LIBRARY IVERSITY OF CALIFORNIA THE BOOK'LOVER'S ARNHEIM EDITION This edition of the Complete Works of Edgar Allan Poe is limited to Five Hundred Signed and Numbered sets, of which this is THE COMPLETE WORKS ALLAN POE The Imp of the Perverse. "There is no passion in nature so demoniacally impatient, as that of him who, shuddering upon the edge of a precipice, thus meditates a plunge." MISCELLANY G. P, PUTNAM'S SONS NEW YORK: AND LONDON Z&be ftnicfeecbocfcer press arfr to qml srfT 02 BIUJBH m noiaaaq on 21 919/iT" ,3oiqio9iq B io a^ 9 9 ^^ noqu ^nhsbbi/ria ,orfw mirf lo Isd^ z& gjjrfl THE COMPLETE WORKS EDGAR ALLAN POE MISCELLANY G. P. PUTNAM'S SONS NEW YORK AND LONDON Ube fmfcfcecbocfcer press Copyright, 1902 (For Introduction and Designs) by G. P. PUTNAM'S SONS TTbe ftnicfcerbocfcer prees, flew fork Contents Maelzel's Chess-Player Prefaces to " The Conchologist's First Book " . Philosophy of Furniture Cryptography A Chapter on Autography Anastatic Printing Eureka An Essay on the Material and Spiritual Universe Title Index PAGE i 40 44 54 77 . 162 in List of Illustrations PAGE The Imp of the Perverse . . . Frontispiece " There is no passion in nature so demoniacally impatient as that of him who, shuddering upon the edge of a precipice thus meditates a plunge." Poe's Cottage at Fordham ..... 36 Washington Irving ...... 86 Etched by Jacques Reich from the painting by C. R. Leslie. Edward Everett ....... 108 From a steel engraving. William Ellery Channing ..... 128 Dante Gabriel Rossetti ..... 140 Ralph Waldo Emerson ..... 160 From the painting by A. E. Smith. Reproduced by permission of Foster Brothers, Boston. List of Illustrations PAGE Hop-Frog 200 " Waited patiently until midnight ... be fore making their appearance." (See vol. vi., page 267.) Mrs. Clemm's House in Carmine St. . . . 240 Poe's first home in New York. Lander's Cottage 300 " Suddenly . . . and as if by the hand of magic, this whole valley and everything in it be came brilliantly visible.'* (See vol. vi., page 311.) VI MISCELLANY MaelzePs Chess-Player ERHAPS 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 operand! is still undetermined. Nothing has been written on this topic which can be considered as decisive, and, accord ingly, we find everywhere men of mechanical genius, of great general acuteness and discriminative under standing, who make no scruple in pronouncing the Automaton a pure machine, unconnected with human agency in its movements, and consequently, beyond all comparison, the most astonishing of the inventions of mankind. And such it would undoubtedly be, were they right in their supposition. Assuming this hy pothesis, it would be grossly absurd to compare with the Chess-Player any similar thing of either modern or Maelzel's Chess-Player ancient days. Yet there have been many and wonder ful automata. In Brewster's Letters on Natural Magic we have an account of the most remarkable. Among these may be mentioned, as having beyond doubt ex isted, firstly, the coach invented by M. Camus for the amusement of Louis XIV. when a child. A table, about four feet square, was introduced into the room appropriated for the exhibition. Upon this table was placed a carriage six inches in length, made of wood, and drawn by two horses of the same material. One window being down, a lady was seen on the back seat. A coachman held the reins on the box and a footman and page were in their places behind. M. Camus now touched a spring; whereupon the coachman smacked his whip and the horses proceeded in a natural manner along the edge of the table, drawing after them the carriage. Having gone as far as possible in this direc tion, a sudden turn was made to the left, and the vehicle was driven at right angles to its former course and still closely along the edge of the table. In this way the coach proceeded until it arrived opposite the chair of the young prince. It then stopped, the page descended and opened the door, the lady alighted and presented a petition to her sovereign. She then re- entered. The page put up the steps, closed the door, and resumed his station. The coachman whipped his horses, and the carriage was driven back to its original position. Maelzel's Chess-Player The Magician of M. Maillardet is also worthy of notice. We copy the following account of it from the Letters before mentioned of Dr. B., who derived his information principally from the Edinburgh Ency* clopxdia i " One of the most popular pieces of mechanism which we have seen is the Magician constructed by M. Maillardet, for the purpose of answering certain given questions. A figure, dressed like a magician, appears seated at the bottom of a wall, holding a wand in one hand and a book in the other. A number of questions, ready prepared, are inscribed on oval medallions, and the spectator takes any of these he chooses, and to which he wishes an answer, and, having placed it in a drawer ready to receive it, the drawer shuts with a spring till the answer is returned. The magician then arises from his seat, bows his head, describes circles with his wand, and, consulting the book as if in deep thought, he lifts it toward his face. Having thus ap peared to ponder over the proposed question, he raises his wand, and, striking with it the wall above his head, two folding-doors fly open and display an appropriate answer to the question. The doors again close, the magician resumes his original position, and the drawer opens to return the medallion. There are twenty of these medallions, all containing different questions, to which the magician returns the most suitable and striking answers. The medallions are thin plates of 3 Maelzel's Chess-Player brass, of an elliptical form, exactly resembling each other. Some of the medallions have a question in scribed on each side, both of which the magician an swers in succession. If the drawer is shut without a medallion being put in it, the magician rises, consults his book, shakes his head, and resumes his seat, the folding-doors remain shut, and the drawer is returned empty. If two medallions are put into the drawer to gether, an answer is returned only to the lower one. When the machinery is wound up, the movements con tinue about an hour, during which time about fifty persons may be answered. The inventor stated that the means by which the different medallions acted upon the machinery, so as to produce the proper an swers to the questions which they contained, were extremely simple." The Duck of Vaucanson was still more remarkable. It was of the size of life, and so perfect an imitation of the living animal that all the spectators were deceived. It executed, says Brewster, all the natural movements and gestures, it ate and drank with avidity, performed all the quick motions of the head and throat which are peculiar to the duck, and like it muddled the water which it drank with its bill. It produced also the sound of quacking in the most natural manner. In the anatomical structure the artists exhibited the high est skill. Every bone in the real duck had its repre sentative hi the automaton, and its wings were 4 Maelzel's Chess-Player anatomically exact. Every cavity, apophysis, and cur vature was imitated, and each bone executed its proper movements. When corn was thrown down before it, the duck stretched out its neck to pick it up, swallowed, and digested it. 1 But if these machines were ingenious, what shall we think of the calculating machine of Mr. Babbage ? What shall we think of an engine of wood and metal which can not only compute astronomical and naviga tion tables to any given extent, but render the exacti tude of its operations mathematically certain through its power of correcting its possible errors ? What shall we think of a machine which can not only accom plish all this, but actually print off its elaborate results, when obtained, without the slightest intervention of the intellect of man ? It will, perhaps, be said in reply, that a machine such as we have described is altogether above comparison with the Chess-Player of Maelzel. By no means, it is altogether beneath it, that is to say, provided we assume (what should never for a moment be assumed) that the Chess-Player is a pure machine, and performs its operations without any immediate human agency. Arithmetical or algebraical calcula tions are, from their very nature, fixed and determinate. Certain data being given, certain results necessarily and inevitably follow. These results have dependence 1 Under the head " Androides " in the Edinbutgh Encyclopaedia may be found a full account of the principal automata of ancient and modern times. Maelzel's Chess-Player upon nothing, and are influenced by nothing but the data originally given. And the question to be solved proceeds, or should proceed, to its final deter mination by a succession of unerring steps liable to no change and subject to no modification. This being the case, we can without difficulty conceive the possibility of so arranging a piece of mechanism, that upon starting it in accordance with the data of the question to be solved, it should continue its movements regu larly, progressively, and undeviatingly toward the required solution, since these movements, however complex, are never imagined to be otherwise than finite and determinate. But the case is widely different with the Chess-Player. With him there is no determi nate progression. No one move in chess necessarily follows upon any one other. From no particular dis position of the men at one period of a game can we predicate their disposition at a different period. Let us place the first move in a game of chess in juxtaposi tion with the data of an algebraical question, and their great difference will be immediately perceived. From the latter, from the data, the second step of the ques tion, dependent thereupon, inevitably follows. It is modelled by the data. It must be thus and not other wise. But from the first move in the game of chess no especial second move follows of necessity. In the algebraical question, as it proceeds toward solution, the certainty of its operations remains altogether unim- 6 Maelzel's Chess-Player paired. The second step having been a consequence of the data, the third step is equally a consequence of the second, the fourth of the third, the fifth of the fourth, and so on, and not possibly otherwise, to the end. But in proportion to the progress made in a game of chess is the uncertainty of each ensuing move. A few moves having been made, no step is certain. Different spectators of the game would advise different moves. All is then dependent upon the variable judg ment of the players. Now even granting (what should not be granted) that the movements of the Automaton Chess-Player were in themselves determinate, they would be necessarily interrupted and disarranged by the indeterminate will of his antagonist. There is, then, no analogy whatever between the operations of the Chess-Player and those of the calculating machine of Mr. Babbage, and if we choose to call the former a pure machine we must be prepared to admit that it is, beyond all comparison, the most wonderful of the in ventions of mankind. Its original projector, however, Baron Kempelen, had no scruple in declaring it to be a " very ordinary piece of mechanism, a bagatelle whose effects appeared so marvellous only from the boldness of the conception and the fortunate choice of the methods adopted for promoting the illusion." But it is needless to dwell upon this point. It is quite cer tain that the operations of the Automaton are regulated by mind and by nothing else. Indeed, this matter is 7 Maelzel's Chess-Player susceptible of a mathematical demonstration, a The only question, then, is of the manner in which human agency is brought to bear. 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. The Automaton Chess-Player was invented in 1769 by Baron Kempelen, a nobleman of Presburg, in Hun gary, who afterward disposed of it, together with the secret of its operations, to its present possessor. 1 Soon after its completion it was exhibited in Presburg, Paris, Vienna, and other continental cities. 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. Wherever seen, the most intense curiosity was excited by its appearance, and numerous have been the attempts, by men of all classes, to fathom the mystery 1 This was written in 1835, when Mr. Maelzel, recently deceased, was ex hibiting the Chess-Player in the United States. Editor. 8 Maelzel's Chess-Player of its evolutions. The cut on opposite page gives a tolerable representation of the figure as seen by the citizens of Richmond a few weeks ago. The right arm, however, should lie more at length upon the box, a chess-board should appear upon it, and the cushion should not be seen while the pipe is held. Some im material alterations have been made hi the costume of the player since it came into the possession of Maelzel the plume, for example, was not originally worn. At the hour appointed for exhibition, a curtain is withdrawn, or folding-doors are thrown open, and the machine rolled to within about twelve feet of the near est of the spectators, between whom and it (the ma chine) a rope is stretched. A figure is seen habited as a Turk, and seated, with its legs crossed, at a large box apparently of maplewood, which serves it as a table. The exhibitor will, if requested, roll the machine to any portion of the room, suffer it to remain altogether on any designated spot, or even shift its location re peatedly during the progress of a game. The bottom of the box is elevated considerably above the floor by means of the castors or brazen rollers on which it moves, a clear view of the surface immediately beneath the Automaton being thus afforded to the spectators. The chair on which the figure sits is affixed perma nently to the box. On the top of this latter is a chess board, also permanently affixed. The right arm of the Chess-Player is extended at full length before him, 9 Maelzel's Chess-Player at right angles with his body, and lying, in an appa rently careless position, by the side of the board. The back of the hand is upward. The board itself is eight een inches square. The left arm of the figure is bent at the elbow, and in the left hand is a pipe. A green drapery conceals the back of the Turk and falls par tially over the front of both shoulders. To judge from the external appearance of the box, it is divided into five compartments three cupboards of equal dimen sions, and two drawers occupying that portion of the chest lying beneath the cupboards. The foregoing observations apply to the appearance of the Automaton upon its first introduction into the presence of the spectators. Maelzel now informs the company that he will dis close to their view the mechanism of the machine. Taking from his pocket a bunch of keys, he unlocks with one of them a door marked i in the cut on page 8, and throws the cupboard fully open to the inspec tion of all present. Its whole interior is apparently filled with wheels, pinions, levers, and other machinery, crowded very closely together, so that the eye can penetrate but a little distance into the mass. Leaving this door open to its full extent, he goes now round to the back of the box, and, raising the drapery of the figure, opens another door situated precisely in the rear of the one first opened. Holding a lighted candle at this door, and shifting the position of the whole 10 Maelzel's Chess-Player machine repeatedly at the same time, a bright light is thrown entirely through the cupboard, which is now clearly seen to be full, completely full, of machinery. The spectators being satisfied of this fact, Maelzel closes the back door, locks it, takes the key from the lock, lets fall the drapery of the figure, and comes round to the front. The door marked i, it will be re membered, is still open. The exhibitor now proceeds to open the drawer which lies beneath the cupboards at the bottom of the box, for although there are ap parently two drawers there is really only one, the two handles and two key-holes being intended merely for ornament. Having opened this drawer to its full extent, a small cushion and a set of chessmen, fixed in a framework made to support them perpendicu larly, are discovered. Leaving this drawer, as well as cupboard No. i, open, Maelzel now unlocks door No. 2 and door No. 3, which are discovered to be folding- doors, opening into one and the same compartment. To the right of this compartment, however (that is to say, to the spectators 1 right), a small division, six inches wide and filled with machinery, is partitioned off. The main compartment itself (in speaking of that portion of the box visible upon opening doors 2 and 3 we shall always call it the main compartment) is lined with dark cloth and contains no machinery whatever beyond two pieces of steel, quadrant-shaped, and situated one in each of the rear top corners of the ii Maelzel's Chess-Player compartment. A small protuberance about eight inches square, and also covered with dark cloth, lies on the floor of the compartment near the rear corner on the spectators' left hand. Leaving doors No. 2 and No. 3 open, as well as the drawer and door No. i, the exhibitor now goes round to the back of the main compartment, and, unlocking another door there, dis plays clearly all the interior of the main compartment by introducing a candle behind it and within it. The whole box being thus apparently disclosed to the scru tiny of the company, Maelzel, still leaving the doors and drawer open, rolls the Automaton entirely round and exposes the back of the Turk by lifting up the drapery. A door about ten inches square is thrown open hi the loins of the figure, and a smaller one also in the left thigh. The interior of the figure, as seen through these apertures, appears to be crowded with machinery. In general, every spectator is now thor oughly satisfied of having beheld and completely scrutinized, at one and the same time, every individ ual portion of the Automaton, and the idea of any person being concealed in the interior, during so com plete an exhibition of that interior, if ever entertained, is immediately dismissed as preposterous in the ex treme. M. Maelzel, having rolled the machine back into its original position, now informs the company that the Automaton will play a game of chess with any one 12 Maelzel's Chess-Player disposed to encounter him. This challenge being ac cepted, a small table is prepared for the antagonist and placed close by the rope, but on the spectators' side of it, and so situated as not to prevent the company from obtaining a full view of the Automaton. From a drawer in this table is taken a set of chessmen, and Maelzel arranges them generally, but not always, with his own hands, on the chess-board, which consists merely of the usual number of squares painted upon the table. The antagonist having taken his seat, the exhibitor approaches the drawer of the box and takes therefrom the cushion, which, after removing the pipe from the hand of the Automaton, he places under its left arm as a support. Then, taking also from the drawer the Automaton's set of chessmen, he arranges them upon the chess-board before the figure. He now proceeds to close the doors and to lock them, leaving the bunch of keys in door No. i. He also closes the drawer, and, finally, winds up the machine by apply ing a key to an aperture in the left end (the specta tors' left) of the box. The game now commences, the Automaton taking the first move. The duration of the contest is usually limited to half an hour, but if it be not finished at the expiration of this period, and the antagonist still contends that he can beat the Autom aton, M. Maelzel has seldom any objection to con tinue it. Not to weary the company is the ostensible and, no doubt, the real object of the limitation. It 13 Maelzel's Chess-Player will, of course, be understood that when a move is made at his own table by the antagonist, the corres ponding move is made at the box of the Automaton, by Maelzel himself, who then acts as the representa tive of the antagonist. On the other hand, when the Turk moves, the corresponding move is made at the table of the antagonist, also by M. Maelzel, who then acts as the representative of the Automaton. In this manner it is necessary that the exhibitor should often pass from one table to the other. He also frequently goes in the rear of the figure to remove the chessmen which it has taken, and which it deposits, when taken, on the box to the left (to its own left) of the board. When the Automaton hesitates in relation to its move, the exhibitor is occasionally seen to place himself very near its right side, and to lay his hand now and then, in a careless manner, upon the box. He has also a peculiar shuffle with his feet, calculated to induce sus picion of collusion with the machine in minds which are more cunning than sagacious. These peculiari ties are, no doubt, mere mannerisms of M. Maelzel, or, if he is aware of them at all, he puts them in prac tice with a view of exciting in the spectators a false idea of the pure mechanism in the Automaton. The Turk plays with his left hand. All the move ments of the arm are at right angles. In this manner, the hand (which is gloved and bent in a natural way), being brought directly above the piece to be moved, 14 Maelzel's Chess-Player descends finally upon it, the fingers receiving it, in most cases, without difiiculty. Occasionally, however, when the piece is not precisely in its proper situation the Automaton fails in his attempt at seizing it. When this occurs, no second effort is made, but the arm con tinues its movement in the direction originally in tended, precisely as if the piece were in the fingers. Having thus designated the spot whither the move should have been made, the arm returns to its cushion, and Maelzel performs the evolution which the Au tomaton pointed out. At every movement of the figure machinery is heard in motion. During the progress of the game, the figure now and then rolls its eyes as if surveying the board, moves its head, and pronounces the word " echec" (check) when necessary. 1 If a false move be made by his antagonist, he raps briskly on the box with the fingers of his right hand, shakes his head roughly, and, replacing the piece falsely moved in its former situation, assumes the next move himself. Upon beating the game, he waves his head with an air of triumph, looks around compla cently 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 vic torious once or twice he has been beaten. The game being ended, Maelzel will again, if desired, exhibit the 1 The making the Turk pronounce the word " echec " is an improvement by M. Maelzel. When in possession of Baron Kempelen, the figure indicated a check by rapping on the box with his right hand. 15 Maelzel's Chess-Player mechanism of the box in the same manner as before. The machine is then rolled back, and a curtain hides it from the view of the company. There have been many attempts at solving the mys tery of the Automaton. The most general opinion in relation to it, an opinion, too, not unfrequently adopted by men who should have known better, was, as we have before said, that no immediate human agency was employed, in other words, that the machine was purely a machine and nothing else. Many, however, maintained that the exhibitor himself regulated the movements of the figure by mechanical means, operat ing through the feet of the box. Others, again, spoke confidently of a magnet. Of the first of these opin ions we shall say nothing at present more than we have already said. In relation to the second it is only necessary to repeat what we have before stated, that the machine is rolled about on castors, and will, at the request of a spectator, be moved to and fro to any por tion of the room, even during the progress of the game. The supposition of the magnet is also untenable, for if a magnet were the agent, any other magnet in the pocket of a spectator would disarrange the entire mechanism. The exhibitor, however, will suffer the most powerful loadstone to remain even upon the box during the whole of the exhibition. The first attempt at a written explanation of the secret, at least the first attempt of which we ourselves 16 Maelzel's Chess-Player have any knowledge, was made in a large pamphlet printed at Paris in 1785. The author's hypothesis amounted to this that a dwarf actuated the machine. This dwarf he supposed to conceal himself during the opening of the box by thrusting his legs into two hollow cylinders, which were represented to be (but which are not) among the machinery in the cupboard No. i, while his body was out of the box entirely and covered by the drapery of the Turk. When the doors were shut, the dwarf was enabled to bring his body within the box, the noise produced by some portion of the machinery allowing him to do so unheard, and also to close the door by which he entered. The interior of the Automaton being then exhibited, and no person discovered, the spectators, says the author of this pamphlet, are satisfied that no one is within any por tion of the machine. The whole hypothesis was too obviously absurd to require comment or refutation, and, accordingly, we find that it attracted very little attention. In 1789 a book was published at Dresden by M. I. F. Freyhere, in which another endeavor was made to un ravel the mystery. Mr. Freyhere's book was a pretty large one, and copiously illustrated by colored engrav ings. His supposition was that " a well-taught boy, very thin and tall of his age (sufficiently so that he could be concealed in a drawer almost immediately under the chess-board) " played the game of chess and VOL. X. 2. j ij Maelzel's Chess-Player effected all the evolutions of the Automaton. This idea, although even more silly than that of the Pa risian author, met with a better reception, and was in some measure believed to be the true solution of the wonder, until the inventor put an end to the discussion by suffering a close examination of the top of the box. These bizarre attempts at explanation were followed by others equally bizarre. Of late years, however, an anonymous writer, by a course of reasoning exceed ingly unphilosophical, has contrived to blunder upon a plausible solution, although we cannot consider it altogether the true one. His essay was first pub lished in a Baltimore weekly paper, was illustrated by cuts, and was entitled An Attempt to Analyze the Automaton Chess "Player of M, Maelzel This essay we suppose to have been the original of the pamphlet to which Sir David Brewster alludes in his Letters on Natural Magic, and which he has no hesitation in de claring a thorough and satisfactory explanation. The results of the analysis are undoubtedly, in the main, just; but we can only account for Brewster's pro nouncing the essay a thorough and satisfactory ex planation by supposing him to have bestowed upon it a very cursory and inattentive perusal. In the com pendium of the essay, made use of in the Letters on Natural Magic, it is quite impossible to arrive at any distinct conclusion in regard to the adequacy or in adequacy of the analysis, on account of the gross mis- 18 Maelzel's Chess-Play er arrangement and deficiency of the letters of reference employed. The same fault is to be found in the Attemptf etc., as we originally saw it. The solution consists in a series of minute explanations (accom panied by wood-cuts, the whole occupying many pages), in which the object is to show the possibility of so shifting the partitions of the box as to allow a human being, concealed in the interior, to move por tions of his body from one part of the box to another during the exhibition of the mechanism, thus eluding the scrutiny of the spectators. There can be no doubt, as we have before observed, and as we will presently endeavor to show, that the principle, or rather the result of this solution is the true one. Some person is concealed in the box during the whole time of exhibit ing the interior. We object, however, to the whole verbose description of the manner in which the par titions are shifted to accommodate the movements of the person concealed. We object to it as a mere theory assumed in the first place, and to which cir cumstances are afterward made to adapt themselves. It was not, and could not have been, arrived at by any inductive reasoning. In whatever way the shifting is managed, it is, of course, concealed at every step from observation. To show that certain movements might possibly be effected in a certain way is very far from showing that they are actually so effected. There may be an infinity of other methods by which the same 19 Maelzel's Chess-Play er results may be obtained. The probability of the one assumed proving the correct one is, then, as unity to infinity. But, in reality, this particular point, the shifting of the partitions, is of no consequence what ever. It was altogether unnecessary to devote seven or eight pages for the purpose of proving what no one in his senses would deny, viz., that the wonderful me chanical genius of Baron Kempelen could invent the necessary means for shutting a door or slipping aside a panel, with a human agent, too, at his service in actual contact with the panel or the door, and the whole operations carried on, as the author of the essay himself shows, and as we shall attempt to show more fully hereafter, entirely out of reach of the observa tion of the spectators. In attempting, ourselves, an explanation of the Au tomaton, we will, in the first place, endeavor to show how its operations are effected, and afterward describe, as briefly as possible, the nature of the observations from which we have deduced our result. It will be necessary for a proper understanding of the subject, that we repeat here, in a few words, the routine adopted by the exhibitor in disclosing the in terior of the box a routine from which he never de viates in any material particular. In the first place, he opens the door No. i. Leaving this open, he goes round to the rear of the box and opens a door pre cisely at the back of door No. i. To this back door 20 Maelzel's Chess-Player he holds a lighted candle. He then closes the back door, locks it, and, coming round to the front, opens the drawer to its full extent. This done, he opens the doors No. 2 and No. 3 (the folding-doors), and dis plays the interior of the main compartment. Leaving open the main compartment, the drawer, and the front door of cupboard No. i, he now goes to the rear again and throws open the back door of the main compart ment. In shutting up the box no particular order is observed, except that the folding-doors are always closed before the drawer. Now, let us suppose that when the machine is first rolled into the presence of the spectators a man is already within it. His body is situated behind the dense machinery in cupboard No. i (the rear portion of which machinery is so contrived as to slip en masse from the main compartment to the cupboard No. i, as occasion may require), and his legs lie at full length in the main compartment. When Maelzel opens the door No. i, the man within is not in any danger of discovery, for the keenest eye cannot penetrate more than about two inches into the darkness within. But the case is otherwise when the back door of the cup board No. i is opened. A bright light then pervades the cupboard, and the body of the man would be dis covered if it were there. But it is not. The putting the key in the lock of the back door was a signal, on hearing which the person concealed brought his body 21 Maelzel's Chess-Player forward to an angle as acute as possible, throwing it altogether, or nearly so, into the main compartment. This, however, is a painful position and cannot be long maintained. Accordingly, we find that Maelzel closes the back door. This being done, there is no reason why the body of the man may not resume its former situation, for the cupboard is again so dark as to defy scrutiny. The drawer is now opened, and the legs of the person within drop down behind it in the space it formerly occupied. 1 There is, consequently, now no longer any part of the man in the main compartment, his body being behind the machinery in cupboard No. i, and his legs in the space occupied by the drawer. The exhibitor, therefore, finds himself at liberty to dis play the main compartment. This he does, opening both its back and front doors, and no person is dis covered. The spectators are now satisfied that the whole of the box is exposed to view, and exposed, too, all portions of it at one and the same time. But, of course, this is not the case. They neither see the space behind the drawer nor the interior of cupboard No. i, the front door of which latter the exhibitor virtually shuts in shutting its back door. Maelzel, hav ing now rolled the machine around, lifted up the dra- 1 Sir David Brewster supposes that there is always a large space behind this drawer even when shut in other words, that the drawer is a " false drawer," and does not extend to the back of the box. But the idea is altogether un tenable. So commonplace a trick would be immediately discovered, espe cially as the drawer is always opened to its full extent, and an opportunity thus offered of comparing its depth with that of the box. 22 Maelzel's Chess-Player pery of the Turk, opened the doors in its back and thigh, and shown his trunk to be full of machinery, brings the whole back into its original position and closes the doors. The man within is now at liberty to move about. He gets up into the body of the Turk just so high as to bring his eyes above the level of the chess-board. It is very probable that he seats himself upon the little square block or protuberance which is seen in a corner of the main compartment when the doors are open. In this position he sees the chess board through the bosom of the Turk, which is of gauze. 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 machin ery 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 motion of the head and eyes, and of the right arm of the figure, as well as the sound " echec" are produced by other mech anism 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 23 Maelzel's Chess-Player 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. 1 1. 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 regu larity), so important in all kinds of mechanical con trivance, might have been readily brought about by limiting the time allowed for the moves of the antag onist. 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 un important to the action of the Automaton; in other words, that the Automaton is not a pure machine. 2. When the Automaton is about to move a piece, a distinct motion is observable just beneath the left 1 Some of these observations are intended merely to prove that the machine must be regulated by mind, and it may be thought a work of supererogation to advance further arguments in support of what has been already fully de cided. But our object is to convince, in especial, certain of our friends upon whom a train of suggestive reasoning will have more influence than the most positive a priori demonstration. 24 Maelzel's Chess- Player shoulder, and which motion agitates in a slight degree the drapery covering the front of the left shoulder. This motion invariably precedes, by about two sec onds, the movement of the arm itself; and the arm never, in any instance, moves without this preparatory motion in the shoulder. Now, let the antagonist move a piece, and let the corresponding move be made by Maelzel, as usual, upon the board of the Automaton. Then let the antagonist narrowly watch the Autom aton until he detect the preparatory motion in the shoulder. Immediately upon detecting this motion, and before the arm itself begins to move, let him withdraw his piece, as if perceiving an error in his manoeuvre. It will then be seen that the movement of the arm, which, in all other cases, immediately succeeds the motion in the shoulder, is withheld, is not made, although Maelzel has not yet performed, on the board of the Automaton, any move corresponding to the withdrawal of the antagonist. 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. This fact fully proves (i) that the intervention of Maelzel, in performing the moves of the antagonist on the board of the Automaton, is not essential to the movements of the Automaton; (2) that its move ments are regulated by mind, by some person who 25 Maelzel's Chess-Player sees the board of the antagonist; (3) that its move ments are not regulated by the mind of Maelzel, whose back was turned toward the antagonist at the with drawal of his move. 3. The Automaton does not invariably win the game. Were the machine a pure machine, this would not be the case it would always win. The principle being discovered by which a machine can be made to play a game of chess, an extension of the same prin ciple would enable it to win a game ; a further exten sion would enable it to win all games, that is, to beat any possible game of an antagonist. A little considera tion will convince any one that the difficulty of mak ing a machine beat all games is not in the least degree greater, as regards the principle of the operations necessary, than that of making it beat a single game. If, then, we regard the Chess-Player as a machine, we must suppose (what is highly improbable) that its in ventor preferred leaving it incomplete to perfecting it, a supposition rendered still more absurd when we reflect that the leaving it incomplete would afford an argument against the possibility of its being a pure machine, the very argument we now adduce. 4. When the situation of the game is difficult or complex, we never perceive the Turk either shake his head or roll his eyes. It is only when his next move is obvious, or when the game is so circumstanced that to a man in the Automaton's place there would be no 26 Maelzel's Chess-Player necessity for reflection. Now, these peculiar move ments of the head and eyes are movements custom ary with persons engaged in meditation, and the ingenious Baron Kempelen would have adapted these movements (were the machine a pure machine) to occasions proper for their display, that is, to occasions of complexity. But the reverse is seen to be the case, and this reverse applies precisely to our supposition of a man in the interior. When engaged in meditation about the game he has no time to think of setting in motion the mechanism of the Automaton by which are moved the head and the eyes. When the game, how ever, is obvious, he has time to look about him, and, accordingly, we see the head shake and the eyes roll. 5. When the machine is rolled round to allow the spectators an examination of the back of the Turk, and when his drapery is lifted up and the doors in the trunk and thigh thrown open, the interior of the trunk is seen to be crowded with machinery. In scrutinizing this machinery while the Automaton was in motion, that is to say, while the whole machine was moving on the castors, it appeared to us that cer tain portions of the mechanism changed their shape and position in a degree too great to be accounted for by the simple laws of perspective; and subsequent examinations convinced us that these undue altera tions were attributable to mirrors in the interior of the 27 Maelzel's Chess-Player trunk. The introduction of mirrors among the ma chinery could not have been intended to influence, in any degree, the machinery itself. Their operation, whatever that operation should prove to be, must necessarily have reference to the eye of the spectator. We at once concluded that these mirrors were so placed to multiply to the vision some few pieces of machinery within the trunk so as to give it the appear ance of being crowded with mechanism. Now, the direct inference from this is that the machine is not a pure machine. For if it were, the inventor, so far from wishing its mechanism to appear complex, and using deception for the purpose of giving it this appearance, would have been especially desirous of convincing those who witnessed his exhibition, of the simplicity of the means by which results so wonderful were brought about. 6. The external appearance, and, especially, the de portment of the Turk, are, when we consider them as imitations of life, but very indifferent imitations. The countenance evinces no ingenuity, and is surpassed, in its resemblance to the human face, by the very com monest of waxworks. The eyes roll unnaturally in the head, without any corresponding motions of the lids or brows. The arm, particularly, performs its operations in an exceedingly stiff, awkward, jerking, and rectangular manner. Now, all this is the result either of inability in Maelzel to do better, or of inten- 28 Maelzel's Chess-Player tional neglect, accidental neglect being out of the question, when we consider that the whole time of the ingenious proprietor is occupied in the improve ment of his machines. Most assuredly we must not refer the unlife-like appearances to inability, for all the rest of Maelzel's automata are evidences of his full ability to copy the motions and peculiarities of life with the most wonderful exactitude. The rope-dancers, for example, are inimitable. When the clown laughs, his lips, his eyes, his eyebrows, and eyelids indeed, all the features of his countenance are imbued with their appropriate expressions. In both him and his companion, every gesture is so entirely easy and free from the semblance of artificiality, that, were it not for the diminutiveness of their size and the fact of their being passed from one spectator to another previous to their exhibition on the rope, it would be difficult to convince any assemblage of persons that these wooden automata were not living creatures. We cannot, therefore, doubt Mr. Maelzel's ability, and we must necessarily suppose that he intentionally suffered his Chess-Player to remain the same artificial and un natural figure which Baron Kempelen (no doubt also through design) originally made it. What this design was it is not difficult to conceive. Were the Autom aton lifelike in its motions, the spectator would be more apt to attribute its operations to their true cause (that is, to human agency within) than he is now, 29 Maelzel's Chess-Player when the awkward and rectangular manoeuvres con vey the idea of pure and unaided mechanism. 7. When, a short time previous to the commence ment of the game, the Automaton is wound up by the exhibitor as usual, an ear in any degree accustomed to the sounds produced in winding up a system of ma chinery will not fail to discover, instantaneously, that the axis turned by the key in the box of the Chess- Player cannot possibly be connected with either a weight, a spring, or any system of machinery what ever. The inference here is the same as in our last observation. The winding up is inessential to the op erations of the Automaton, and is performed with the design of exciting in the spectators the false idea of mechanism. 8. When the question is demanded explicitly of Maelzel, " Is the Automaton a pure machine or not ? " his reply is invariably the same : " I will say nothing about it." Now, the notoriety of the Automaton, and the great curiosity it has everywhere excited, are owing more especially to the prevalent opinion that it is a pure machine than to any other circumstance. Of course, then, it is the interest of the proprietor to rep resent it as a pure machine. And what more obvious and more effectual method could there be of impress ing the spectators with this desired idea, than a posi tive and explicit declaration to that effect ? On the other hand, what more obvious and effectual method 30 Maelzel's Chess-Player could there be of exciting a disbelief in the Automaton's being a pure machine than by withholding such ex plicit declaration ? For people will naturally reason thus : It is Maelzel's interest to represent this thing a pure machine ; he refuses to do so, directly, in words, although he does not scruple, and is evidently anxious, to do so indirectly by actions; were it actually what he wishes to represent it by actions, he would gladly avail himself of the more direct testimony of words; the inference is, that the consciousness of its not being a pure machine is the reason of his silence ; his actions cannot implicate him in a falsehood, his words may. 9. When, in exhibiting the interior of the box, Maelzel has thrown open the door No. i and also the door immediately behind it, he holds a lighted candle at the back door (as before mentioned) and moves the entire machine to and fro with a view of convincing the company that the cupboard No. i is entirely filled with machinery. 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. i is perfectly steady and unwavering, the por tion farther within fluctuates, in a very slight degree, with the movements of the machine. This circum stance first aroused in us the suspicion that the more remote portion of the machinery was so arranged as to be easily slipped, en masse, from its position when 3 1 Maelzel's Chess-Player occasion should require it. This occasion we have already stated to occur when the man concealed within brings his body into an erect position upon the closing of the back door. 10. Sir David Brewster states the figure of the Turk to be of the size of life, but, in fact, it is far above the ordinary size. Nothing is more easy than to err in our notions of magnitude. The body of the Automaton is generally insulated, and, having no means of imme diately comparing it with any human form, we suffer ourselves to consider it as of ordinary dimensions. This mistake may, however, be corrected by observing the Chess-Player when, as is sometimes the case, the exhibitor approaches it. Mr. Maelzel, to be sure, is not very tall, but upon drawing near the machine his head will be found at least eighteen inches below the head of the Turk, although the latter, it will be remembered, is in a sitting position. 11. The box, behind which the Automaton is placed, is precisely three feet six inches long, two feet four inches deep, and two feet six inches high. These dimensions are fully sufficient for the accommodation of a man very much above the common size ; and the main compartment alone is capable of holding any or dinary man in the position we have mentioned as assumed by the person concealed. As these are facts, which any one who doubts them may prove by actual calculation, we deem it unnecessary to dwell upon 32 Maelzel's Chess-Play er them. We will only suggest that, although the top of the box is apparently a board of about three inches in thickness, the spectator may satisfy himself by stoop ing and looking up at it when the main compartment is open, that it is in reality very thin. The height of the drawer also will be misconceived by those who ex amine it in a cursory manner. There is a space of about three inches between the top of the drawer as seen from the exterior and the bottom of the cupboard, a space which must be included in the height of the drawer. These contrivances to make the room within the box appear less than it actually is are referable to a design on the part of the inventor to impress the company again with a false idea, viz., that no human being can be accommodated within the box. 12. The interior of the main compartment is lined throughout with cloth. This cloth we suppose to have a twofold object. A portion of it may form, when tightly stretched, the only partitions which there is any necessity for removing during the changes of the man's position, viz., the partition between the rear of the main compartment and the rear of cupboard No. i, and the partition between the main compartment and the space behind the drawer when open. If we im agine this to be the case, the difficulty of shifting the partitions vanishes at once, if, indeed, any such diffi culty could be supposed under any circumstances to exist. The second object of the cloth is to deaden and VOL. X. 3, .5 Maelzel's Chess-Player render indistinct all sounds occasioned by the move ments of the person within. 13. The antagonist (as we have before observed) is not suffered to play at the board of the Automaton, but is seated at some distance from the machine. The reason which, most probably, would be assigned for this circumstance, if the question were demanded, is, that were the antagonist otherwise situated, his person would intervene between the machine and the specta tors and preclude the latter from a distinct view. But this difficulty might be easily obviated, either by ele vating the seats of the company, or by turning the end of the box toward them during the game. The true cause of the restriction is, perhaps, very different. Were the antagonist seated in contact with the box, the secret would be liable to discovery, by his detect ing, with the aid of a quick ear, the breathings of the man concealed. 14. Although M. Maelzel, in disclosing the interior of the machine, sometimes slightly deviates from the routine which we have pointed out, yet never in any instance does he so deviate from it as to interfere with our solution. For example, he has been known to open, first of all, the drawer, but he never opens the main compartment without first closing the back door of cupboard No. i ; he never opens the main compart ment without first pulling out the drawer; he never shuts the drawer without first shutting the main com- 34 Maelzel's Chess-Play er partment; he never opens the back door of cupboard No. i while the main compartment is open, and the game of chess is never commenced until the whole machine is closed. Now, if it were observed that never, in any single instance, did M. Maelzel differ from the routine we have pointed out as necessary to our solu tion, it would be one of the strongest possible argu ments in corroboration of it ; but the argument becomes infinitely stengthened if we duly consider the circum stance that he does occasionally deviate from the routine, but never does so deviate as to falsify the solution. 15. There are six candles on the board of the Au tomaton during exhibition. The question naturally arises : " Why are so many employed, when a single candle, or, at farthest, two, would have been amply sufficient to afford the spectators a clear view of the board in a room otherwise so well lit up as the exhibi tion room always is; when, moreover, if we suppose the machine a pure machine, there can be no neces sity for so much light, or, indeed, any light at all, to enable it to perform its operations; and when, espe cially, only a single candle is placed upon the table of the antagonist ? " The first and most obvious infer ence is, that so strong a light is requisite to enable the man within to see through the transparent material (probably fine gauze) of which the breast of the Turk is composed. But when we consider the arrangement 35 Maelzel's Chess-Player of the candles, another reason immediately presents itself. There are six lights (as we have said before) in all. Three of these are on each side of the figure. Those most remote from the spectators are the longest, those in the middle are about two inches shorter, and those nearest the company about two inches shorter still, and the candles on one side differ in height from the candles respectively opposite on the other by a ratio different from two inches; that is to say, the longest candle on one side is about three inches shorter than the longest candle on the other, and so on. Thus it will be seen that no two of the candles are of the same height, and thus also the difficulty of ascertain ing the material of the breast of the figure (against which the light is especially directed) is greatly aug mented by the dazzling effect of the complicated cross ings of the rays, crossings which are brought about by placing the centres of radiation all upon different levels. 16. While the Chess-Player was in possession of Baron Kempelen, it was more than once observed, first, that an Italian in the suite of the Baron was never visible during the playing of a game at chess by the Turk, and, secondly, that, the Italian being taken seri ously ill, the exhibition was suspended until his recov ery. This Italian professed a total ignorance of the game of chess, although all others of the suite played well. Similar observations have been made since the 36 Ill * Maelzel's Chess-Play er of the canflif, another reaaon immediately presents itself. There are six lights (as we have said before) in all. Three of these are on each side of the figure. Those most remote ftem the spectators are the longest, those in the tmddie are about two inches shorter, and those nearest the company about two inches shorter still, and the candles on one side differ in height from the caudles mpectively opposite on the other by a ratio different from two inches; that is to say, the longest candle on one side is about three inches shorter than the longest candle on the other, and so on. Thus it will be se^^tg^lgggO^^i^v^jg^^are of same height, and thus also the difficulty of ascertain ing the material of the breast of the figure (against which the light to especially directed) is greatly aug mented by teiwttftt dtart of the complicated craft ings of th* ' **** *M* * brought about by placing tfee e***** ** fttittftMl ail upon different levels. 16. WhS tfcs OwiS-Player was in possession of Baron Kempelen, it was more than once observed, first, that an Italian in the suite of the Baron was never visible during the playing of a game at chess by the Turk, Mid, secondly, that, the Italian being taken seri ously ill, the f xhibition was suspended until his recov ery. This ttftttaa pretested a total ignorance of the gam* of <&*, afefcMf* all others of the suite played wdL aMtar otofrvm&ot* have been made since the Maelzel's Chess-Player Automaton has been purchased by Maelzel. There is a man, Schlumberger, who attends him wherever he goes, but who has no ostensible occupation other than that of assisting in the packing and unpacking of the Automaton. This man is about the medium size, and has a remarkable stoop in the shoulders. Whether he professes to play chess or not, we are not informed. It is quite certain, however, that he is never to be seen during the exhibition of the Chess-Player, although frequently visible just before and just after the exhibi tion. Moreover, some years ago Maelzel visited Rich mond with his automata, and exhibited them, we believe, in the house now occupied by M. Bossieux as a dancing academy. Schlumberger was suddenly taken ill, and during his illness there was no exhibition of the Chess-Player. These facts are well known to many of our citizens. The reason assigned for the suspension of the Chess-Player's performances was not the illness of Schlumberger. The inferences from all this we leave, without farther comment, to the reader. 17. The Turk plays with his left arm. A circum stance so remarkable cannot be accidental. Brewster takes no notice of it whatever beyond a mere state ment, we believe, that such is the fact. The early writers of treatises on the Automaton seem not to have observed the matter at all, and have no reference to it. The author of the pamphlet alluded to by Brewster men tions it, but acknowledges his inability to account for 37 Maelzel's Chess-Play er it. Yet it is obviously from such prominent discrep ancies or incongruities as this that deductions are to be made (if made at all) which shall lead us to the truth. The circumstance of the Automaton's playing with his left hand cannot have connection with the opera tions of the machine, considered merely as such. Any mechanical arrangement which would cause the figure to move, in any given manner, the left arm, could, if reversed, cause it to move, in the same manner, the right. But these principles cannot be extended to the human organization, wherein there is a marked and radical difference in the construction, and, at all events, in the powers, of the right and left arms. Reflecting upon this latter fact, we naturally refer the incon gruity noticeable hi the Chess-Player to this peculiarity hi the human organization. If so, we must imagine some reversion, for the Chess-Player plays precisely as a man would not. These ideas, once entertained, are sufficient of themselves to suggest the notion of a man in the interior. A few more imperceptible steps lead us finally to the result. The Automaton plays with his left arm, because under no other circumstances could the man within play with his right a desideratum, of course. Let us, for example, imagine the Automaton to play with his right arm. To reach the machinery which moves the arm, and which we have before ex plained to lie just beneath the shoulder, it would be 38 Maelzel's Chess-Play er necessary for the man within either to use his right arm in an exceedingly painful and awkward position (viz., brought up close to his body and tightly com pressed between his body and the side of the Autom aton), or else to use his left arm brought across his breast. In neither case could he act with the requi site ease or precision. On the contrary, the Autom aton playing, as it actually does, with the left arm, all difficulties vanish. The right arm of the man within is brought across his breast, and his right fingers act, without any constraint, upon the machinery in the shoulder of the figure. We do not believe that any reasonable objections can be urged against this solution of the Automaton Chess-Player. 39 Prefaces to "The Concholo- gist's First Book" 1 FIRST EDITION, 1839 E term " Malacology," an abbreviation of " Malacozoology," from the Greek ^oka- nog (soft), Co5o^ (an animal), and AGIOS' (a discourse), was first employed by the French naturalist De Blainville to designate an important division of Natural History, in which the leading feature of the animals discussed was the softness of the flesh, or, to speak with greater accuracy, of the general envelop. This division comprehends not only the Mollusca, but 1 The full title is " The Conchologist's First Book : a System of Testaceous Malacology, arranged expressly for the use of schools ; in which the animals, according to Cuvier, are given with the shells, a great number of new species added, and the whole brought up, as accurately as possible, to the present con dition of the science. By Edgar A. Poe. Second edition. With illustrations of two hundred and fifteen shells, presenting a correct type of each genus. Philadelphia: Published for the Author by Haswell, Barrington, & Haswell, and for sale by the principal booksellers in the United States." [First edition. 1839; second edition, 1840; both prefaces signed " E. A. P."] 40 " The Conchologist's First Book" also the Testacea of Aristotle and Pliny, and, of course, had reference to molluscous animals in general, of which the greater portion have shells. A treatise concerning the shells, exclusively, of this greater portion, is termed, in accordance with general usage, a "Treatise upon Conchology or Conchyliology" ; although the word is somewhat improperly applied, as the Greek conchyllon, from which it is derived, em braces in its signification both the animal and shell. Ostracology would have been more definite. The common works upon this subject, however, will appear to every person of science very essentially de fective, inasmuch as the relation of the animal and shell, with their dependence upon each other, is a radically important consideration in the examination of either. Neither, in the attempt to obviate this diffi culty, is a work upon Malacology at large necessarily included. Shells, it is true, form, and for many obvi ous reasons will continue to form, the subject of chief interest, whether with regard to the school or the cabinet ; still, there is no good reason why a book upon Conchology (using the common term) may not be malacological as far as it proceeds. In this view of the subject the present little work is offered to the public. Beyond the ruling feature, that of giving an anatomical account of each animal, together with a description of the shell which it in habits, I have aimed at little more than accuracy and 41 " The Conchologist's First Book " simplicity, as far as the latter quality can be thought consistent with the rigid exactions of science. No attention has been given to the mere history of the subject; it is conceived that any disquisition on this head would more properly appertain to works of ultimate research than to one whose sole intention is to make the pupil acquainted, in as tangible a form as possible, with results. To afford, at a cheap rate, a concise, yet sufficiently comprehensive, and especially a well-illustrated school-book, has been the principal design. In conclusion, I have only to acknowledge my great indebtedness to the valuable public labors, as well as private assistance, of Mr. Isaac Lea of Philadelphia. To Mr. Thomas Wyatt and his late excellent Manual of Conchology t I am also under many obligations. No better work, perhaps, could be put into the hands of the student as a secondary text-book. Its beautiful and perfectly well-colored illustrations afford an aid in the collection of a cabinet scarcely to be met with elsewhere. SECOND EDITION, 1840 In issuing a second edition of this " Conchology " in so very brief a period since the publication of the first large impression, the author has little more to do than to express the high pleasure with which he has seen 42 "The Conchologist's First Book" his labors well received. The success of the work has been decided ; and the entire design has been accom plished hi its general introduction into schools. Many important alterations and additions are now made; errors of the press carefully corrected; many more recently discovered American species added; and the work, upon the whole, is rendered more worthy of public approbation. 43 Philosophy of Furniture the internal decoration, if not in the exter nal architecture of their residences, the English are supreme. The Italians have but little sentiment beyond marbles and colors. In France, meliora ptobant, detetiota seqvantur, the people are too much a race of gadabouts to maintain those household proprieties of which, indeed, they have a delicate appreciation, or, at least, the elements of a proper sense. The Chinese and most of the Eastern races have a warm but inappropriate fancy. The Scotch are poor decorists. The Dutch have, perhaps, an indeterminate idea that a curtain is not a cabbage. In Spain they are all curtains a nation of hangmen. The Russians do not furnish. The Hottentots and Kickapoos are very well in their way. The Yankees alone are preposterous. How this happens it is not difficult to see. We have no aristocracy of blood, and having, therefore, as a natural, and, indeed, as an inevitable thing, fashioned 44 Philosophy of Furniture for ourselves an aristocracy of dollars, the display of wealth has here to take the place and perform the office of the heraldic display in monarchical countries. By a transition readily understood, and which might have been as readily foreseen, we have been brought to merge in simple show our notions of taste itself. To speak less abstractly. In England, for example, no mere parade of costly appurtenances would be so likely, as with us, to create an impression of the beauti ful in respect to the appurtenances themselves, or of taste as regards the proprietor; this for the reason, first, that wealth is not, in England, the loftiest object of ambition as constituting a nobility ; and, secondly, that there, the true nobility of blood, confining itself within the strict limits of legitimate taste, rather avoids than affects that mere costliness in which a parvenu ri valry may at any time be successfully attempted. The people will imitate the nobles, and the result is a thor ough diffusion of the proper feeling. But in America, the coins current being the sole arms of the aristoc racy, their display may be said, in general, to be the sole means of aristocratic distinction; and the popu lace, looking always upward for models, are insensibly led to confound the two entirely separate ideas of mag nificence and beauty. In short, the cost of an article of furniture has at length come to be, with us, nearly the sole test of its merit in a decorative point of view, and this test, once established, has led the way to many 45 Philosophy of Furniture analogous errors, readily traceable to the one primitive folly. There could be nothing more directly offensive to the eye of an artist than the interior of what is termed in the United States, that is to say, in Appalachia, a well-furnished apartment. Its most usual defect is a want of keeping. We speak of the keeping of a room as we would of the keeping of a picture, for both the picture and the room are amenable to those undeviat- ing principles which regulate all varieties of art; and very nearly the same laws by which we decide on the higher merits of a painting suffice for decision on the adjustment of a chamber. A want of keeping is observable sometimes in the character of the several pieces of furniture, but gen erally in their colors or modes of adaptation to use. Very often the eye is offended by their inartistical arrangement. Straight lines are too prevalent, too uninterruptedly continued, or clumsily interrupted at right angles. If curved lines occur, they are repeated into unpleasant uniformity. By undue precision the appearance of many a fine apartment is utterly spoiled. Curtains are rarely well disposed, or well chosen, in respect to other decorations. With formal furniture, curtains are out of place ; and an extensive volume of drapery of any kind is, under any circumstances, ir reconcilable with good taste, the proper quantum, as 46 Philosophy of Furniture well as the proper adjustment, depending upon the character of the general effect. Carpets are better understood of late than of ancient days, but we still very frequently err in their patterns and colors. The soul of the apartment is the carpet. From it are deduced not only the hues, but the forms of all objects incumbent. A judge at common law may be an ordinary man ; a good judge of a carpet must be a genius. Yet we have heard discoursing of carpets, with the air d'um mouton qtti reve f fellows who should not and who could not be entrusted with the management of their own moustaches. Every one knows that a large floor may have a covering of large figures, and that a small one must have a covering of small ; yet this is not all the knowledge in the world. As regards texture, the Saxony is alone admissible. Brussels is the preter-pluperfect tense of fashion, and Turkey is taste in its dying agonies. Touching pat tern, a carpet should not be bedizened out like a Ric- caree Indian all red chalk, yellow ochre, and cock's feathers. In brief, distinct grounds and vivid circular or cycloid figures, of no meaning, are here Median laws. The abomination of flowers, or representations of well-known objects of any kind, should not be en dured within the limits of Christendom. Indeed, whether on carpets, or curtains, or tapestry, or otto man coverings, all upholstery of this nature should be rigidly arabesque. As for those antique floor-cloths 47 Philosophy of Furniture still occasionally seen in the dwellings of the rabble, cloths of huge, sprawling, and radiating devices, stripe- interspersed, and glorious with all hues, among which no ground is intelligible, these are but the wicked in vention of a race of time-servers and money-lovers, children of Baal and worshippers of Mammon, Ben- thams, who, to spare thought and economize fancy, first cruelly invented the kaleidoscope and then estab lished joint-stock companies to twirl it by steam. Glare is a leading error in the philosophy of Ameri can household decoration, an error easily recognized as deduced from the perversion of taste just specified. We are violently enamored of gas and of glass. The former is totally inadmissible within doors. Its harsh and unsteady light offends. No one having both brains and eyes will use it. A mild, or what artists term a cool light, with its consequent warm shadows, will do wonders for even an ill-furnished apartment. Never was a more lovely thought than that of the astral lamp. We mean, of course, the astral lamp proper the lamp of Argand, with its original plain ground-glass shade and its tempered and uniform moonlight rays. The cut-glass shade is a weak inven tion of the enemy. The eagerness with which we have adopted it, partly on account of its flashiness, but prin cipally on account of its greater cost, is a good com mentary on the proposition with which we began. It is not too much to say that the deliberate employer of 48 Philosophy of Furniture a cut-glass shade is either radically deficient in taste, or blindly subservient to the caprices of fashion. The light proceeding from one of these gaudy abomina tions is unequal, broken, and painful. It alone is sufficient to mar a world of good effect in the furniture subjected to its influence. Female loveliness, in espe cial, is more than one half disenchanted beneath its evil eye. In the matter of glass, generally, we proceed upon false principles. Its leading feature is glitter, and in that one word how much of all that is detestable do we express! Flickering, unquiet lights, are some times pleasing to children and idiots always so ; but in the embellishment of a room they should be scrupu lously avoided. In truth, even strong, steady lights are inadmissible. The huge and unmeaning glass chande liers, prism-cut, gas-lighted, and without shade, which dangle in our most fashionable drawing-rooms, may be cited as the quintessence of all that is false in taste or preposterous in folly. The rage for glitter, because its idea has become, as we before observed, confounded with that of mag nificence in the abstract, has led us, also, to the exag gerated employment of mirrors. We line our dwellings with great British plates and then imagine we have done a fine thing. Now, the slightest thought will be sufficient to convince any one, who has an eye at all, of the ill effect of ' numerous looking-glasses, and VOL. X.- 4 . Philosophy of Furniture especially of large ones. Regarded apart from its re flection, the mirror presents a continuous flat, color less, unrelieved surface, a thing always and obviously unpleasant. Considered as a reflector, it is potent in producing a monstrous and odious uniformity: and the evil is here aggravated, not in merely direct pro portion with the augmentation of its sources, but in a ratio constantly increasing. In fact, a room with four or five mirrors arranged at random, is, for all purposes of artistic show, a room of no shape at all. If we add to this evil the attendant glitter upon glitter, we have a perfect farrago of discordant and displeasing effects. The veriest bumpkin, on entering an apartment so bedizened, would be instantly aware of something wrong, although he might be altogether unable to assign a cause for his dissatisfaction. But let the same person be led into a room tastefully furnished, and he would be startled into an exclamation of pleas ure and surprise. It is an evil growing out of our republican institu tions, that here a man of large purse has usually a very little soul which he keeps in it. The corruption of taste is a portion or a pendant of the dollar-manu facture. As we grow rich, our ideas grow rusty. It is, therefore, not among our aristocracy that we must look (if at all, in Appalachia) for the spirituality of a British boudoir. But we have seen apartments in the tenure of Americans of modern means, which, in nega- Philosophy of Furniture tive merit at least, might vie with any of the ormolu'd cabinets of our friends across the water. Even now, there is present to our mind's eye a small and not ostentatious chamber with whose decorations no fault can be found. The proprietor lies asleep on a sofa, the weather is cool, the time is near midnight; we will make a sketch of the room during his slumber. It is oblong, some thirty feet in length and twenty- five in breadth, a shape affording the best (ordinary) opportunities for the adjustment of furniture. It has but one door, by no means a wide one, which is at one end of the parallelogram, and but two windows, which are at the other. These latter are large, reach ing down to the floor, have deep recesses, and open on an Italian veranda. Their panes are of a crimson- tinted glass, set in rosewood framings, more massive than usual. They are curtained within the recess by a thick silver tissue adapted to the shape of the window, and hanging loosely in small volumes. Without the recess are curtains of an exceedingly rich crimson silk, fringed with a deep network of gold, and lined with the silver tissue which is the material of the exterior blind. There are no cornices; but the folds of the whole fabric (which are sharp rather than massive, and have an airy appearance) issue from beneath a broad entablature of rich giltwork, which encircles the room at the junction of the ceiling and walls. The drapery is thrown open also, or closed, by means of a 5 1 Philosophy of Furniture thick rope of gold loosely enveloping it, and resolving itself readily into a knot; no pins or other such de vices are apparent. The colors of the curtains and their fringe, the tints of crimson and gold, appear everywhere in profusion and determine the character of the room. The carpet of Saxony material is quite half an inch thick, and is of the same crimson ground, relieved simply by the appearance of a gold cord (like that festooning the curtains) slightly relieved above the surface of the ground and thrown upon it in such a manner as to form a succession of short, irregular curves, one occasionally overlying the other. The walls are prepared with a glossy paper of a silver-gray tint, spotted with small Arabesque devices of a fainter hue of the prevalent crimson. Many paintings relieve the expanse of the paper. These are chiefly landscapes of an imaginative cast, such as the fairy grottoes of Stan- field, or the lake of the Dismal Swamp of Chapman. There are, nevertheless, three or four female heads of an ethereal beauty portraits in the manner of Sully. The tone of each picture is warm, but dark. There are no " brilliant effects." Repose speaks in all. Not one is of small size. Diminutive paintings give that spotty look to a room which is the blemish of so many a fine work of art overtouched. The frames are broad but not deep, and richly carved without being dulled or filigreed. They have the whole lustre of burnished gold. They lie flat on the walls, and do not 52 Philosophy of Furniture hang off with cords. The designs themselves are often seen to better advantage in this latter position, but the general appearance of the chamber is injured. But one mirror, and this is not a very large one, is visible. In shape it is nearly circular, and it is hung so that a reflection of the person can be obtained from it in none of the ordinary sitting-places of the room. Two large low sofas of rosewood and crimson silk, gold-flowered, form the only seats, with the exception of two light conversation chairs, also of rosewood. There is a pianoforte (rosewood, also), without cover, and thrown open. An octagonal table, formed altogether of the richest gold-threaded marble, is placed near one of the sofas. This is also without cover ; the drapery of the curtains has been thought sufficient. Four large and gorgeous Sevres vases, in which bloom a profusion of sweet and vivid flowers, occupy the slightly rounded angles of the room. A tall candelabrum, bearing a small antique lamp with highly perfumed oil, is stand ing near the head of my sleeping friend. Some light and graceful hanging shelves, with golden edges and crimson silk cords with golden tassels, sustain two or three hundred magnificently bound books. Beyond these things there is no furniture, if we except an Argand lamp, with a plain crimson-tinted ground-glass shade, which depends from the lofty vaulted ceiling by a single slender gold chain, and throws a tranquil but magical radiance over all. 53 Cryptography S we can scarcely imagine a time when there did not exist a necessity, or at least a desire, of transmitting information from one indi vidual to another in such a manner as to elude general comprehension, so we may well suppose the practice of writing in cipher to be of great antiquity. De la Guilletiere, therefore, who, in his Lacedxmon Ancient and Modern, maintains that the Spartans were the in ventors of cryptography, is obviously in error. He speaks of the scytala as being the origin of the art; but he should only have cited it as one of its earliest instances, so far as our records extend. The scytalae were two wooden cylinders, precisely similar in all re spects. The general of an army, in going upon any expedition, received from the ephori one of these cylin ders, while the other remained in their possession. If either party had occasion to communicate with the other, a narrow strip of parchment was so wrapped around the scytala that the edges of the skin fitted 54 Cryptography accurately each to each. The writing was then in scribed longitudinally, and the epistle unrolled and despatched. If, by mischance, the messenger was in tercepted, the letter proved unintelligible to his captors. If he reached his destination safely, however, the party addressed had only to involve the second cylinder in the strip to decipher the inscription. The transmission to our own times of this mode of cryptography is due, probably, to the historical use of the scytala rather than to anything else. Similar means of secret inter communication must have existed almost contem poraneously with the invention of letters. It may be as well to remark, in passing, that in none of the treatises on the subject of this paper which have fallen under our cognizance have we observed any suggestion of a method, other than those which apply alike to all ciphers, for the solution of the cipher by scytala. We read of instances, indeed, in which the intercepted parchments were deciphered; but we are not informed that this was ever done except acciden tally. Yet a solution might be obtained with absolute certainty in this manner : The strip of skin being in tercepted, let there be prepared a cone of great length comparatively, say six feet long, and whose circum ference at base shall at least equal the length of the strip. Let this latter be rolled upon the cone near the base, edge to edge, as above described ; then, still keep ing edge to edge, and maintaining the parchment close 55 Cryptography upon the cone, let it be gradually slipped toward the apex. In this process, some of those words, syllables, or letters, whose connection is intended, will be sure to come together at that point of the cone where its di ameter equals that of the scytala upon which the cipher was written. And as in passing up the cone to its apex all possible diameters are passed over, there is no chance of a failure. The circumference of the scytala being thus ascertained, a similar one can be made and the cipher applied to it. Few persons can be made to believe that it is not quite an easy thing to invent a method of secret writ ing which shall baffle investigation. Yet it may be roundly asserted that human ingenuity cannot concoct a cipher which human ingenuity cannot resolve. In the facility with which such writing is deciphered, however, there exist very remarkable differences in different intellects. Often, in the case of two individ uals of acknowledged equality as regards ordinary mental efforts, it will be found that, while one cannot unriddle the commonest cipher, the other will scarcely be puzzled by the most abstruse. It may be observed generally that in such investigations the analytic ability is very forcibly called into action ; and, for this reason, cryptographical solutions might, with great propriety, be introduced into academies as the means of giving tone to the most important of the powers of mind. Were two individuals, totally unpractised in cryptog- 56 Cryptography raphy, desirous of holding by letter a correspondence which should be unintelligible to all but themselves, it is most probable that they would at once think of a peculiar alphabet, to which each should have a key. At first it would, perhaps, be arranged that " a " should stand for z," " b " for " y," c " for " x," " d " for " w," etc., etc. ; that is to say, the order of the letters would be reversed. Upon second thoughts, this ar rangement appearing too obvious, a more complex mode would be adopted. The first thirteen letters might be written beneath the last thirteen, thus : nopqrstuvwxyz abcdefghijklm; and, so placed, " a " might stand for " n " and " n " for "a", "o" for "b" and "b" for "o," etc., etc. This, again, having an air of regularity which might be fathomed, the key alphabet might be struck absolutely at random. Thus, a might stand for p b " " " x c " " " u d " " " o, etc. The correspondents, unless convinced of their error by the solution of their cipher, would, no doubt, be will ing to rest in this latter arrangement as affording full security. But if not, they would be likely to hit upon the plan of arbitrary marks used in place of the usual characters. For example, 57 Cryptography ( might be employed for a it H tt ti |j it g (( U d ) " " " " e, etc. A letter composed of such characters would have an intricate appearance unquestionably. If still, how ever, it did not give full satisfaction, the idea of a per petually shifting alphabet might be conceived, and thus effected: Let two circular pieces of pasteboard be prepared, one about half an inch in diameter less than the other. Let the centre of the smaller be placed upon the centre of the larger one and secured for a moment from slipping, while radii are drawn from the common centre to the circumference of the smaller circle, and thus extended to the circumference of the greater. Let there be twenty-six of these radii, forming on each pasteboard twenty-six spaces. In each of these spaces on the under circle write one of the letters of the alphabet, so that the whole alphabet be written if at random so much the better. Do the same with the upper circle. Now run a pin through the common centre and let the upper circle revolve, while the under one is held fast. Now stop the revo lution of the upper circle, and, while both lie still, write the epistle required, using for " a " that letter in the smaller circle which tallies with " a " in the larger, for " b " that letter in the smaller circle which tallies with 58 Cryptography " b " in the larger, etc., etc. In order that an epistle thus written may be read by the person for whom it is intended, it is only necessary that he should have in his possession circles constructed as those just de scribed, and that he should know any two of the char acters (one in the under and one in the upper circle) which were in juxtaposition when his correspondent wrote the cipher. Upon this latter point he is in formed by looking at the two initial letters of the document which serves as a key. Thus, if he sees " a m " at the beginning, he concludes that by turning his circles so as to put these characters in conjunction, he will arrive at the alphabet employed. At a cursory glance, these various modes of con structing a cipher seem to have about them an air of inscrutable secrecy. It appears almost an impossibil ity to unriddle what has been put together by so com plex a method. And to some persons the difficulty might be great ; but to others, to those skilled in de ciphering, such enigmas are very simple indeed. The reader should bear in mind that the basis of the whole art of solution, as far as regards these matters, is found in the general principles of the formation of language itself, and thus is altogether independent of the particular laws which govern any cipher, or the con struction of its key. The difficulty of reading a cryp- tographical puzzle is by no means always in accordance with the labor or ingenuity with which it has been 59 Cryptography constructed. The sole use of the key, indeed, is for those au fait to the cipher; in its perusal by a third party, no reference is had to it at all. The lock of the secret is picked. In the different methods of cryptog raphy specified above, it will be observed that there is a gradually increasing complexity. But this com plexity is only in shadow. It has no substance what ever. It appertains merely to the formation, and has no bearing upon the solution of the cipher. The last mode mentioned is not in the least degree more difficult to be deciphered than the first, whatever may be the diffiiculty of either. In the discussion of an analogous subject, in one of the weekly papers of this city about eighteen months ago, the writer of this article had occasion to speak of the application of a rigorous method in all forms of thought, of its advantages, of the extension of its use even to what is considered the operation of pure fancy, and thus, subsequently, of the solution of cipher. He even ventured to assert that no cipher, of the charac ter above specified, could be sent to the address of the paper which he would not be able to resolve. This challenge excited, most unexpectedly, a very lively in terest among the numerous readers of the journal. Letters were poured in upon the editor from all parts of the country; and many of the writers of these epistles were so convinced of the impenetrability of their mysteries as to be at great pains to draw him 60 Cryptography into wagers on the subject. At the same time, they were not always scrupulous about sticking to the point. The cryptographs were, in numerous instances, altogether beyond the limits defined in the beginning. Foreign languages were employed. Words and sen tences were run together without interval. Several alphabets were used hi the same cipher. One gentle man, but moderately endowed with conscientiousness, inditing us a puzzle composed of pot-hooks and hangers to which the wildest typography of the office could afford nothing similar, went even so far as to jumble together no less than seven distinct alphabets, without intervals between the letters or between the lines. Many of the cryptographs were dated in Philadelphia, and several of those which urged the subject of a bet were written by gentlemen of this city. Out of, per haps, one hundred ciphers altogether received, there was only one which we did not immediately succeed in resolving. This one we demonstrated to be an im position, that is to say, we fully proved it a jargon of random characters, having no meaning whatever. In respect to the epistle of the seven alphabets, we had the pleasure of completely nonplussing its inditer by a prompt and satisfactory translation. The weekly paper mentioned was, for a period of some months, greatly occupied with the hieroglyphic and cabalistic-looking solutions of the cryptographs sent us from all quarters. Yet, with the exception of 61 Cryptography the writers of the ciphers, we do not believe that any individuals could have been found among the readers of the journal who regarded the matter in any other light than in that of a desperate humbug. We mean to say that no one really believed in the authenticity of the answers. One party averred that the mysteri ous figures were only inserted to give a queer air to the paper for the purpose of attracting attention. An other thought it more probable that we not only solved the ciphers, but put them together ourselves for solu tion. This having been the state of affairs at the period when it was thought expedient to decline fur ther dealings in necromancy, the writer of this article avails himself of the present opportunity to maintain the truth of the journal in question, to repel the charges of rigmarole by which it was assailed, and to declare, in his own name, that the ciphers were all written in good faith and solved in the same spirit. A very common and somewhat too obvious mode of secret correspondence is the following: A card is in terspersed, at irregular intervals with oblong spaces, about the length of ordinary words of three syllables in a bourgeois type. Another card is made exactly coinciding. One is in possession of each party. When a letter is to be written the key-card is placed upon the paper and words conveying the true meaning in scribed in the spaces. The card is then removed and the blanks filled up, so as to make out a signification 62 Cryptography different from the real one. When the person ad dressed receives the cipher he has merely to apply to it his own card, when the superfluous words are con cealed, and the significant ones alone appear. The chief objection to this cryptograph is the difficulty of so filling the blanks as not to give a forced appearance to the sentences. Differences also in the handwriting between the words written in the spaces and those in scribed upon removal of the card will always be de tected by a close observer. A pack of cards is sometimes made the vehicle of a cipher in this manner: The parties determine, in the first place, upon certain arrangements of the pack. For example, it is agreed that, when a writing is to be commenced, a natural sequence of the spots shall be made, with spades at top, hearts next, diamonds next, and clubs last. This order being obtained, the writer proceeds to inscribe upon the top card the first letter of his epistle, upon the next the second, upon the next the third, and so on until the pack is exhausted, when, of course, he will have written fifty-two letters. He now shuffles the pack according to a preconcerted plan. For example : He takes three cards from the bottom and places them at top, then one from top, placing it at bottom, and so on, for a given number of times. This done, he again inscribes fifty-two characters as be fore, proceeding thus until his epistle is written. The pack being received by the correspondent, he has only 63 Cryptography to place the cards in the order agreed upon for com mencement to read, letter by letter, the first fifty-two characters as intended. He has then only to shuffle in the manner pre-arranged for the second perusal to decipher the series of the next fifty-two letters, and so on to the end. The objection to this cryptograph lies in the nature of the missive. A pack of cards, sent from one party to another, would scarcely fail to ex cite suspicion, and it cannot be doubted that it is far better to secure ciphers from being considered as such than to waste time in attempts at rendering them scrutiny-proof when intercepted. Experience shows that the most cunningly constructed cryptograph, if suspected, can and will be unriddled. An unusually secure mode of secret intercommuni cation might be thus devised: Let the parties each furnish themselves with the copy of the same edition of a book, the rarer the edition the better, as also the rarer the book. In the cryptograph numbers are used altogether, and these numbers refer to the locality of letters in the volume. For example, a cipher is re ceived commencing, 121-6-8. The party addressed refers to page 121, and looks at the sixth letter from the left of the page in the eighth line from the top. Whatever letter he there finds is the initial letter of the epistle, and so on. This method is very secure; yet it is possible to decipher any cryptograph written by its means, and it is greatly objectionable otherwise 64 Cryptography on account of the time necessarily required for its solution, even with the key-volume. It is not to be supposed that cryptography, as a seri ous thing, as the means of imparting important infor mation, has gone out of use at the present day. It is still commonly practised in diplomacy; and there are individuals, even now, holding office in the eye of various foreign governments, whose real business is that of deciphering. We have already said that a peculiar mental action is called into play in the solu tion of cryptographical problems, at least in those of the higher order. Good cryptographists are rare in deed; and thus their services, although seldom re quired, are necessarily well requited. An instance of the modern employment of writing in cipher is mentioned in a work lately published by Messieurs Lea and Blanchard of this city, 1 Sketches of Conspicuous Living Characters of France, In a notice of Berryer, it is said that a letter being addressed by the Duchess de Berri to the Legitimists of Paris, to in form them of her arrival, it was accompanied by a long note in cipher, the key of which she had forgotten to give. " The penetrating mind of Berryer," says the biographer, " soon discovered it. It was this phrase substituted for the twenty-four letters of the alphabet : Le gouvernement provisoire, The assertion that Berryer " soon discovered the 1 Philadelphia. Ed. VOL. X. 5. 6 Cryptography key-phrase " merely proves that the writer of these memoirs is entirely innocent of cryptographical know ledge. Monsieur B. no doubt ascertained the key- phrase ; but it was merely to satisfy his curiosity, after the riddle had been read. He made no use of the key in deciphering. The lock was picked. In our notice of the book in question (published in the April number of this magazine) 1 we alluded to this subject thus : " The phrase Le gouvernement provisoire is French, and the note in cipher was addressed to Frenchmen. The difficulty of deciphering may well be supposed much greater had the key been in a foreign tongue ; yet any one who will take the trouble may address us a note, in the same manner as here proposed, and the key-phrase may be either in French, Italian, Spanish, German, Latin, or Greek (or in any of the dialects of these languages), and we pledge ourselves for the solution of the riddle." This challenge has elicited but a single response, which is embraced in the following letter. The only quarrel we have with the epistle is, that its writer has declined giving us his name in full. We beg that he will take an early opportunity of doing this, and thus relieve us of the chance of that suspicion which was attached to the cryptography of the weekly journal 1 Graham's. Ed. 66 Cryptography above mentioned the suspicion of inditing ciphers to ourselves. The postmark of the letter is " Stonington, Conn." S , Ct., April, 1841. To the Editor of Graham's Magazine t Sir In the April number of your magazine, while review ing the translation by Mr. Walsh of Sketches of Conspicuous Living Characters of France, you invite your readers to address you a note in cipher, * the key-phrase to which may be either in French, Italian, Spanish, German, Latin, or Greek,' and pledge yourself for its solution. My attention being called, by your remarks, to this species of cipher-writing, I composed for my own amusement the following exercises, in the first part of which the key-phrase is in English, in the second in Latin. As I did not see (by the number for May) that any of your correspondents had availed himself of your offer, I take the liberty to send the enclosed, on which, if you should think it worth your while, you can exercise your in genuity. I am, yours respectfully, S. D. L. No. i " Cauhiif aud ftd sdftirf ithot tacd wdde rdchfdr tiu fuaefshffheo fdoudf hetiusafhie tuis ied herhchriai fi aeiftdu wn sdaef it iuhfheo hiidohwid fi aen deodsf ths tiu itis hf iaf iuhoheaiin rdffhedr; aer ftd auf it ftif f doudfin oissiehoafheo hefdiihodeod taf wdde odeduaiin fdusdr ounsfiouastn. Saen fsdohdf it fdoudf iuhfheo idud weiie fi ftd aeohdeff; fisdfhsdf a fiacdf tdar iaf ftacdr aer ftd ouiie iuhffde isie ihft fisd herdihwid oiiiuheo tiihr, atfdu ithot ftd tahu wdheo sdushffdr fi 67 Cryptography ouii aoahe, hetiusafhie oiiir wd fuaefshffdr ihft ihffid raeodu ftaf rhfoicdun iiiir defid iefhi ftd aswiiafiun dshffid fatdin udaotdr hff rdffheafhie. Ounsfiouastn tiidcdu siud suisduin dswuaodf ftifd sirdf it iuhfheo ithot aud uderdudr idohwid iein wn sdaef it fisd de- siaeafiun wdn ithot sawdf weiie ftd udai fhoehthoafhie it ftd ohstduf dssiindr fi hff siffdffiu." No. 2 " Ofoiioiiaso ortsiii sov eodisoioe afduiostifoi ft iftvi si tri oistoiv oiniafetsorit ifeov rsri afotiiiiv ridiiot irio riwio eovit atrotfetsoria aioriti iitri tf oitovin tri aeti- f ei ioreitit sov usttoi oioittstif o dfti afdooitior trso ifeov tri dfit otftfeov softriedi ft oistoiv oriofiforiti suitteii viireiiitif oi ft tri iarf oisiti iiti trir uet otiiiotiv uitfti rid io tri eoviieeiiiv rfasueostr ft rii dftrit tfoeei." In the solution of the first of these ciphers we had little more than ordinary trouble. The second proved to be exceedingly difficult, and it was only by calling every faculty into play that we could read it at all. The first runs thus: " Various are the methods which have been devised for transmitting secret information from one individ ual to another by means of writing, illegible to any except him for whom it was originally destined; and the art of thus secretly communicating intelligence has been generally termed " cryptography." Many species 68 Cryptography of secret writing were known to the ancients. Some times a slave's head was shaved and the crown written upon with some indelible coloring fluid; after which, the hair being permitted to grow again, information could be transmitted with little danger that discovery would ensue until the ambulatory epistle safely reached its destination. Cryptography, however pure, properly embraces those modes of writing which are rendered legible only by means of some explanatory key which makes known the real signification of the ciphers employed to its possessor." The key-phrase of this cryptograph is, " A word to the wise is sufficient." The second is thus translated : " Nonsensical phrases and unmeaning combinations of words, as the learned lexicographer would have confessed himself, when hidden under cryptographic ciphers, serve to perpdex the curious enquirer, and baffle penetration more completely than would the most profound apothegms of learned philosophers. Abstruse disquisitions of the scholiasts were they but presented before him in the undisguised vocabulary of his mother tongue " The last sentence here as will be seen is broken off short. The spelling we have strictly adhered to. "D," by mistake, has been put for " 1 " in " perplex." 69 Cryptography The key-phrase is, Suaviter in modo, farther in re, In the ordinary cryptograph, as will be seen in refer ence to most of those we have specified above, the artificial alphabet agreed upon by the correspondents is employed, letter for letter, in place of the usual or natural one. For example, two parties wish to com municate secretly. It is arranged before parting that ) shall stand for a ( tt it it b tt it ti c * tt ft d . it tt e 1 tt tt it f ; ft tt ti g : tt tt it h ? tt it t i or j ! " tt it k & tt it tt 1 o " tt it m tt tt tt n t it tt tt o I it tt tt P 1 ti tf tt q JT tt tt ft r ] tt tt it s C tt tt it t ft tt tt u or v $ tt tt it w i tt tt tt X \ it it it y 70 Cryptography Now, the following note is to be communicated : " We must see you immediately upon a matter of great importance. Plots have been discovered, and the conspirators are in our hands. Hasten! " These words would be written thus : . )E Fotttt^l!)' .t&tC3:). (..'*?] t This certainly has an intricate appearance, and would prove a most difficult cipher to any one not con versant with cryptography. But it will be observed that " a," for example, is never represented by any other character than ), " b " never by any other character than (, and so on. Thus by the discovery, accidental or otherwise, of any one letter, the party intercepting the epistle would gain a permanent and decided advantage* and could apply his knowledge to all the instances in which the character in question was employed through out the cipher. In the cryptographs, on the other hand, which have been sent us by our correspondent at Stonington, and which are identical in conformation with the cipher re solved by Berryer, no such permanent advantage is to be obtained. Let us refer to the second of these puzzles. Its key- phrase runs thus : Cryptography Suaviter in mode, fortiter in re, Let us now place the alphabet beneath the phrase, letter beneath letter: ui a v i t e blc d e f g r iin m oldlo f loir h il j k llmln olplq We here see that a stands for d " " E e " " g, u, and f deduced from one of the best of ki aid of the e ifcarauli in, too, have the t? IMM nM ttM thought, ** HMHHI to have been the ^ptuition might easily be Mr. John Weal's MS. is exceedingly illegible and Many of Mi epistles are perfect enigmas, A Chapter on Autography and we doubt whether he could read them himself in half an hour after they are penned. Sometimes four or five words are run together. Any one, from Mr. Neal's penmanship, might suppose his mind to be what it really is excessively flighty and irregular, but active and energetic. The penmanship of Miss Sedgwick is excellent. The characters are well-sized, distinct, elegantly but not ostentatiously formed, and, with perfect freedom of manner, are still sufficiently feminine. The hair- strokes differ little from the downward ones, and the MSS. have thus a uniformity they might not otherwise have. The paper she generally uses is good, blue, and machine-ruled. Miss Sedgwick's handwriting points unequivocally to the traits of her literary style, which are strong common sense and a masculine disdain of mere ornament. The signature conveys the general chirography. Mr. Cooper's MS. is very bad unformed, with little of distinctive character about it, and varying greatly in different epistles. In most of those before us a steel pen has been employed, the lines are crooked, and IOQ A Chapter on Autography the whole chirography has a constrained and school- boyish air. The paper is fine and of a bluish tint. A wafer is always used. Without appearing ill-natured we could scarcely draw any inferences from such a MS. Mr. Cooper has seen many vicissitudes, and it is probable that he has not always written thus. What ever are his faults, his genius cannot be doubted. Dr. Hawks is one of the originators of the New York Review, to which journal he has furnished many ar ticles. He is also known as the author of The ///$/ tory of the Episcopal Church of Virginia and one or two minor works. He now edits the Church Record, His style, both as a writer and as a preacher, is charac terized rather by a perfect fluency than by any more lofty quality, and this trait is strikingly indicated in his chirography, of which the signature is a fair spe cimen. This gentleman is the author of Cromwell, The Brothers, Ringwood the Rover, and some other minor productions. He at one time edited the American Monthly Magazine in connection with Mr. Hoffman. In his compositions for the magazines, Mr. Herbert no A Chapter on Autography is in the habit of doing both them and himself gross injustice by neglect and hurry. His longer works evince much ability, although he is rarely entitled to be called original. His MS. is exceedingly neat, clear, and forcible, the signature affording a just idea of it. It resembles that of Mr. Kennedy very nearly, but has more slope and uniformity, with, of course, less spirit, and less of the picturesque. He who writes as Mr. Herbert will be found always to depend chiefly upon his merits of style for a literary reputation and will not be unapt to fall into a pompous grandiloquence. The author of Cromwell is sometimes wofully turgid. Professor Palfrey is known to the public principally through his editorship of the North American Review. He has a reputation for scholarship ; and many of the articles which are attributed to his pen evince that this reputation is well based, so far as the common notion of scholarship extends. For the rest, he seems to dwell altogether within the narrow world of his own conceptions, imprisoning them by the very barrier which he has erected against the conceptions of others. His MS. shows a total deficiency in the sense of the in A Chapter on Autography beautiful. It has great pretension, great straining after effect, but is altogether one of the most miserable MSS. in the world, forceless, graceless, tawdry, vacil lating, and unpicturesque. The signature conveys but a faint idea of its extravagance. However much we may admire the mere knowledge of the man who writes thus, it will not do to place any dependence upon his wisdom or upon his taste. F. W. Thomas, who began his literary career at the early age of seventeen, by a poetical lampoon upon certain Baltimore fops, has since more particularly distinguished himself as a novelist. His Clinton Brad* shawe is perhaps better known than any of his later fictions. It is remarkable for a frank, unscrupulous portraiture of men and things, in high life and low, and by unusual discrimination and observation in re spect to character. Since its publication he has pro duced East and West and Howard Pinckney f neither of which seems to have been so popular as his first essay, although both have merit. East and West, published in 1836, was an attempt to portray the every-day events occurring to a fallen family emigrating from the East to the West. In it, as in Clinton Bradshawe f most of the characters are 112 A Chapter on Autography drawn from life. Howard Pinckney was published in 1840. Mr. Thomas was at one period the editor of the Cin cinnati Commercial Advertiser. He is also well known as a public lecturer on a variety of topics. His con versational powers are very great. As a poet, he has also distinguished himself. His Emigrant will be read with pleasure by every person of taste. His MS. is more like that of Mr. Benjamin than that of any other literary person of our acquaintance. It has even more than the occasional nervousness of Mr. B.'s, and, as in the case of the editor of the New World/ indicates the passionate sensibility of the man. Mr. Morris ranks, we believe, as the first of our Philadelphia poets since the death of Willis Gaylord Clark. His compositions, like those of his late la mented friend, are characterized by sweetness rather than strength of versification, and by tenderness and delicacy rather than by vigor or originality of thought. A late notice of him in the Boston Notion, from the pen of Rufus W. Griswold, did his high qualities no VOL. X. 8. A Chapter on Autography more than justice. As a prose writer, he is chiefly known by his editorial contributions to the Philadel phia Inquirer, and by occasional essays for the maga zines. His chirography is usually very illegible, although at times sufficiently distinct. It has no marked charac teristics, and, like that of almost every editor in the country, has been so modified by the circumstances of his position as to afford no certain indication of the mental features. Ezra Holden has written much, not only for his paper, the Saturday Courier, but for our periodicals generally, and stands high in the public estimation as a sound thinker, and still more particularly as a fear less expresser of his thoughts. His MS. (which we are constrained to say is a shock ingly bad one, and whose general features may be seen in his signature) indicates the frank and naive manner of his literary style, a style which not unfre- quently flies off into whimsicalities. 114 A Chapter on Autography Mr. Graham is known to the literary world as the editor and proprietor of Graham's Magazine, the most popular periodical hi America, and also of the Satuf day Evening Post of Philadelphia. For both of these journals he has written much and well. His MS. generally is very bad, or at least very illeg ible. At times it is sufficiently distinct, and has force and picturesqueness, speaking plainly of the energy which particularly distinguishes him as a man. The signature above is more scratchy than usual. Colonel Stone, the editor of the New York Com* mercial Advertiser, is remarkable for the great differ ence which exists between the apparent public opinion respecting his abilities and the real estimation in which he is privately held. Through his paper, and the bustling activity always prone to thrust itself forward, he has attained an unusual degree of influence in New York, and, not only this, but what appears to be a reputation for talent. But this talent we do not re member ever to have heard assigned him by any hon est man's private opinion. We place him among our "5 A Chapter on Autography literati because he has published certain books. Per haps the best of these are his Life of Brandt and Life and Times of Red Jacket Of the rest, his story called Ups and Downs, his defence of animal magnetism, and his pamphlets concerning Maria Monk are scarcely the most absurd. His MS. is heavy and sprawling, re sembling his mental character in a species of utter unmeaningness, which lies, like the nightmare, upon his autograph. The labors of Mr. Sparks, Professor of History at Harvard, are well known and justly appreciated. His MS. has an unusually odd appearance. The characters are large, round, black, irregular, and perpendicular, the signature, as above, being an excellent specimen of his chirography in general. In all his letters now before us, the lines are as close together as possible, giving the idea of irretrievable confusion; still, none of them are illegible upon close inspection. We can form no guess in regard to any mental peculiarities from Mr. Sparks's MS., which has been, no doubt, modified by the hurrying and intricate nature of his researches. We might imagine such epistles as these to have been written in extreme haste, by a man ex ceedingly busy, among great piles of books and papers 116 A Chapter on Autography huddled up around him, like the chaotic tomes of Magliabecchi. The paper used in all our epistles is uncommonly fine. The name of H. S. Legare is written without an accent on the final " e," yet is pronounced as if this letter were accented Legaray. He contributed many articles of merit to the Southern Review, and has a wide reputation for scholarship and talent. His MS. resembles that of Mr. Palfrey of the North American Review, and their mental features appear to us nearly identical. What we have said in regard to the chirog- raphy of Mr. Palfrey will apply with equal force to that of the present secretary. Mr. George Lunt, of Newburyport, Massachusetts, is known as a poet of much vigor of style and massive- ness of thought. He delights in the grand rather than hi the beautiful, and is not unfrequently turgid, but never feeble. The traits here described impress them- 117 A Chapter on Autography selves with remarkable distinctness upon his chirog- raphy, of which the signature gives a perfect idea. Mr. Chandler's reputation as the editor of one of the best daily papers in the country, and as one of our finest belles-lettres scholars, is deservedly high. He is well known through his numerous addresses, essays, miscellaneous sketches, and prose tales. Some of these latter evince imaginative powers of a superior order. His MS. is not fairly shown in his signature, the lat ter being much more open and bold than his general chirography. His handwriting must be included in the editorial category; it seems to have been ruined by habitual hurry. H. T. Tuckerman has written one or two books consisting of Sketches of Travels, His Isabel is, per haps, better known than any of his other productions, but was never a popular work. He is a correct writer so far as mere English is concerned, but an insuffer ably tedious and dull one. He has contributed much of late days to the Southern Literary Messenger, with 118 A Chapter on Autography which journal, perhaps, the legibility of his MS. has been an important, if not the principal, recommenda tion. His chirography is neat and distinct, and has some grace, but no force, evincing, in a remarkable degree, the idiosyncrasies of the writer. Mr. Godey is only known to the literary world as editor and publisher of The Lady's Book, but his celeb rity in this regard entitles him to a place in this collec tion. His MS. is remarkably distinct and graceful, the signature affording an excellent idea of it. The man who invariably writes so well as Mr. G. invariably does, gives evidence of a fine taste, combined with an indef atigability which will insure his permanent success in the world's affairs. No man has warmer friends or fewer enemies. Mr. Du Solle is well known through his connection with the Spirit of the Times, His prose is forcible, and 119 A Chapter on Autography often excellent in other respects. As a poet he is en titled to higher consideration. Some of his Pindaric pieces are unusually good, and it may be doubted if we have a better versifier in America. Accustomed to the daily toil of an editor, he has contracted a habit of writing hurriedly, and his MS. varies with the occasion. It is impossible to deduce any inferences from it as regards the mental character. The signature shows rather how he can write than how he does. Mr. French is the author of a life of David Crockett and also of a novel called Elkswattawa, a denun ciatory review of which, in the Southern Messenger some years ago, deterred him from further literary attempts. Should he write again, he will probably distinguish himself, for he is unquestionably a man of talent. We need no better evidence of this than his MS., which speaks of force, boldness, and originality. The flourish, however, betrays a certain floridity of taste. 120 A Chapter on Autography 3^* The author of Norman Leslie and The Countess Ida has been more successful as an essayist about small matters than as a novelist. Norman Leslie is more familiarly remembered as The Great Used Up f while The Countess made no definite impression whatever. Of course we are not to expect remarkable features hi Mr. Fay's MS. It has a wavering, finicky, and over- delicate air, without pretension to either grace or force ; and the description of the chirography would answer, without alteration, for that of the literary character. Mr. F. frequently employs an amanuensis, who writes a beautiful French hand. The one must not be con founded with the other. Dr. Mitchell has published several pretty songs which have been set to music and become popular. He has also given to the world a volume of poems, of which the longest was remarkable for an old-fashioned polish and vigor of versification. His MS. is rather graceful than picturesque or forcible, and these words apply equally well to his poetry in general. The sig nature indicates the hand. 121 A Chapter on Autography General Morris has composed many songs which have taken fast hold upon the popular taste, and which are deservedly celebrated. He has caught the true tone for these things and hence his popularity a pop ularity which his enemies would fain make us believe is altogether attributable to his editorial influence. The charge is true only hi a measure. The tone of which we speak is that kind of frank, free, hearty sen timent (rather than philosophy) which distinguishes Be*ranger, and which the critics, for want of a better term, call " nationality." His MS. is a simple unornamented hand, rather ro tund than angular, very legible, forcible, and altogether in keeping with his style. Mr. Calvert was at one time principal editor of the Baltimore American, and wrote for that journal some good paragraphs on the common topics of the day. He has also published many translations from the German and one or two original poems, among others an imitation of Don Juan called Pelayo, which did him no credit. He is essentially a feeble and common- 122 A Chapter on Autography place writer of poetry, although his prose composi tions have a certain degree of merit. His chirography indicates the " commonplace " upon which we have commented. It is a very usual, scratchy, and taper ing clerk's hand a hand which no man of talent ever did or could indite, unless compelled by circumstances of more than ordinary force. The signature is far better than the general manuscript of his epistles. Mr. Mcjilton is better known from his contributions to the journals of the day than from any book-publi cations. He has much talent, and it is not improb able that he will hereafter distinguish himself, although as yet he has not composed anything of length which, as a whole, can be styled good. His MS. is not unlike that of Dr. Snodgrass, but it is somewhat clearer and better. We can predicate little respecting it beyond a love of exaggeration and bizarrerie. Mr. Gallagher is chiefly known as a poet. He is the author of some of our most popular songs, and has 123 A Chapter on Autography written many long pieces of high but unequal merit. He has the true spirit, and will rise into a just dis tinction hereafter. His manuscript tallies well with our opinion. It is a very fine one clear, bold, de cided, and picturesque. The signature above does not convey, in full force, the general character of his chirography, which is more rotund, and more decidedly placed upon the paper. Mr. Dana ranks among our most eminent poets, and he has been the frequent subject of comment hi our reviews. He has high qualities, undoubtedly, but his defects are many and great. His MS. resembles that of Mr. Gallagher very nearly, but is somewhat more rolling, and has less boldness and decision. The literary traits of the two gentle men are very similar, although Mr. Dana is by far the more polished writer and has a scholarship which Mr. Gallagher wants. Mr. McMichael is well known to the Philadelphia public by the number and force of his prose com positions, but he has seldom been tempted into book-publication. As a poet, he has produced some 124 A Chapter on Autography remarkably vigorous things. We have seldom seen a finer composition than a certain celebrated Monody of his. His MS., when not hurried, is graceful and flowing, without picturesqueness. At times it is totally illeg ible. His chirography is one of those which have been so strongly modified by circumstances that it is nearly impossible to predicate anything with certainty re specting them. Mr. N. C. Brooks has acquired some reputation as a magazine writer. His serious prose is often very good, is always well worded ; but in his comic attempts he fails, without appearing to be aware of his failure. As a poet he has succeeded far better. In a work which he entitled Scriptural Anthology, among many inferior compositions of length there were several shorter pieces of great merit; for example, Shelley's Obsequies and The Nicthanthes, Of late days we have seen little from his pen. His MS. has much resemblance to that of Mr. Bry ant, although altogether it is a better hand, with much more freedom and grace. With care Mr. Brooks can write a fine MS., just as, with care, he can compose a fine poem. 125 A Chapter on Autography The Rev. Thomas H. Stockton has written many pieces of fine poetry, and has lately distinguished him self as the editor of the Christian World. His MS. is fairly represented by his signature, and bears much resemblance to that of Mr. N. C. Brooks of Baltimore. Between these two gentlemen there exists also a remarkable similarity, not only of thought but of personal bearing and character. We have already spoken of the peculiarities of Mr. B.'s chirog- raphy. Mr. Thomson has written many short poems, and some of them possess merit. They are characterized by tenderness and grace. His MS. has some resem blance to that of Professor Longfellow, and by many persons would be thought a finer hand. It is clear, legible, and open what is called a rolling hand. It has too much tapering and too much variation between the weight of the hair-strokes and the downward ones to be forcible or picturesque. In all those qualities which we have pointed out as especially distinctive of Professor Longfellow's MS. it is remarkably deficient; 126 A Chapter on Autography and, in fact, the literary character of no two individ uals could be more radically different. The Reverend W. E. Channing is at the head of our moral and didactic writers. His reputation both at home and abroad is deservedly high, and in regard to the matters of purity, polish, and modulation of style he may be said to have attained the dignity of a standard and a classic. He has, it is true, been se verely criticised, even in respect to these very points, by the Edinburgh Review, The critic, however, made out his case but lamely, and proved nothing beyond his own incompetence. To detect occasional or even frequent inadvertences in the way of bad grammar, faulty construction, or misusage of language, is not to prove impurity of style, a word which happily has a bolder signification than any dreamed of by the Zoilus of the review in question. Style regards, more than anything else, the tone of a composition. All the rest is not unimportant, to be sure, but appertains to the minor morals of literature and can be learned by rote by the meanest simpletons in letters; can be carried to its highest excellence by dolts, who, upon the whole, 127 A Chapter on Autography are despicable as stylists. Irving's style is inimitable in its grace and delicacy, yet few of our practised writers are guilty of more frequent inadvertences of language. In what may be termed his mere English, he is surpassed by fifty whom we could name. Mr. Tuckerman's English, on the contrary, is sufficiently pure, but a more lamentable style than that of his Sicily it would be difficult to point out. Besides those peculiarities which we have already mentioned as belonging to Dr. Channing's style, we must not fail to mention a certain calm, broad delib- erateness, which constitutes force in its highest char acter and approaches to majesty. All these traits will be found to exist plainly in his chirography, the charac ter of which is exemplified by the signature, although this is somewhat larger than the general manuscript. Mr. Wilmer has written and published much; but he has reaped the usual fruits of a spirit of indepen dence, and has thus failed to make that impression on the popular mind which his talents, under other cir cumstances, would have effected. But better days are in store for him, and for all who " hold to the right way," despising the yelpings of the small dogs of our 128 after wi Autography tt* at stytitte. Inriaf** atyii ts tmitable e and delicacy, yet few of our practised guilty of more frequent inadvertences of In what may be termed his mere English, be is surpassed by fifty whom we could name. Mr. Tuckerman's English, on the contrary, is sufficiently pure, but a more lamentable style than that of his Sicily it would be difficult to point out. Besides those peculiarities which we have already mentioned as belonging to Dr. Channing's style, we must not fail to mention a certain calm, broad delib- erateness, whWiltiantitfinkf^c^toiteiiighest char acter and approaches to majesty. All these traits will be found to tiiat plainly in his chirography, the charac ter of wbkfe It MWMfiified by the stftatare, although this it soawrhat tnpt flMsB tbt fHHMl niMMMfipt Mr. Wilmer IMS iiiiUMi and published much; but he has reaped the usual fruits of a spirit of indepen dence, and has thus failed to make that impression on the popular mind which his talents, under other cir cumstances, would have effected. But better days are in store for him, and for all who " hold to the right way," despising the yelpings of the small dogs of our 128 A Chapter on Autography literature. His prose writings have all merit, always the merit of a chastened style. But he is more favor ably known by his poetry, in which the student of the British classics will find much for warm admiration. We have few better versifiers than Mr. Wilmer. His chirography plainly indicates the cautious polish and terseness of his style, but the signature does not convey the print-like appearance of the MS. Mr. Dow is distinguished as the author of many fine sea-pieces, among which will be remembered a series of papers called The Log of" Old Ironsides" His land sketches are not generally so good. He has a fine imagination, which as yet is undisciplined, and leads him into occasional bombast. As a poet he has done better things than as a writer of prose. His MS., which has been strongly modified by cir cumstances, gives no indication of his true character, literary or moral. Mr. Weld is well known as the present working editor of the New York Tattler and Brother Jonathan. His attention was accidentally directed to literature VOL.X. Q. I2 A Chapter on Autography about ten years ago, after a minority, to use his own words, " spent at sea, in a store, in a machine-shop, and in a printing-office." He is now, we believe, about thirty-one years of age. His deficiency of what is termed regular education would scarcely be gleaned from his editorials, which, in general, are usually well written. His Corrected Proofs is a work which does him high credit, and which has been extensively cir culated, although " printed at odd times by himself, when he had nothing else to do." His MS. resembles that of Mr. Joseph C. Neal in many respects, but is less open and less legible. His signature is altogether much better than his general chirography. Mrs. M. St. Leon Loud is one of the finest poets of this country, possessing, we think, more of the true divine afflatus than any of her female contemporaries. She has, hi especial, imagination of no common order, and, unlike many of her sex whom we could mention, is not Content to dwell in decencies forever. While she can, upon occasion, compose the ordinary metrical sing-song with all the decorous proprieties which are in fashion, she yet ventures very frequently into a more ethereal region. We refer our readers to 130 A Chapter on Autography a truly beautiful little poem entitled the Dream of the Lonely Isle, lately published in this magazine. Mrs. Loud's MS. is exceedingly clear, neat, and for cible, with just sufficient effeminacy and no more. Dr. Pliny Earle, of Frankfort, Pa., has not only distinguished himself by several works on medical and general science, but has become well known to the literary world of late by a volume of very fine poems, the longest, but by no means the best, of which was entitled Marathon, This latter is not greatly inferior to the Marco Bozzarls of Halleck, while some of the minor pieces equal any American poems. His chirog- raphy is peculiarly neat and beautiful, giving indication of the elaborate finish which characterizes his com positions. The signature conveys the general hand. David Hoffman, of Baltimore, has not only con tributed much and well to monthly magazines and reviews, but has given to the world several valuable publications in book form. His style is terse, pun gent, and otherwise excellent, although disfigured by a half -comic, half -serious pedantry. A Chapter on Autography His MS. has about it nothing strongly indicative of character* S. D. Langtree has been long and favorably known to the public as editor of the Georgetown Metropolitan, and more lately of the Democratic Review, both of which journals he has conducted with distinguished success. As a critic he has proved himself just, bold, and acute, while his prose compositions generally evince the man of talent and taste. His MS. is not remarkably good, being somewhat too scratchy and tapering. We include him, of course, in the editorial category. Judge Conrad occupies, perhaps, the first place among our Philadelphia literati He has distinguished himself both as a prose writer and a poet, not to speak of his high legal reputation. He has been a frequent contributor to the periodicals of this city, and we be lieve to one at least of the Eastern reviews. His first production which attracted general notice was a tragedy entitled Conrad, King of Naples. It was 132 A Chapter on Autography performed at the Arch Street Theatre, and elicited ap plause from the more judicious. This play was suc ceeded by Jack Cade, performed at the Walnut Street Theatre, and lately modified and reproduced under the title of Aylmere, In its new dress, this drama has been one of the most successful ever written by an American, not only attracting crowded houses, but extorting the good word of our best critics. In occa sional poetry, Judge Conrad has also done well. His lines, On a Blind Boy Soliciting Charity, have been greatly admired, and many of his other pieces evince ability of a high order. His political fame is scarcely a topic for these pages, and is, moreover, too much a matter of common observation to need comment from us. His MS. is neat, legible, and forcible, evincing com bined caution and spirit in a very remarkable degree. The chirography of ex-President Adams (whose poem, The Wants of Man, has of late attracted so much attention) is remarkable for a certain steadiness of purpose pervading the whole, and overcoming even the constitutional tremulousness of the writer's hand. Wavering in every letter, the entire MS. has yet a firm, regular, and decisive appearance. It is also very legible. A Chapter on Autography P. P. Cooke, of Winchester, Virginia, is well known, especially in the South, as the author of numerous excellent contributions to the Southern Literary Mess senger. He has written some of the finest poetry of which America can boast. A little piece of his, en titled Florence Vane t and contributed to the Gentle* man's Magazine of this city, during our editorship of that journal, was remarkable for the high ideality it evinced and for the great delicacy and melody of its rhythm. It was universally admired and copied, as well here as hi England. We saw it not long ago, as original, in Bentley's Miscellany, Mr. Cooke has, we believe, nearly ready for press a novel called Maurice Werterbern, whose success we predict with confidence. His MS. is clear, forcible, and legible, but disfigured by some of that affectation which is scarcely a blemish in his literary style. Mr. J. Beauchamp Jones has been, we believe, connected for many years past with the lighter litera ture of Baltimore, and at present edits the Baltimore Saturday Visitor with much judgment and general ability. He is the author of a series of papers of high A Chapter on Autography merit now in course of publication in the Visitor t and entitled Wild Western Scenes, His MS. is distinct, and might be termed a fine one ; but is somewhat too much in consonance with the ordinary clerk style to be either graceful or forcible. Mr. Burton is better known as a comedian than as a literary man, but he has written many short prose articles of merit, and his quondam editorship of the Gentleman's Magazine would, at all events, entitle him to a place in this collection. He has, moreover, pub lished one or two books. An annual issued by Carey & Hart in 1840 consisted entirely of prose contribu tions from himself, with poetical ones from Charles West Thomson, Esq. In this work many of the tales were good. Mr. Burton's MS. is scratchy and petite t betokening indecision and care or caution. Richard Henry Wilde of Georgia has acquired much reputation as a poet, and especially as the A Chapter on Autography author of a little piece entitled My Life Is Like the Sum* mer Rose f whose claim to originality has been made the subject of repeated and reiterated attack and de fence. Upon the whole it is hardly worth quarrelling about. Far better verses are to be found in every second newspaper we take up. Mr. Wilde has also lately published, or is about to publish, a life of Tasso, for which he has been long collecting material. His MS. has all the peculiar sprawling and elaborate tastelessness of Mr. Palfrey's, to which altogether it bears a marked resemblance. The love of effect, how ever, is more perceptible in Mr. Wilde's than even in Mr. Palfrey's. Lewis Cass, the ex-Secretary of War, has distin guished himself as one of the finest belles-lettres scholars of America. At one period he was a very reg ular contributor to the Southern Literary Messenger. and even lately he has furnished that journal with one or two very excellent papers. His MS. is clear, deliberate, and statesmanlike, re sembling that of Edward Everett very closely. It is not often that we see a letter written altogether by him self. He generally employs an amanuensis, whose chirography does not differ materially from his own, but is somewhat more regular. 136 A Chapter on Autography Mr. James Brooks enjoys rather a private than a public literary reputation; but his talents are un questionably great, and his productions have been numerous and excellent. As the author of many of the celebrated " Jack Downing " letters, and as the reputed author of the whole of them, he would at all events be entitled to a place among our literati His chirography is simple, clear, and legible, with little grace and less boldness. These traits are pre cisely those of his literary style. As the authorship of the " Jack Downing " letters is even still considered by many a moot point (although, in fact, there should be no question about it), and as we have already given the signature of Mr. Seba Smith and (just above) of Mr. Brooks, we now present our readers with a facsimile signature of the " veritable Jack " himself, written by him individually in our own bodily presence. Here, then, is an opportunity of comparison. The chirography of the " veritable Jack " is a very good, honest, sensible hand, and not very dissimilar to that of ex-President Adams. A Chapter on Autography Mr. J. R. Lowell, of Massachusetts, is entitled, in our opinion, to at least the second or third place among the poets of America. We say this on account of the vigor of his imagination, a faculty to be first considered in all criticism upon poetry. In this respect he sur passes, we think, any of our writers (at least any of those who have put themselves prominently forth as poets) with the exception of Longfellow, and perhaps one other. His ear for rhythm, nevertheless, is imper fect, and he is very far from possessing the artistic ability of either Longfellow, Bryant, Halleck, Sprague, or Pierpont. The reader desirous of properly estimat ing the powers of Mr. Lowell will find a very beautiful little poem from his pen in the October number of this magazine. There is one also (not quite so fine) in the number for last month. He will contribute regularly. His MS. is strongly indicative of the vigor and pre cision of his poetical thought. The man who writes thus, for example, will never be guilty of metaphorical extravagance, and there will be found terseness as well as strength in all that he does. Mr. L. J. Cist, of Cincinnati, has not written much 138 A Chapter on Autography prose, and is known especially by his poetical com positions, many of which have been very popular, al though they are at times disfigured by false metaphor, and by a meretricious straining after effect. This lat ter foible makes itself clearly apparent in his chirog- raphy, which abounds in ornamental flourishes, not ill executed, to be sure, but in very bad taste. Mr. Arthur is not without a rich talent for descrip tion of scenes in low life, but is uneducated and too fond of mere vulgarities to please a refined taste. He has published The Subordinate and Insubordination two tales distinguished by the peculiarities above men tioned. He has also written much for our weekly papers and The Lady's Book. His hand is a commonplace clerk's hand, such as we might expect him to write. The signature is much better than the general MS. Mr. Heath is almost the only person of any literary distinction residing in the chief city of the Old Do minion. He edited the Southern Literary Messenger A Chapter on Autography in the five or six first months of its existence; and, since the secession of the writer of this article, has fre quently aided in its editorial conduct. He is the author of Edge'Hillt a well-written novel, which, owing to the circumstances of its publication, did not meet with the reception it deserved. His writings are rather polished and graceful than forcible or original, and these pe culiarities can be traced in his chirography. Dr. Thomas Holley Chivers, of New York, is at the same time one of the best and one of the worst poets in America. His productions affect one as a wild dream strange, incongruous, full of images of more than arabesque monstrosity and snatches of sweet, unsustained song. Even his worst nonsense (and some of it is horrible) has an indefinite charm of sen timent and melody. We can never be sure that there is any meaning in his words, neither is there any mean ing in many of our finest musical airs, but the effect is very similar in both. His figures of speech are meta phor run mad, and his grammar is often none at all. Yet there are as fine individual passages to be found in the poems of Dr. Chivers as in those of any poet whatsoever. His MS. resembles that of P. P. Cooke very nearly, and in poetical character the two gentlemen are closely 140 A Chapter on Autography in the five or six first months of its existence; and, since the secession of the writer of this article, has fre quently aided in its editorial conduct. He is the author of Edge'Hillt a. well-written novel, which, owing to the circumstances of its publication, did not meet with the reception it deserved. His writings are rather polished and graceful than forcible or original, and these pe culiarities can be traced in his chirography. Dr. ThomaHbaes^fc. York, is at the same time one of th^J^est and one of the worst poets in America. His productions affect one as a wild dream *tr*aft, tMjSjBjgruous, full of images of more than araWaqi* SMMtrot&y and snatches of sweet, unsustia4 song* * fell