf was not altogether unconcerned in the performance.
Speaking figures constructed upon principles very different from this, have frequently been exhibited at London, Paris, and other great cities. They are imita tions of the human form, on a diminished scale, fixed on a pedestal, or suspended by strings from the roof of the apartment, and generally holding a tube or trumpet at their mouths. Any person may ask a question, by whispering softly into this trumpet; and he receives a proper answer, also in a whisper, on applying his ear to the mouth of the trumpet. It is evident, that this must be accomplished by means of an assistant, placed out of view, and commonly behind the partition of the room. There are various ways of conveying to him the w his per, at the mouth of the trumpet, and of transmitting his whispering answer to the same point. This may be effected by means of two concave mirrors placed directly opposite to each other, so that the head of the assistant may be in one of their foci, and the mouth of the trum pet in the other ; a hole being made in the partition, between the assistant and the figure, corresponding in size and situation to the mirrors, and filled up by a very thin cloth, to prevent suspicion. It may be more sim
ply effected by continuing the trumpet through the body of the figure, to the back of its head, where it is to be left open, and placing an acoustic tube, or similar trumpet, in the partition, exactly opposed to this open ing in the head in the figure, and descending so as to be conveniently applied to the ear or mouth of the as sistant. Sec ACOUSTICS, Part II. (m) Among the most celebrated automatical mechanics of the present day, is M. Maillardet, a native of Switzer land, who has constructed several androides of unrival led excellence. One of these represents a beautiful fe-. male seated at a piano Porte, on which she performs eighteen tunes. Independent of the execution of the music, which is produced by the actual pressure of her fingers on the keys, all her motions are elegant and graceful, and so nearly imitating life, that even on a near approach the deception can hardly be discovered. Before commencing a tune, she makes a gentle inclina tion with her head, as if saluting the auditors; and re mains seemingly intent on the performance. Her bo som heaves, her eyes move, and appear as naturally to follow her fingers over the keys, as if it were real ani mation. The hands regulate the natural tones only, for the flats and sharps are played by pedals, on which the feet operate. let is, likewise, to be observed, that al though the instrument resembles a piano forte, it is in fact an organ, the bellows of which are blown by parti cular parts of the machinery. The movements of this figure are effected by means of six large springs, which, when completely wound up, will preserve their action during an hour. The various parts composing the ma chinery are extremely nice and complicated, and all admirably adapted to the purposes required. Twenty five leaders or communications produce the different motions of the body, and others proceeding from the centre of motion, are distributed to the different parts of the instrument. A brass fly regulates and equalizes the whole. The figure is so contrived for the conve nience of removal, that it divides in the middle. It is inclosed in a large glass case, and rests above a maho gany box, containing the machinery, which the artist throws open for universal inspection. It was valued by him at 1500/. or 20001. ; which may in some respect prove the extent of the labour and ingenuity in fram ing it.