ANDROÏDES, in Mechanics, a human figure, which, by certain springs or other movements, is capable of performing some of the natural motions of a living man. The motions of the human body are more complicated, and consequently more difficult to be imitated, than those of any other creature; whence the construction of an androides, in such a manner as to imitate any of these actions with tolerable exactness, is justly supposed to indicate a greater skill in mechanics than any other piece of workmanship whatever.

A very remarkable figure of this kind appeared in Paris in the year 1738. It represented a flute-player, and was capable of performing different pieces of music on the German flute; which, considering the difficulty of blowing that instrument, the different contractions of the lips necessary to produce the distinctions between the high and low notes, and the complicated motions of the fingers, must appear truly wonderful.

This machine was the invention of Μ. Vaucanson, member of the Royal Academy of Sciences; and a particular description of it was published in the Memoirs of the Academy for that year.

The figure itself was about 5ļ feet in height, situated at the end of an artificial rock, and placed upon a square pedestal 4⅜ feet high and 3⅜ broad. The air entered the body by three pipes separated one from the other. It was conveyed to them by nine pairs of bellows, three of which were placed above and six below. These were made to expand and contract regularly in succession by means of an axis of steel turned round by some clockwork. On this axis were different protuberances at proper distances, to which were fixed cords thrown over pulleys, and terminating in the upper boards of the bellows, so that, as the axis turned, these boards were alternately raised and let down. A contrivance was also used to prevent the disagreeable hissing fluttering noise usually attending the motion of bellows. This was by making the cord by which the bellows was moved press, in its descent, upon one end of a smaller lever, the other end of which ascending, forced open the small leathern valve that admitted the air, and kept it so till, the cord being relaxed by the descent of the upper board, the lever fell, and the air was forced out. Thus the bellows performed their functions constantly without the least hissing, or other noise by which it could be judged in what manner the air was conveyed to the machine. The upper boards of three of the pairs of bellows were pressed down by a weight of 41bs∙, those of three others by a weight of 21bs∙, and those of the three remaining ones by nothing but their own weight.

The three tubes by which the air entered terminated in three small reservoirs in the trunk of the figure. There they united, and, ascending towards the throat, formed the cavity of the mouth, which terminated in two small lips adapted in some measure to perform their proper functions. Within this cavity also was a small movable tongue, which, by its play, at proper periods admitted the air, or intercepted its passage to the flute.
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The fingers, lips, and tongue, received their proper directions by means of a steel cylinder turned by clockwork. It was divided into 15 equal parts, which, by means of pegs pressing upon the ends of 15 different levers, caused the other extremities to ascend. Seven of these levers directed the fingers, having wires and chains affixed to their ascending extremities, which being attached to the fingers, caused them to ascend in proportion as the other extremity was pressed down by the motion of the cylinder, and vice versa. Thus the ascent or descent of one end of a lever produced a similar ascent or descent in the corresponding finger, by which one of the holes of the flute was occasionally opened or stopped, as by a living performer. Three of the levers served to regulate the ingress of the air, being contrived so as to open and shut, by means of valves, the three reservoirs of air above mentioned, so that more or less strength might be given, and a higher or lower note produced, as occasion required. The lips were, by a similar mechanism, directed by four levers, one of which opened them, to give the air a freer passage; the other contracted them; the third drew them backward; and the fourth pushed them forward. The lips were projected upon that part of the flute which receives the air; and, by the different motions already mentioned, modified the tone in a proper manner. The remaining lever was employed in the direction of the tongue, which it easily moved so as to shut or open the mouth of the flute.

Thus we see how all the motions necessary for a fluteplayer could be performed by this machine; but a considerable difficulty still remains, namely, how to regulate these motions properly, and make each of them follow in just succession. This, however, was effected by the following simple method: the extremity of the axis of the cylinder was terminated on the right side by an endless screw, consisting of twelve threads, each placed at the distance of a line and a half from the other. Above this screw was fixed a piece of copper, and in it a steel pivot, which, falling in between the threads of the screw, obliged the cylinder to follow the threads, and instead of turning directly round, it was continually pushed to one side. Hence, if a lever was moved by a peg placed on the cylinder in any one revolution, it could not be moved by the same peg in the succeeding revolution, because the peg would be moved a line and a half beyond it by the lateral motion of the cylinder. Thus, by an artificial disposition of those pegs in different parts of the cylinder, the statue was made, by the successive elevation of the proper levers, to exhibit all the different motions of a flute-player, to the admiration of every one who saw it.

The construction of machines capable of imitating even the mechanical actions of the human body shows exquisite skill; but what shall we say of one capable, not only of imitating actions of this kind, but of acting as external circumstances require, as though it were endued with life and reason? This, nevertheless, has been done. Μ. de Kempelen, a gentleman of Presburg in Hungary, excited by the performances of Μ. de Vaucanson, at first endeavoured to imitate them, and at last far excelled them. This gentleman constructed an androides capable of playing at chess! Every one who is in the least acquainted with this game must know that it is so far from being mechanically performed, as to require a greater exertion of the judgment and rational faculties than is sufficient to accomplish many matters of greater importance. That this machine really was made, however, the public have had ocular demonstration. The inventor came over to Britain in 1783, where he remained above a year with his automaton.

It is a figure as large as life, in a Turkish dress, sitting behind a table, with doors of three feet and a half in length, two in depth, and two and a half in height. The chair on which it sits is fixed to the table, which runs on four wheels. The automaton leans its right arm on the table, and in its. left hand holds a pipe: with this k hand it plays after the pipe is removed. A chess-board of 18 inches is fixed before it. This table, or rather cup. board, contains wheels, levers, cylinders, and other pieces of mechanism, all which are publicly displayed. The vestments of the automaton are then lifted over its head, and the body is seen full of similar wheels and levers. There is a little door in its thigh, which is likewise opened; and with this, and the table also open, and the automaton uncovered, the whole is wheeled about the room. The doors are then shut, and the automaton is ready to play; and it always takes the first move.

At every motion the wheels are heard; the image moves its head, and looks over every part of the chessboard. When it checks the queen it shakes its head twice, and thrice in giving check to the king. It likewise shakes its head when a false move is made, replaces the piece, and makes its own move; by which means the adversary loses one.

Μ. de Kempełen remarks as the most surprising circumstance attending his automaton, that it had been exhibited at Presburg, Vienna, Paris, and London, to thousands, many of whom were mathematicians and chessplayers, and yet the secret by which he governed the motion of its arm was never discovered. He prided himself solely in the construction of the mechanical powers, by which the arm could perform ten or twelve moves. It then required to be wound up like a watch, after which it was capable of continuing the same number of motions.

The automaton could not play unless Μ. de Kempelen or his substitute was near it to direct its moves. A small square box, during the game, was frequently consulted by the exhibiter; and herein consisted the secret, which he said he could in a moment communicate. He who could beat Μ. de Kempelen was, of course, certain of conquering the automaton. It was made in 1769. His own account of it was, “C’est une bagatelle qui n’est pas sans mérite du côté du mechanisme; mais les effets n’en pa-roissent si merveilleux que par la hardiesse de l’idée, et par Theureux choix des moyens employés pour faire illusion.” See Automaton.