The Project Gutenberg eBook of An Attempt to Analyse the Automaton Chess Player of Mr. De Kempelen

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: An Attempt to Analyse the Automaton Chess Player of Mr. De Kempelen

Author: Robert Willis

Release date: February 15, 2020 [eBook #61410]

Most recently updated: October 17, 2024

Language: English

Credits: Produced by Paul Marshall and the Online Distributed

Proofreading Team at http://www.pgdp.net (This file was

produced from images generously made available by The

Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK AN ATTEMPT TO ANALYSE THE AUTOMATON CHESS PLAYER OF MR. DE KEMPELEN ***

AN ATTEMPT TO ANALYSE

THE

AUTOMATON

CHESS PLAYER.

HOWLETT and BRIMMER,

Printers, 10, Frith Street, Soho.

Plate 1.

Fig. 1.

To face the Title.

Fig. 2.

Drawn on Stone by the Author. Printed by C. Hullmandel.

AN ATTEMPT TO ANALYSE

THE

AUTOMATON CHESS PLAYER,

OF

MR. DE KEMPELEN.

WITH AN EASY METHOD OF IMITATING THE MOVEMENTS

OF THAT CELEBRATED FIGURE.

ILLUSTRATED BY ORIGINAL DRAWINGS.

TO WHICH IS ADDED, A COPIOUS COLLECTION OF

THE KNIGHT’S MOVES

OVER THE CHESS BOARD.

LONDON:

PRINTED FOR J. BOOTH,

DUKE STREET, PORTLAND PLACE.

1821.

Mine eyes are made the fools o’ the other senses.

SHAKSPEARE.

I had not thought to have unlockt my lips

In this unhallowed air, but that this juggler

Would think to charm my judgment, as mine eyes.

MILTON.

AN ATTEMPT TO ANALYSE, &c.

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. 1.) 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, have 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 that 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 exhibition 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, 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 (GG, 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 which plays among the intricacies of the machinery, and occasionally meets the eye, when the lighted candle is held at the door (B). 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 mean-time 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 see the 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. 11.

A similar section, shewing the false back raised.

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.

E

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.

Plate 2.

Fig. 3.

Fig. 4.

Drawn on Stone by the Author. Printed by C. Hullmandel.

Plate 3.

Fig. 5.

Fig. 6.

Drawn on Stone by the Author. Printed by C. Hullmandel.

Plate 4.

Fig. 7.

Fig. 8.

Drawn on Stone by the Author. Printed by C. Hullmandel.

Plate 5.

Fig. 9.

Fig. 10.

Fig. 11.

Drawn on Stone by the Author. Printed by C. Hullmandel.

APPENDIX.

The Knight’s move over the chess board has engaged the attention of so many scientific men, that I cannot doubt that a collection of different solutions of the problem will prove acceptable to all admirers of chess.

The Knight’s path is of two kinds—terminable and interminable—it is interminable, whenever the last, or concluding, move of a series be made on a square, which lies within the Knight’s reach of that from which he originally set out—and terminable in every other instance.

Euler published a paper in the Memoirs of the Academy of Berlin, 1759, which contains a method of filling up all the squares, setting out from one of the corners. It also contains an endless or interminable route; and explains a principle by which these routes may be varied so as to end upon any square. Montmort, Demoivre, and Mairan, have severally given solutions of the same problem. These solutions will be found in the following collection.

Observing that the Automaton, under the direction of Mr. Maelzel, occasionally traversed half the board, I was induced to pursue the subject, and I found that the move might be performed on any parallelogram consisting of twelve squares and upwards, with the exception of fifteen and eighteen squares. The whole board admits of a great variety both in the terminable and interminable routes.

In describing the Knight’s path, I have preferred lines to figures; the former giving a clearer idea of the plan pursued, and affording a greater facility of comparing one route with another, than the latter.

DIRECTIONS FOR PLACING THE PLATES.

Plate 1 to face the Title.

Plates 2 to 5—Page 36.

—— 6 to 10 —— 38.

Plate 6.

Plate 7.

Plate 8.

Plate 9.

Plate 10.

LIST OF THE KNIGHT’S MOVES

Contained in Plates 6, 7, 8, 9, and 10.

Methods of performing the Move on Parallelograms less than the whole Board.

No. 1

the Move on

12

Squares

—   2

- - -

20

-

—   3

- - -

25

-

—   4

- - -

21

-

—   5

- - -

24

-

—   6

- - -

24

-

—   7

- - -

30

-

—   8

- - -

36

-

—   9

- - -

28

-

— 10

- - -

32

-

— 11

- - -

35

-

— 12

- - -

40

-

— 13

- - -

42

-

— 14

- - -

48

-

— 15

- - -

49

-

— 16

- - -

56

-

— 17

an Interminable Route on

48

Squares

— 18

Do.         Do.

56

-

Terminable Routes over the whole Board.

No. 20

By

Euler

—  21

-

Do.

—  22

-

Do.

—  23

-

Do.

—  24

By

Demoivre

—  25

-

Do.

—  26

By

Mairan

—  27

By

Montmort

—  28

By

the Author

—  29

-

Do.

Interminable Routes over the whole Board.

No. 30

By

Euler

—  31

By

Mons. W.

—  32

By

the Author

—  33

-

Do.

—  34

-

Do.

—  35

-

Do.

—  36

-

Do.

—  37

-

Do.

—  38

-

Do.

—  39

-

Do.

HOWLETT AND BRIMMER,

Printers, 10, Frith Street, Soho.

Transcriber's Notes:

Uncertain or antiquated spellings or ancient words were not corrected.

Typographical errors have been silently corrected.

*** END OF THE PROJECT GUTENBERG EBOOK AN ATTEMPT TO ANALYSE THE AUTOMATON CHESS PLAYER OF MR. DE KEMPELEN ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

AN ATTEMPT TO ANALYSE THE AUTOMATON CHESS PLAYER.

AN ATTEMPT TO ANALYSE, &c.

EXPLANATION OF THE PLATES.

APPENDIX.

LIST OF THE KNIGHT’S MOVES

THE FULL PROJECT GUTENBERG LICENSE