Bringing his right arm across his breast he actuates the little machinery necessary to guide the left arm and the fingers of the figure. This machinery is situated just beneath the left shoulder of the Turk, and is consequently easily reached by the right hand of the man concealed, if we suppose his right arm brought across the breast. The motions of the head and eyes, and of the right arm of the figure, as well as the sound _echec _are produced by other mechanism in the interior, and actuated at will by the man within. The whole of this mechanism—that is to say all the mechanism essential to the machine—is most probably contained within the little cupboard (of about six inches in breadth) partitioned off at the right (the spectators’ right) of the main compartment. In this analysis of the operations of the Automaton, we have purposely avoided any allusion to the manner in which the partitions are shifted, and it will now be readily comprehended that this point is a matter of no importance, since, by mechanism within the ability of any common carpenter, it might be effected in an infinity of different ways, and since we have shown that, however performed, it is performed out of the view of the spectators. Our result is founded upon the following _observations _taken during frequent visits to the exhibition of Maelzel. {*5} I. The moves of the Turk are not made at regular intervals of time, but accommodate themselves to the moves of the antagonist—although this point (of regularity) so important in all kinds of mechanical contrivance, might have been readily brought about by limiting the time allowed for the moves of the antagonist. For example, if this limit were three minutes, the moves of the Automaton might be made at any given intervals longer than three minutes. The fact then of irregularity, when regularity might have been so easily attained, goes to prove that regularity is unimportant to the action of the Automaton—in other words, that the Automaton is not a _pure machine._