for a few moments, as if contemplating the game. On giving check
to the king, it made a signal with its head. If a false move was
made by its antagonist it tapped on the chest impatiently, replaced
the piece, and claimed the move for itself as an advantage. If
the antagonist delayed any considerable time the automaton tapped
smartly on the chest with the right hand. At the close of the game
the automaton moved the knight, with its proper motion, over each
of the sixty-three squares of the board in turn, without missing
one, and without a single return to the same square.

Although positive proof was wanting, it was generally believed that
the movements of the figure were directed by a slender person
adroitly concealed behind what was apparently a mass of machinery.
This machinery was always exhibited when in a fixed state, but
carefully excluded from view when in motion. It was noticed by
anxious observers that no variation ever took place in the precise
order in which the doors were opened, thus giving the concealed
player an opportunity to change his position. In what was apparently
the winding up of the machine the key always appeared limited to
a certain number of revolutions, however different the number of
moves in the preceding game might have been. On one occasion sixty-
three moves were executed without winding up, and once it was
observed that it was wound up without the intervention of a single
move.

Monsieur Maelzel also exhibited an automaton trumpeter, life size,
attired in a full British uniform. It was rolled out before the
audience and performed several marches and patriotic airs. A
miniature rope-dancer performed some curious feats, and small
figures, when their hands were shaken, ejaculated the words, "Papa!"
and "Mamma!" in a life-like manner. But the crowning glory of
Monsieur Maelzel's exhibition was a panorama, scenic and mechanical,
of the "Burning of Moscow." The view of the Russian capital, with
its domes and minarets, was a real work of art. Then the great
bell of the Kremlin began to toll, and the flames could be seen
making their way from building to building. A bridge in the
foreground was covered with figures, representing the flying citizens
escaping with their household treasures. They were followed by a
regiment of French infantry, headed by its band, and marching with
the precision of veterans. Meanwhile the flames had begun to ascend
the spires and domes, and the