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Updated: June 17, 2025
In this case, that the Automaton was about to move is evident and that he did not move, was an effect plainly produced by the withdrawal of the antagonist, and without any intervention of Maelzel.
Upon beating the game, he waves his head with an air of triumph, looks round complacently upon the spectators, and drawing his left arm farther back than usual, suffers his fingers alone to rest upon the cushion. In general, the Turk is victorious once or twice he has been beaten. The game being ended, Maelzel will again if desired, exhibit the mechanism of the box, in the same manner as before.
Beethoven was importuned by a clever friend, M. Maelzel, a musician, to write a symphony in commemoration of it, and to call it "Wellington's Victory." Maelzel was a man of remarkable mechanical ingenuity. He had before this won his way into Beethoven's good graces by making him an ear-trumpet, which he used for several years.
When, in exhibiting the interior of the box, Maelzel has thrown open the door No. When the machine is thus moved about, it will be apparent to any careful observer, that whereas that portion of the machinery near the front door No. 1, is perfectly steady and unwavering, the portion farther within fluctuates, in a very slight degree, with the movements of the machine.
PERHAPS no exhibition of the kind has ever elicited so general attention as the Chess-Player of Maelzel. Wherever seen it has been an object of intense curiosity, to all persons who think. Yet the question of its modus operandi is still undetermined.
Although M. Maelzel, in disclosing the interior of the machine, sometimes slightly deviates from the routine which we have pointed out, yet reeler in any instance does he so deviate from it as to interfere with our solution.
In the criticism of 'Barnaby Rudge, and again in the explanation of the Maelzel chess-player, Poe used for himself the same faculty of divination, the same power of seizing the one clue needful, however tangled amid other threads, which he had bestowed upon Legrand and Dupin.
But even in the latter case the public will still be deluded, for the works that Herr Maelzel performs under the titles of "Wellington's Battle of Vittoria" and "Battle Symphony" are beyond all doubt spurious and mutilated, as he never had any portion of either of these works of mine, except some of the parts for a few days.
I voluntarily presented Maelzel gratis with a "Battle Symphony" for his panharmonica. After having kept it for some time, he brought me back the score, which he had already begun to engrave, saying that he wished it to be harmonized for a full orchestra. The idea of a battle had already occurred to me, which, however, could not be performed on his panharmonica.
Before entering upon this subject it would be as well to give a brief history and description of the Chess-Player for the benefit of such of our readers as may never have had an opportunity of witnessing Mr. Maelzel's exhibition. In 1783 and 1784, it was taken to London by Mr. Maelzel. Of late years it has visited the principal towns in the United States.
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