,transcriber's ,notes3 ,underscores 80 before and after a word or phrase indicate italics in the original text4 ,small capitals have been converted to ,,solid capitals4 ,old or antiquated spellings have been preserved4 ,typographical errors have been silently corrected4 ,,an ,,attempt ,,to ,,analyse ,,the ,,automaton ,,chess ,,player4 ,,howlett and ,,brimmer1 ,printers1 #aj1 ,frith ,street1 ,soho4 ,illustration3 ,plate #a4 ,to face the ,title4 ,fig4 #a4 ,illustration3 ,fig4 #b4 ,drawn on ,stone by the ,author4 ,printed by ,c4 ,hullmandel4 ,,an ,,attempt ,,to ,,analyse ,,the ,,automaton ,,chess ,,player1 ,,of ,,mr4 ,,de ,,kempelen4 ,,with ,,an ,,easy ,,method ,,of ,,imitating ,,the ,,movements ,,of ,,that ,,celebrated ,,figure4 ,,illustrated ,,by ,,original ,,drawings4 ,,to ,,which ,,is ,,added1 ,a ,,copious ,,collection ,,of ,,the ,,knight',s ,,moves ,,over ,,the ,,chess ,,board4 ,,london3 ,,printed ,,for ,j4 ,,booth1 ,,duke ,,street1 ,,portland ,,place4 #ahba4 ,mine eyes are made the fools o' the other senses4 ,,shakspeare4 ,i had not thought to have unlockt my lips ,in this unhallowed air1 but that this juggler ,would think to charm my judgment1 as mine eyes4 ,,milton4 ,,an ,,attempt ,,to ,,analyse1 c4 ,the ,automaton ,chess ,player was first introduced into ,england by ,mr4 de ,kempelen1 its inventer1 about the year #aghc4 ,it was brought again into this country two years ago1 and exhibited under the direction of a very ingenious gentleman1 ,mr4 ,maelzel4 ,the annexed drawings1 7plate #a1 figs4 #a and #b17 represent the general appearance of the machine4 ,it runs on castors1 and is either seen on the floor when the doors of the apartment are thrown open1 or is wheeled into the room at the commencement of the exhibition4 ,the exhibiter1 in order to shew the mechanism1 as he informs the spectators1 unlocks the door 7,a1 fig4 #a47 of the chest1 which exposes to view a small cupboard1 lined with black or dark coloured cloth1 and containing different pieces of machinery1 which seem to occupy the whole space4 ,he next opens the door 7,b1 fig4 #b47 at the back of the same cupboard1 and1 holding a lighted candle at the opening1 still further exposes the machinery within4 ,the candle being withdrawn1 the door 7,b7 is then locked4 ,the drawer 7,g ,g1 fig4 #a47 in the front of the chest is next opened1 and a set of chess men1 a small box of counters1 and a cushion for the support of the ,automaton's arm1 are taken out of it4 ,the exhibiter now opens the two front doors 7,c ,c1 fig4 #a47 of the large cupboard1 and the back door 7,d1 fig4 #b47 of the same1 and applies a candle as in the former case4 ,this cupboard is lined with cloth like the other1 but it contains only a few pieces of machinery4 ,the chest is now wheeled round1 the garments of the figure are lifted up1 and the door 7,e1 fig4 #b17 in the trunk1 and another 7,f17 in the thigh1 are opened4 ,but it must be observed that the doors 7,b and ,d7 are closed4 ,the circumstance is mentioned1 because ,mr4 de ,windisch1 in his letters on this subject1 has a passage which would seem to imply that ,mr4 ,maelzel's mode of exhibiting the interior differs from that which ,mr4 de ,kempelen employed4 8,but do not imagine10 says ,de ,windisch1 8like many others1 that the inventer shuts one door as he opens another2 the entire ,automaton is seen at the same time uncovered1 his garments turned up1 and the drawer opened1 as well as all the doors of the chest40 ,now a reference to ,de ,kempelen's second drawing1 published by ,mechel1 and annexed to ,de ,windisch's letters1 will shew that1 when the chest was turned round1 the doors 7,b and ,d7 were actually closed1 as they always have been under the direction of ,mr4 ,maelzel4 ,in the chest of the latter gentleman1 indeed1 the doors in question are suspended by hinges attached to the upper part1 7as in fig4 #b71 and consequently close by their own gravity4 ,but the fact is1 that the exhibiter never fails to lock them1 though he leaves the keys in one of the locks4 ,the other doors are allowed to swing about whilst the chest is wheeled round4 ,the chest is now restored to its former position on the floor2 the doors in front1 and the drawer1 are closed and locked2 and the exhibiter1 after he has occupied some time at the back of the chest1 in apparently adjusting the machinery1 removes the pipe from the hand of the figure1 winds up the works1 and the ,automaton begins to move4 ,these movements1 resulting as they appear to do1 from mere mechanism1 yet strongly impressed with the distinctive character of an intellectual guidance1 have excited the admiration of the curious during a period little short of forty years4 ,in that time various conjectures have been offered to the world as solutions of the problem2 but no one1 as far as ,i know1 have attempted to imitate the movements1 it is fair to conclude1 either that the means proposed are inadequate to the end1 or that the description of them is too imperfect to enable a workman to complete the machinery4 ,automata may be divided into three classes--the simple--the compound--and the spurious4 ,the first class comprises those insulated ,automata whose movements result from mechanism alone2 by the aid of which they perform certain actions1 and continue them1 so long as the moving force is kept in an active state4 ,the second class includes those ,automata1 which1 like the former1 are moved by machinery2 but1 possessing at the same time a communication1 not immediately apparent1 with human agency1 are enabled to change the regular order and succession of their movements1 according to existing circumstances2 and hence1 in some measure1 to assume the character of living beings4 ,the third class contains those ,automata which1 under the semblance only of mechanism1 are wholly directed and controlled by a concealed human agent4 ,the phenomena of the ,chess ,player are inconsistent with the effects of mere mechanism2 for1 however great and surprising the powers of mechanism may be1 the movements that spring from it1 are necessarily limited and uniform3 it cannot usurp and exercise the faculties of mind2 it cannot be made to vary its operations1 so as to meet the ever-varying circumstances of a game of chess4 ,this is the province of intellect alone2 and the ,chess ,player must consequently relinquish all claim to be admitted into the first division4 ,let us examine its title to be ranked in the second class4 99 99 99 99 99 ,the chess board contains sixty-four squares1 and in order to execute the movements of the ,chess ,player1 distinct trains of machinery must be formed1 which shall be capable1 when set in motion1 of conveying the hand of the ,automaton to each1 and to any1 of these several squares4 ,having arrived at a square1 and taken up a chess man1 it will be requisite1 either to withdraw the hand towards the side1 and without the limits of the board1 for the purpose of letting drop the chess man there1 and thence to proceed to another square1 and remove a chess man to a third square2 or it may be required to pass at once from the first square to any other on the board1 and there to deposit the man4 ,these movements must be promptly performed1 and repeated as often as the circumstances of the game may call for them4 ,setting aside a great variety of minor details1 it will be evident to any person1 even slightly acquainted with mechanics1 that the execution of these movements1 so extensive1 so complicated1 and so variable1 would be attended with difficulties almost insurmountable2 but we will suppose for a moment that these obstacles are overcome2 let it be conceded that a machine has been constructed so perfect1 that1 on giving motion to the respective trains1 the required movement shall be instantly performed4 ,what then8 ,the main object will be still unattained6 ,where is the intelligence and the 8promethean heat0 that can animate the ,automaton and direct its operations8 ,not only must an intellectual agent be provided1 but between such an agent and his deputy1 the ,automaton1 a direct communication must be formed and preserved1 liable to no interruption1 and yet so secret that the penetrating eye of the most inquisitive observer may not be able to detect it4 ,till this be done1 the ,chess ,player's title to be admitted into the second division will1 at any rate1 continue in abeyance4 ,i am aware that on this part of the subject conjecture has been busy1 and different plans have been devised for the maintenance of the intercourse alluded to4 ,the task has been imposed on the exhibiter of the machine1 he being the only person on whom it could devolve with even a shadow of probability2 and to effect his purpose it has been suggested that he might touch certain springs1 or pull 8a wire not much thicker than a hair10 or be furnished with a powerful magnet4 ,but such conjectures are unworthy of serious refutation2 for besides the uncertainty and constant liability to interruption of such modes of communication1 they are actually at variance with the uniform conduct of the exhibiter4 ,whoever has witnessed the exhibition will have seen that the exhibiter is not confined to a particular spot in the room1 but1 on the contrary1 that he is frequently1 during the progress of the game1 at a distance from the chest1 far beyond the sphere of influence of any of these proposed modes2 and if1 at such times1 the ,automaton can move a single joint1 it is proof decisive that its action springs from another source4 ,having now shewn how difficult1 and perhaps impossible1 it would be to execute the movements of the ,chess ,player by mechanism1 and maintain1 at the same time1 a communication with the agent1 who would be required to give life1 as it were1 and intelligence to the operations1 it becomes necessary to inquire whether the prevailing opinion1 which attributes these movements to machinery1 be1 or be not1 established in fact2 for1 if this opinion should be found1 on examination1 to originate merely in the artful management and display of some parts of the apparatus1 and to rest on no solid basis1 there would be no longer any embarrassment in appreciating the real value of the ,chess ,player1 nor in apportioning a proper station for it1 considered as a work of art4 ,at the commencement of the exhibition the spectators are gratuitously made acquainted with the interior of the chest1 which is divided into two unequal compartments1 and occupied by pieces of machinery1 so arranged1 as apparently to render the concealment of any human being impossible4 ,when the movements of the ,automaton begin1 the beholders1 in the first moments of surprise1 and in the absence of any ostensible living cause1 very naturally refer the effect to the mechanism1 which has been exhibited2 and with likelihood enough1 for the movements immediately follow the familiar action and well known sound of winding up clockwork1 and are moreover very skillfully accompanied by the grating noise of moving wheels4 ,but1 these indications excepted1 where is the evidence that the machinery moves1 or that the slightest influence is exerted by it on the arm of the ,automaton8 ,the whole is excluded from view1 and a moment's reflection will convince any one that no stress can be laid on the winding up1 nor on the accompanying sounds1 which are imitable in various ways4 ,if1 however1 no proof can be given of the actual movement of the machinery1 the following considerations will tend to shew that it remains quiescent1 and is probably not formed for motion4 ,an artist1 whose talents had enabled him to contrive machinery capable of executing the varied and extensive movements displayed by the ,automaton1 would surely be desirous of laying open to view as much of the mechanism of his contrivance1 while in actual motion1 as he could do1 consistently with the reservation of his secret2 if for no other reason1 at least to convince the lookers-on that deception formed no part of his plan4 ,now it cannot be reasonably urged1 in vindication of the inventer's forbearance1 in the instance of the ,chess ,player1 that even a glance at any part of the machinery in motion would betray the secret2 for a question will immediately arise1 ,why then is the machinery at rest so freely exposed8 ,on that score no apprehension seems to be entertained2 the chest is ostentatiously opened1 and the semblance1 at least1 of wheels1 and pullies1 and levers1 is submitted to inspection without reserve3 but when their reality should appear1 and their connection with the ,automaton be made manifest1 the doors are carefully closed1 and the spectators are required to pay large drafts on their credulity1 without any means of further examination4 ,the glaring contradiction between eager display on the one hand1 and studied concealment on the other1 can only be reconciled by considering the exhibition of the mechanism as a mere stratagem1 calculated to distract the attention1 and mislead the judgment1 of the spectators4 ,the truth of this opinion receives additional support from the regular and undeviating mode of disclosing the interior of the chest4 ,if the mechanism were the real object in view1 the whole being quiescent1 it would be matter of indifference which part was first laid open2 and accident alone1 unless powerful reasons operated against it1 would lead occasionally to some variation4 ,but no variation has ever been observed to take place4 ,one uniform order1 or routine1 is strictly adhered to1 and this circumstance alone is sufficient to awaken suspicion1 for it shews plainly that more is intended by the disclosure than is permitted to meet the eye4 ,it has already been suggested1 that little stress could be laid on the winding up3 indeed the simple act of turning round a key or winder can offer no argument in proof of the efficiency of the machinery1 unless at the same time it could be shewn that the key1 in turning1 either acted upon a spring1 or pulled up a weight1 for the purpose of giving motion to the machinery in question4 ,but unluckily for the ,chess ,player1 the phenomena afford positive proof that the axis turned by the key is quite free1 and unconnected1 either with a spring1 or a weight1 or any system of machinery4 ,in all machines requiring to be wound up1 two consequences are inseparable from their construction3 the first is1 that1 in winding up the machinery1 the key is limited in the number of its revolutions2 and the second is1 that some relative proportion must be constantly maintained betwixt the winding up and the work performed1 in order to enable the machine to continue its movements4 ,now these results are not observable in the ,chess ,player2 for the ,automaton will sometimes execute sixty-three moves with only one winding up2 at other times the exhibiter has been observed to repeat the winding up after seven moves1 and even three moves2 and once1 probably from inadvertence1 without the intervention of a single move2 whilst1 in every instance and the circumstance1 though trifling1 calls for particular attention1 7for1 in these matters1 be it remembered1 8trifles light as air1 are confirmations strong107 the key appeared to perform the same number of revolutions2 evincing thereby1 that the revolving axis was unconnected with machinery1 except1 perhaps1 a ratchet-wheel and click1 or some similar apparatus1 to enable it to produce the necessary sounds1 consequently that the key1 like that of a child's watch1 might be turned1 whenever the purposes of the exhibition seemed to require it4 99 99 99 99 99 ,i shall now pass on to the third division1 and point out a method by which any person1 well skilled in the game1 and not exceeding the ordinary bulk or stature1 may secretly animate the ,automaton1 and successfully imitate the movements of ,mr4 ,de ,kempelen's ,chess ,player4 ,the general plan and dimensions of the chest will be understood by inspecting the plates1 but some particulars1 relative to the interior1 will require further explanation4 ,the drawer 7,,gg1 plate #e17 when closed1 does not reach to the back of the chest2 it leaves a space 7,o7 behind it1 about #a foot #b inches broad1 #h inches high1 and #c feet #aa inches long4 ,this space is never exposed to view4 ,the small cupboard is divided into two parts by the door or screen 7,i1 fig4 #f17 which is moveable on a hinge1 and is so contrived that when ,b is closed1 this screen may be closed also4 ,the machinery 7,h7 occupies the whole of the front division as far as ,i2 the hinder division is nearly empty1 and communicates with the space behind the drawer1 the floor of this division being removed4 ,the back of the great cupboard is double1 and the part 7,p ,q17 to which the quadrants1 c4 are attached1 moves on a joint 7,q71 at the upper part1 and forms1 when raised1 an opening 7,s7 between the two cupboards1 by carrying with it part of the partition 7,r71 which is composed of cloth stretched tight4 ,fig4 #aj shews the false back closed4 ,fig4 #aa shews the same raised1 forming the opening 7,s7 between the chambers4 ,when the trunk of the figure is exposed by lifting up the dress1 it will be seen that a great part of it is occupied by an inner trunk 7,n71 which passes off towards the back in the form of an arch1 7fig4 #b71 and conceals a portion of the interior from the view of the spectators4 ,this inner trunk opens to the chest by an aperture 7,t1 fig4 #i71 about #a foot #c inches high1 by #a foot broad4 ,when the false back is raised1 the two chambers1 the trunk1 and the space behind the drawer1 are all connected together4 ,the player may be introduced into the chest through the sliding panel 7,u1 fig4 #f71 at the end4 ,he will then elevate the false back of the large cupboard1 and assume the position represented by the dotted lines in figs4 #c and #d4 ,every thing being thus prepared1 8the charm's wound up10 and the exhibiter may begin his operations by opening the door 7,a74 ,from the crowded and very ingenious disposition of the machinery in this cupboard1 the eye is unable to penetrate far beyond the opening1 and the spectator is led to conclude that the whole space is occupied with a similar apparatus4 ,this illusion is strengthened and confirmed by observing the glimmering light which plays among the intricacies of the machinery1 and occasionally meets the eye1 when the lighted candle is held at the door 7,b74 ,a fact1 too1 is ascertained1 which is equally satisfactory1 though indeed for opposite reasons1 to the spectator and the exhibiter1 viz4 that no opake body of any magnitude is interposed between the light and the spectator's eye4 ,the door 7,b7 must now be locked1 and the screen 7,i7 closed1 which being done at the moment the light is withdrawn1 will wholly escape observation4 ,it has already been mentioned1 that the door 7,b71 from its construction1 closes by its own weight2 but as the player's head will presently be very near it1 the secret would be endangered1 if1 in turning round the chest1 this door were1 by any accident1 to fly open2 it becomes necessary1 therefore1 8to make assurance double sure10 and turn the key4 ,if the circumstance should be observed1 it will probably be considered as accidental1 the keys being immediately wanted for the other locks4 ,the opening 7,b7 being once secured1 and the screen 7,i7 closed1 the success of the experiment may be deemed complete4 ,the secret is no longer exposed to hazard2 and the exhibiter is at liberty to shape his conduct in any way1 he may think1 most likely to secure the confidence of the spectators1 and lead them insensibly from the main object of pursuit4 ,the door 7,a7 may be safely left open2 and this will tend to confirm the opinion1 which the spectators probably formed on viewing the candle through this cupboard1 that no person was concealed within it3 it will further assure them that nothing can pass in the interior without their knowledge1 so long as this door continues open4 ,the drawer stands next in the order of succession3 it is opened1 apparently1 for the purpose of taking out the chess men1 cushion1 c4 but really to allow time for the player to change his position1 7see fig4 #e47 and to replace the false back and the partition1 preparatory to the opening of the great cupboard4 ,the machinery is so thinly scattered over this cupboard1 that the eye surveys the whole space at one glance1 and it might seem unnecessary to open a door at the back1 and to hold a lighted candle there1 as in the former instance2 but the artifice is dictated by sound policy1 which teaches that the exhibiter cannot be too assiduous in affording facilities to explore every corner and recess1 which1 he well knows1 contain nothing that he is desirous of concealing4 ,the chest may now be wheeled round for the purpose of shewing the trunk of the figure2 leaving1 however1 the front doors of the great chamber open4 ,the bunch of keys1 too1 should be suffered to remain in the door 7,d72 for the apparent carelessness of such a proceeding will serve to allay any suspicion1 which the circumstance of locking the door 7,b7 might have excited1 more especially as the two doors resemble one another in point of construction4 ,when the drapery has been lifted up1 and the doors in the trunk and thigh opened1 the chest may be returned to its former situation1 and the doors be closed4 ,in the mean-time the player should withdraw his legs from behind the drawer1 as he will not so easily effect this movement after the drawer has been pushed in4 ,here let us pause awhile1 and compare the real state of the chest at this time1 with the impression which1 at a similar period of an exhibition of the ,chess ,player1 has generally been left on the minds of the spectators2 the bulk of whom have concluded that each part of the chest had been successively exposed2 and that the whole was at that time open to inspection3 whereas1 on the contrary1 it is evident that some parts had been entirely withheld from view1 others but obscurely shewn1 and that nearly half of the chest was then excluded from their sight4 ,hence we learn how easily1 in matters of this sort1 the judgment may be led astray by an artful combination of circumstances1 each assisting the other towards the attainment of one object4 ,when the doors in front have been closed1 the exhibiter may occupy as much time1 as he finds necessary1 in apparently adjusting the machinery at the back1 whilst the player is taking the position described in figs4 #g and #h4 ,in this position he will find no difficulty in executing every movement required of the ,automaton3 his head being above the table1 he will see the chess board through the waistcoat1 as easily as through a veil2 and his left hand extending beyond the elbow of the figure1 he will be enabled to guide its hand to any part of the board1 and to take up and let go a chess man with no other 8delicate mechanism0 than a string communicating with the fingers4 ,his right hand being within the chest1 may serve to keep in motion the contrivance for producing the noise1 which is heard during the moves1 and to perform the other tricks of moving the head1 tapping on the chest1 c4 ,in order to facilitate the introduction of the player's left arm into the arm of the figure1 the elbow of the latter is obliged to be drawn backwards2 and to account for1 and conceal1 this strained attitude1 a pipe is ingeniously placed in the ,automaton's hand4 ,this pipe must not be removed till the other arrangements are completed4 ,when all is ready1 and the pipe removed1 the exhibiter may turn round the winder1 or key1 to give the impression to the spectators of winding up a spring1 or weight1 and to serve as a signal to the player to set the head of the ,automaton in motion4 ,the above process is simple1 feasible1 and effective2 shewing indisputably that the phenomena may be produced without the aid of machinery1 and thereby rendering it probable that the ,chess ,player belongs in reality to the third class of ,automata1 and derives its merit solely from the very ingenious mode by which the concealment of a living agent is effected4 ,in conducting this analysis1 the author disclaims even the slightest wish or intention to depreciate1 or detract from1 the real merits of ,mr4 ,de ,kempelen3 those merits have long since received the stamp of public approbation2 indeed1 a more than ordinary share of skill and ingenuity must have fallen to his lot1 who could imagine and execute a machine 7it matters not by what means the phenomena are brought about7 which has never failed to delight the spectators1 by exciting and maintaining1 above all other contrivances of the kind1 that pleasing delusion in the mind1 which the ,roman poet has so happily denominated 8,mentis gratissimus error40 ,december1 #ahbj4 ,,explanation ,,of ,,the ,,plates4 ,,plate ,i4 ,fig4 #a4 ,a perspective view of the ,automaton1 seen in front1 with all the doors thrown open4 ,fig4 #b4 ,an elevation of the back of the ,automaton4 ,,plate ,,ii4 ,fig4 #c4 ,an elevation of the front of the chest1 the dotted lines representing the player in the first position4 ,fig4 #d4 ,a side elevation1 shewing the player in the same position4 ,,plate ,,iii4 ,fig4 #e4 ,a front elevation1 shewing the second position4 ,fig4 #f4 ,an horizontal section through the line ,,ww4 fig4 #e4 ,,plate ,,iv4 ,fig4 #g4 ,a front elevation1 shewing the third position4 ,fig4 #h4 ,a side elevation of the same position4 ,,plate ,v4 ,fig4 #i4 ,a vertical section through the line ,,xx1 fig4 #h4 ,fig4 #aj4 ,a vertical section through the line ,,yy1 fig4 #g1 shewing the false back closed4 ,fig4 #aa4 ,a similar section1 shewing the false back raised4 ,,the ,,following ,,letters ,,of ,,reference ,,are ,,employed ,,in ,,all ,,the ,,plates4 ,a ,front door of the small cupboard4 ,b ,back door of ditto4 ,,cc ,front doors of the large cupboard4 ,d ,back door of ditto4 ,e ,door in the trunk4 ,f ,door in the thigh4 ,,gg ,the drawer4 ,h ,machinery in front of the small cupboard4 ,i ,screen behind the machinery4 ,k ,opening caused by the removal of part of the floor of the small cupboard4 ,l ,a box which serves to conceal an opening in the floor of the large cupboard1 made to facilitate the first position2 and which also serves as a seat for the player in the third position4 ,m ,a similar box to receive the toes of the player in the first position4 ,n ,the inner chest1 filling up part of the trunk4 ,o ,the space behind the drawer4 ,,pq ,the false back1 turning on a joint at ,q4 ,r ,part of the partition formed of cloth stretched tight1 which is carried up by the false back1 to form the opening between the chambers4 ,s ,the opening between the chambers4 ,t ,the opening connecting the trunk and chest1 which is partly concealed by the false back4 ,u ,panel which is slipped aside to admit the player4 ,illustration3 ,plate #b4 ,fig4 #c4 ,illustration3 ,fig4 #d4 ,drawn on ,stone by the ,author4 ,printed by ,c4 ,hullmandel4 ,illustration3 ,plate #c4 ,fig4 #e4 ,illustration3 ,fig4 #f4 ,drawn on ,stone by the ,author4 ,printed by ,c4 ,hullmandel4 ,illustration3 ,plate #d4 ,fig4 #g4 ,illustration3 ,fig4 #h4 ,drawn on ,stone by the ,author4 ,printed by ,c4 ,hullmandel4 ,illustration3 ,plate #e4 ,fig4 #i4 ,illustration3 ,fig4 #aj4 ,illustration3,fig4 #aa4 ,drawn on ,stone by the ,author4 ,printed by ,c4 ,hullmandel4 ,,appendix4 ,the ,knight's move over the chess board has engaged the attention of so many scientific men1 that ,i cannot doubt that a collection of different solutions of the problem will prove acceptable to all admirers of chess4 ,the ,knight's path is of two kinds--terminable and interminable--it is interminable1 whenever the last1 or concluding1 move of a series be made on a square1 which lies within the ,knight's reach of that from which he originally set out--and terminable in every other instance4 ,euler published a paper in the ,memoirs of the ,academy of ,berlin1 #agei1 which contains a method of filling up all the squares1 setting out from one of the corners4 ,it also contains an endless or interminable route2 and explains a principle by which these routes may be varied so as to end upon any square4 ,montmort1 ,demoivre1 and ,mairan1 have severally given solutions of the same problem4 ,these solutions will be found in the following collection4 ,observing that the ,automaton1 under the direction of ,mr4 ,maelzel1 occasionally traversed half the board1 ,i was induced to pursue the subject1 and ,i found that the move might be performed on any parallelogram consisting of twelve squares and upwards1 with the exception of fifteen and eighteen squares4 ,the whole board admits of a great variety both in the terminable and interminable routes4 ,in describing the ,knight's path1 ,i have preferred lines to figures2 the former giving a clearer idea of the plan pursued1 and affording a greater facility of comparing one route with another1 than the latter4 ,,directions ,,for ,,placing ,,the ,,plates4 ,plate #a to face the ,title4 ,plates #b to #e -- ,page #cf4 ---- #f to #aj ---- #ch4 ,illustration3 ,plate #f4 ,illustration3 ,plate #g4 ,illustration3 ,plate #h4 ,illustration3 ,plate #i4 ,illustration3 ,plate #aj4 ,,list ,,of ,,the ,,knight',s ,,moves ,contained in ,plates #f1 #g1 #h1 #i1 and #aj4 ,methods of performing the ,move on ,parallelograms less than the whole ,board4 ,no4 #a the ,move on #ab ,squares -- #b - - - #bj - -- #c - - - #be - -- #d - - - #ba - -- #e - - - #bd - -- #f - - - #bd - -- #g - - - #cj - -- #h - - - #cf - -- #i - - - #bh - -- #aj - - - #cb - -- #aa - - - #ce - -- #ab - - - #dj - -- #ac - - - #db - -- #ad - - - #dh - -- #ae - - - #di - -- #af - - - #ef - -- #ag an ,interminable ,route on #dh ,squares -- #ah ,do4 ,do4 #ef - ,terminable ,routes over the whole ,board4 ,no4 #bj ,by ,euler -- #ba - ,do4 -- #bb - ,do4 -- #bc - ,do4 -- #bd ,by ,demoivre -- #be - ,do4 -- #bf ,by ,mairan -- #bg ,by ,montmort -- #bh ,by the ,author -- #bi - ,do4 ,interminable ,routes over the whole ,board4 ,no4 #cj ,by ,euler -- #ca ,by ,mons4 ,w4 -- #cb ,by the ,author -- #cc - ,do4 -- #cd - ,do4 -- #ce - ,do4 -- #cf - ,do4 -- #cg - ,do4 -- #ch - ,do4 -- #ci - ,do4 ,,howlett ,,and ,,brimmer1 ,printers1 #aj1 ,frith ,street1 ,soho4