AMUSEMENTS IN CHESS

SKETCHES OF THE HISTORY,ANT IQU ITIE S, Al l) C UR IOSITIE S OP THE OAI R ;

EASY LESSONS IN CHESS,A SEN IOR OF GHE S, ILLUSTRATIVE OF THE VARIOUS

OPENINGS, ANALYZE D AND M E D ,0

FOR THE USE OF YOUNG PLAYE RS

A SELECTION OF CHESS PROBLEMS,on

,END S or cums

WON OR B Y BRILLIANT AND scu m-Inc I OVE .

BY CHARLES TOIILIHSON~

LOND ON

JOHN W. PARKER , WEST STRAND .

mm v.

PR E F A C E .

Inthe year 1 840, the conductors of them Megan's-edetermined to introduce the game of C heninto the pages

and schools, it would exert ahighly beneficial influence by

permitted to young people intheabsence of other sedentary

games of chance, so far from producing a beneficial influenceonthemind, are apt to disturb thetemper, exciteanimosity,and foster a spirit of gambling ; whereas C hem, onthecontrary, being anefl'

ort of pure skill, gives healthy oxer

cise to the mental powers ; it requires cautionand forbearance onthe part of both players ; it leaves the victor

stimulus of “a stake and it entailsno humiliationonthe

Inthe hm of 1 841 , therefore, a series of papers

hers throughout the year. This series having beenwell

itself, the chief objects being to enable any one to study thegame from thevery commencement,and tomake theyoungstudent acquainted with a few of the leading features of the

vi PREFAC E .

to notice that most attractive part of the game,namely,ChessProblems.

The conductors of the SaturdayMagazine were pleasedto find that their efforts to extend the knowledge of the

game of Chess were signally successful. Inthe four yearsduring which these articles appeared, they were frequentlyreceiving letters onthe subject from all parts of the country . They were pleased to find that numerous personsmade their first acquaintance with C hess through the

pages of theSaturdayMagazine, while the C hessProblemsafforded anagreeable source of amusement to the family

circle, and produced many a pleasant and friendly contestas to who should be thefirst to solve them. TheE ditorwas

constantly receiving solutions to these problems from ladiesas well as gentlemen; from the families of clergymen;from schools, and from many a solitary Chess student.

These articles onChess being scattered through eight

volumes of theSaturdayMagazine, andnumerous inquirieshaving beenmade for them ina collected form

, the writer

hasbeeninduced to revise them,with a view to their repub

licationinthe convenient shape of a pocket volume. For

this purpose he has re-arranged the materials, and placedthem ina more compact and readable form thancould bedone ina periodical, inwhich each separate article, though

short initself, required a certainair of completeness,which,however, was oftenmore apparent thanreal, for

t

whensucharticles came to be collected together thenecessity for rearrangement and consolidationbecame apparent. Two

chapters are also added,which didnot appear inthe former

Inpreparing the first part of this volume, the writer has

PREFACE . vii

refened to a very hrge number of works onChesa for

catalogues of writers onthe game of C hess.

Inthe secondpart,thewriterhaspreferred to give wholegames to illustlate particular openings rather thanfrag

bmught to bear onthis task a great fondnea for the game,imtead of the skill of anaccomplished player, the writershrunk fmm anuudertaking of such supreme difliculty as

ananalysis ofthe game of C hesszhepreferredrather to treathis subject insuch a way as to enable the'

student to formsome idea of the riohnem of the territory of C hess, bynotpretending to do more thanopena few of the paths

which m ig hoping by such a course to induce himto explore further for himself inthe works of our best

be imparted to the Ecey Lm e iaM by oonnectingC hessProblems with them ; for with many persons theyform one of themost attractive departments of the game ;

they enable us more, perhaps, thananything else, to appre

and tend to elevate C hem to tho rank of mathematical

science, for Problems have the same relationto C hess study

Inthe present volume, a largenumber of Problem has

beenadded to the former collection. The reader willfind

V1 1 1 PREFAC E .

mate is required ina largernumber of moves thanfour,although a few Problems infive, six, &c. moveshave beenintroduced towards the end.

inserted inanAppendix the Solutions to all the Problems

contained inthevolume. Thestudent isearnestly requestednot to consult this Appendix, until he has made manyearnest attempts to solve every problem which he oncetakes inhand Inundertaking to solve a problem, the

student must beware of forming hasty conclusions. Hesometimes imagines that suchand such a problem cannot besolved inthe prescribednumber of moves, - that the prob

lem is incorrectly printed, -that if a certainchange wereallowed the solutionwould be easy, -ia short,he is anxiousto escape from the conclusionthat his efi

'

orts to solve the

problem have failed. Our recommendationto such a

student is to exercise a littlemore patience and ingenuity ;and before he decides that we or the printer are incorrect,to confer with his C hess friends, to watchnarrowly thelocomotive powers of the Black King, and, only intheabsence of all other means, as the very last resourceb to

consult theAppendix.

We cannot take leave of this part of our subject withoutofl

'

ering our acknowledgements to those great modernproblem makers,Messrs. B’orville, C alvi, Brede,Anders en,and Petrofl'

, and among our owncountrymen, the Rev.

Mr. Bolton,Mr. W. Bone, andMr. R . A. Brown.

A few of our correspondentshavecomplained of diflicultyinfollowing out themoves inour Easy Lessons, inconsequence of the concisemethod by which they are indicated .

Our Chessnotationis that most commonly adopted in

PREFACE . ix

England ; and it certainly has the merit of being simple,

the squares, &c., tend to embarrass the student ; while this

ture of the board, and therelative positions of the pieces:

pleasure inmany a family circle and to many a solitary

part of themiscellanies of a periodical.

CONTENTS.

them e—Variations inpowu dnflng them ol the game

tionsol themovu andpowu sol thepisoesm m .

m nnovr m noaan.

of play—D ireotions fu aoquiring theartBlindfold gamebynela liourdonnab

PART 1 1 .

Eu r Lassons inCmW I .

LE BON I.

The m ol the pieeu—Bow to sstnp the mm—Names ol the

LB SON II.

LE SON III.

Variou kinds of eheeb —Simple check —C heck by disoova'

y

mate -Scholar'

smate—Smothc ed mate—Bh lunneLBSSON IV .

m ummies-d raw nm nu mm— Advaneing aPawntoQusm—Problunillustrative of quemings Pawn—j 'ort ing withPawnorKnight— The exchange

LE SON V .

Tnl h ws orm .

LE BON VI.

M op'sGame

LE BON VII.

Knoc ’

sKmonr’

s GanrmblansLn. (White tomateintwomovu ).

6 CONTENTS.

LESSON VIII.

Kate'sKmaar ’

s (h a s (continued)Problems III. IV. (White tomate intwomoves)

LESSON IX.

Kim'

s Kurcnr’

s Gu t s (continued)Problem V . (White tomate inthreemm )

LESSON X.

Qussn’s B ishop’sPawn's Gnu

LESSON XI.Quln'

s Blsaor’

sPawx’

s Gan(continued)Problemsv1 . vn. (writtenmate inthreemoves)

LESSON XII.Tanc ’

sGarrarr

ProblemsVIII. IX (White tomate inthreemoves)LESSON XIII.

Ta: Kmo's Ganai'r (continued)

ProblemsX . XI (White tomate inthreemoves)Problem XII: (White tomate intwomoves)

LESSON XIV .

TanK mo'

sGamanr (continued)Problem XIII. (White tomate inthreemoves)Problem XIV . (White tomate infourmoves)

LESSON XV .

TanKmo’sGarmrr (continued)

ProblemsXV . XVI. (White to mateinfourmoves)

TanKate’sGanair (continued)

LESSON XVII.Tn: At acama Gaunt-rProblemsXVII. XIX . (Tomate infourmoves)Problem XVIII. (Tomate intwomoves)

TanMezzoOm arr

Problem XX . (Tomate infourmoves)Problem XXI. (Tomate intwomoves)

LE SSON XIX .

TanMusic Gm rr (continued)ProblemXXII. (Tomate intwomoves)ProblflnXXIII. (Tomate infourmoves)

3 17

C ONTENTS. 7

LESSON XX .

ProhhnXXIV . (Tomateiu fourmoves)

LESSON XXI.

Tu msaor'a nn-rProblanXXV . (Tomste infourmoves)ProlirsnXXVI. (Tomate inthreemoves)

LESSON XXII.

TnQum 's—u ws-rwo Ornate

LESSON XXIII.

TnEvansGaunt-rProblrm XXIX . (Tomateinfourmoves)

LESSON XXIV .

TnBuns or Gu msLESSON XXVH.

o a s Gauss anm Suns-runNineProblans, illustrativeofStale-mate

PART III.

C anons C ums Pnonnns, on, Enos or Ga me on287

roam :

I. Bl'Orvme. l ate intwomoves

2 . Bl alviAntwomoves3 . By l m mtwom4 . Bl

’

OrvmeAntwomoves5. By fi t rm mtwomoves8 . By l ihlvh inthreem7 . By li . de la Bomdonnaia, inthreemoves8 . ByHerrM inths-emovu9 . By li . 0alvi, inthreemovulo. ByHa r BredeJnthreemovemll . Bl alviJnthreemoves1 2 . By B c

'r R '

edeJnthreemoves .

1 3 . Whitefu ou mack tocheclunste him inthreemoves .

1 4. ByHerrM Inthreemovea

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I2 HISTORICAL NOTIC ES OF CHESS.

recue. To thread the mazes of its wonderful andnumerless combinations requires the exertionof caution, forbearance, and forethought —it producesnone of the sr

nicious excitement of games of chance ; nothing is ed

uponthe issueof thegamebut skill,and intheattainment ofthat skill,thementalpowersarecalled intoagreeableexercise.While we estimate chess as decidedly the best of ca,

inasmuch as it gives a wholesome exercise and discip ins tothe mind, and is, at the same time, a recreationfrom other

pursuits, wemust also confess that there was much truth

Inthe remark of James the First, that chess is“overwise.

”

Whenlaved scientifically it certainly is too absorbingand di cult a subject formere amusement. Some studiouspersons find rest and refreshment ina charige of pursuit,eventhough it be from one diflicult sub

'

ect to anotherequally difficult ; but . there are few sue We wouldtherefore advise our young readers to restrict themselvesinthe time they devote to chess, lest this fascinating game

become the great object of study and set aside other andmore im ortant pursuits. E very age does not produceits Phili or,nor would it, generally e a wise

applicationof time and talent to aimdard of excellence inthis game.

The originof the game of chess has beenthe subject ofvery laborious researchand warm argument ; and,althoughthe results are b no means satisfactory,yet the inquiry hasafl

’orded a good cal of valuable and amusing information;

a selectionfrom which will robably be interesting to thegeneral reader, as well as to e amateurs of thisnoble andscientific game.

Some historians have referred the inventionof chess tothe philosopher Xerxes; others to the GrecianrincePalamedes ; some to the brothers Lydo and Tyrr ene ;and others, again, to the yptians. The C hinese, theHindoos, and the Persians, prefer their claims to beconsidered as the originators of chess, but the testimoniesofwriters, ingeneral, provenothing except thevery remoteantiquity of the game.

Inexamining the testimonies of various writers, onasubject so obscure, we must always make considerableallowance for that rejudice infavour of certainopinionswhich habit and coal circumstances apart from soundreasoning have tended to confirm . Thus

, a historianwhohas passed much ofhis time inIndia, studying the mannersand customs of thenative tribes, tracing out their history,

THE GAME OF THE PEBBLES. 1 3

translating their legends, and copying their monuments,would almost unconsciously support against any other, theclaimsdof such a ple to any remarkable invention. Thesame remark a

plplgzto the historianof the C hinese, of the

Egyptians, of e Greeks, and other ancientnations; and,accordingly, we find that each of thesenations has its advocate inEnglish literature.

The first writer that we shall mentionis Mr. Jamesvolume entitled, A1:

to have been

natural to conceive the game to have beeninvented by aneffort of the mind of one person, and devised, formed, andperfected at one instant of time ; or whether it ma not beconsidered probable, that some rudematerials exist which

into the hands of ingenious and able workmen, atdifferent riods, were variously fashioned by them, andunited at intheelegant structure of themoderngame.

”

We will give a brief analysis of C hristie’s attempt to rove

that a game of pastoral originwas already ingene use,

which being expanded as to the superficies of its board, andaugmented inthenumber of its start, and varied intheproperties of its piews, might have beenfashioned andcompleted by the ty of theOrientals into themoderngame of chess.

Among theancient games

Fix. 1 . of skill the one to which

writers have referred the

originofchess is the fret-u m,or the game of the pebbles,supposed to have beeninvented b Palamedes at thesiege of y . From scat

tered words and phrases invarious Greek writers, it isprobable that the gamewas

played ona board containmg sixteensquareswith a

central space called iepa

hmay, the sacre

qab

gsri

fir.

e e was

being provided wimve wlfilte 3pebble

ys

five black pebbles arranged at the beginning of the game as inthe aecom anying figure. E ach

player endeavoured to cut off, incm or block up, his

1 4 HISTORICAL NOTICE S OF CHESS.

adversary’s men. InC onstantine’

s Lexiconthe sacredbarrier ” is thus alluded to The middle line was the

undary be ond which the mencould not bemoved, and this was a so termed the sacred line ; whereforewheneither of the parties was drivenup to this fixed lineor mark inthe centre of the board,he thenmoved his piecefrom it

,saying, ‘I move my pebble from the sacred.

’

The offensivemovesseem to have had the followinobjects1 , the temporary circumvention

,where the pe ble was

checked betweenthe sacred and another ebble ; andwas then, according to a law of the game, wit drawnthe expressionjust quoted ; 2, the circumventionof anygibble took place betweentwo hostile pebbles ; retreat

ing cut off, such ebble was thentaken; 3, each partyendeavoured to get eyond the sacred

,so as to occupy his

adversary’s half of the board,and so to crowd his game thatnomove should be left to him : the ewas thenfinished.

There is a gamewhich has beenp ayed all over thenorthof E urope from the remotest antiquity, which C hristie

supposes to be identicalwith the Greek game rpcobu w, andmore ancient thanthe r em -

em, since depasiting the pebbles

seems to be more simple movinthem. The game isplayed ona board of the following form, and is knownin

E land by variousnames,anas,

“NinepennyMarl,”the game ofMorris,” or

NineMen’sMorris” also,F ivepenny Morris, andlastly Merelles.

”Some

writers state that the game

was introduced into this

country by the Normanconquerors, under thename

of merelles and that thisword

,which signifies coun

ters, was afterwards cor

rupted into morals andmorris. Others supposethe pastime to have derived

the appellationof NineMen’sMorris” from the differentcoloured menbeing moved backwards and forwards as

though they were dancing a morris.

The scheme or board for the game is frequently chalkedonthe ground ; onbarnfloors onthe crownof ahat ; onthe side of a pair of bellows; u na table; or (as we haveoftenseenit onSalisbury Plaini

o

it is cut out inthe green

Fig . 2.

THE GAME OF MERELLES. 1 5

award. Hence the remark of Titania inthemTheninemm ’

smorris isfilled up withmud,

alluding to the wet season, which hadmerelle board.

opponent piece. If he succeed informing a row,he takes

one of his antagonist’s pieces from any part except from a

row of three whichmustnot be touched if he have another

1 6 HISTORICAL NOTIC ES OF CHESS.

kind of mound or barrier against mutual incursions. Inthe course of time the game was modified by the use of diceas well as pebbles

,and formed the ancient plindionthe

now called the city, the pebbles dogs, and theobject of the game was said to be to capture the city : the

pieces appear to have beenof two colours, and one pebbleing circumvented by two others ofano

egposite colour was

ca tured. There appear to have beentw ve points oneachs

’

e of the board, and fifteenmenof each colour but here,

as the conclusions of our author lead us rather to the game

of backgammonthanto chess, we omit much ofhis theory .

The steps by which‘

our author supposes the advance tohave beenmade from this primitive game to that of chess,

(inwhich there is,first,not a sacred line, but a royal linebehind each row of pebbles or pawns ; secondly, a kiwhose personis sacred ; and, thirdly, ofi cers to attend him,

ob'

ect of the game was to efi'

ect a circumventionofany onepe ble, betweentwo of the adverse party, so, the samecould be produced by forcing a pebble into anintermediatestationbetweenthe sacred and a hostile piece. This wasanadvantage only to be found inthe centre of the board .

But the pur ose of the sacred wasnot complete ; for theassistance 0 the sacred would oftenhave beendesirable foreffecting a circumventioninthe distant parts of the board.

Hence arose tlae idea of mah’

it moveabk . By itsof cc-operating with a pebb e incircumventing, it wasalready endowed with the properties of a piece ; and it wasthereforeno great stretch of innovationto raise it .to thedignity of one, thereby iving it inform what it alreadypomessed virtuall As t e advantages of it, initsfirst inactive state, had encommonto both, '

so it wasnow but

custom of NE VE R u xms rm: xme AT cusss. As it wouldnot have been

gorudent to expose the sacred personof this

bbls inthe nt line, and the scanty dimensions of therdwouldnot allow of the ebblesbemg obtruded further

u nthemiddle of the b a placewas assigned to it incentre of anAD D ITIONAL or B EAR rank. Animperfection

yet remained. The properties of thesacred were twofold,infiolabzhty, and the power of making any pebble recede

SUPPOSED ORIGINAL m s or rm: GAME . 1 7

from it. Wehave only found a representative for its first

property. The whole virtue Of the sacred was to be calledmto action. The inviolable bblewas the solitary occupierof the rear rank :— it was O ht proper that Ma damshould be

'

vento the right andl

lefi Of it, who should shareamongst cm the ofemioe powers Of the sacred, which itmightnot have beenao consistent with the character Of thefirst dignified pebble toassume. The power Of causing it toretire,was therefore vested inthecompanionoftheinviolablepiece ; and hence we have derived the custom Of checking .

And with all this, the original object Of the su rreal was

still retained,name] thennocm n; to which the decal:nlate Of themodernc ass is certainly analogous ; only that inthe early game it was attempted indiscriminate] uponthepebbles ingeneral; and inthe improved game, t e effect ofit is exclusively directed to themost conspicuous piece.

”

Themost im rtant feature inthis °

Ous argumentis themetamorp osisOf the sacredmound, '

er,or temple,into a “king,” endowed with the inviolability of the sacred(that is,not subject to capture but conferring the repelling power of the sacred on rsons Of certainOfiicersor superior pebbles rovided for tfit purpose. Inmodernchess the king has ttle orno re ent power ; for he cannot put himself into check, w e all the other piecesma

ydo so. The sacred being thus converted into aninviolabpiece,and four Ofiicersbeing created inorder to repelattack,and guard the personOf the king, the central’s sacred wasremoved, and anadditional line or row Of points was addedbehind the commonpebbles or pawns. Doubling some of

these Ofiicers, ao as to increase thenumber to eight, and increasing thenumber Of single pebbles, or pawns from five

to eight, are regarded as subsequent innovations.

The learned inquiries Of our author te'

r

l

n‘

d to s

hew that the

Scythmns'

(the ancestors Of the present at tars occu y’

the desert tracts eastward Of the ian, were the O P'

inventors of the game from which 0 cm has beenproducedby a regular series Of improvements andmodificationsmadeduring three thousand years : therefore that the game

existed long before the siege Of Troy ; and that it thencespread westward to Greece, south-west to Persia, south-east

to India, and east to C hina ; and that ineach country itreceived certainmodifications and additions.The game was gradually introduced into Rome, and

probably formed theLudas Latmm lomm. The Object of

thisgame, and themethod of playing it were similar to them an,except that therewasno sacred; and that the power

1 8 HISTORICAL NOTIC ES OF CHESS.

of checking was lost by the absence Of the central space.Hyde is Of opinionthat theLudusLatrunculorum greatlyresembled the moderndraughts, inthat the pebblesmoveddiagonally, made captures by leaping over the pebbles of

the antagonist, and that they were crowned . Onthesepoints C hristie is at issue withHyde, and he also Ob

'

ects to

the interpretationOf Ovid by D ainesHarrington, t the

pieces were shakenlike dice instead of being moved likedraught-men.The C hinese chess is a contest betweentwo

of soldiers onthe banks of a river : to these anumber of

pieces is added, the chief Office Of which is to defend the

general, and to capture straggling Opponents. The piecesandmen, as inthe ancient r enew, haveno distinctionas toform : they are flat counters of ivory, aninch inbreadth,and a quarter Of aninch inthickness, and are distinguishable from each other only by means Of certainlinesmarkeduponthem .

C hristie is Of Opinionthat the Hindoo who, thirteencenturies ago, is said to have invented chess, borrowed theancient game from the Tartars, who were, and stillare, the

links Of communicationbetweenall thenations Of Asia,and gave to it some Of themodifications already alluded to.

The C hinese game inwhich the combatants, five oneachside, fight onthe posite banks Of a symbolical river, issup oecd by our anor to be a more primitive form thanthe m o, derived from the Tartars, and subjcoted to lemalteration. Mr . D avis, inhis recent work onC hina, says,

The C hinese chess differs inboard, men, and moves,from that Of India, and cannot inany way be identifiedwith it, except as being a game of skill, andnot Of chance.

”

Mr . Irwin,ina letter to theEarl Of C laremont, publishedinthe Transactions of the Royal Irish Academy, supportsthe claim Of the C hinese, inwhose Com m

, or Annals,appears the following

Three hundred ansevent -nine years after the time OfC onfucius, or 1 966 years ago, ung-cochu, king of Kiangnan, sent anexpeditioninto the Shen-si country, under thecommand Of a mandarin, calledHan-sing, to conquer it .After one successful cam the soldiers were at intowinter quarters; where, ding the weather muc colderthanwhat they hadMenaccustomed to, and being also de

‘

ved of their wives and families, the army, ingeneral,became impatient Of their situation, and clamorous to returnhome. Han-sing, uponthis, revolved inhismind the badconsequences Of complying with their wishes. Theneces

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20 HISTORICAL NOTICES OF CHESS.

Sir William Jones, D r. Hyde, and others, favour"the

claim of the Brahmins of India, and adduce the testimonyOf thePersians (who acknowledged that the received thegame from India inthe sixth century), as we as Of certain

onchess inthe Sanscrit. The Brahminsrelate, that one the beginninof the fifth divert theme ncholy Of a re popularstory is as followsAt the commencement . Of the fifth century Of

tianera, there lived inthe Indies a very powerfulwhose kingdom was situated towards wheredischarges itself into the sea. He took to

proud title Of King Of the Indies; his fathergreat number Of sovereignrinces to pay tribute to him,

and submit themselves under his empire. The youngmonarch soonforgot that the love Of the subjects for theirking is the only solid support of his throne: he oppressedthe people by his tyranny ; and the tributary princes werepreparing to throw Off the yoke. A Brahminnamed Sims,touched with the misfortunes of his country, resolved tomake the prince openhis eyes to the fatal tendenc Of hisconduct, and invented the game Of chess, whereint e k

’

although the most considerable of all the pieces, is botimpotent eitherto attack or to defend himself against hisenemies, without the assistance of his subjects.

Thenew game soonbecame so famous, that the kingwished to learnit. The BrahminSissa was selected toteach it him ; and under the pretext of explaining the rulesOf the game, and showing him the skill required to mak euse Of the other ieces for the king’

s defence, soonmadehim perceive anrelish im ortant truths, which he hadhitherto refused to hear. The king rigidly ap lied the

Brahmin’s lessons to his owncircumstances, anfeelingthat his real strength must consist inhis people’

s confidence and love, averted by a timely alterationOf his conduct,thosemisfortuneswhichseemed tobe cominguponhim .

Out Ofgratitude to the Brahmin, the prince left him to

choose his ownreward. The Brahminrequested that a

number Of grains Of corn, equal to the number Of thesquares of the chem board, might be

'

venhim,one for

the first, two for the second, four for t e third, and so on,doubling always to the sixt - fourth. The king, astonishedat the seeming modesty and

'

reasonableness Of the demand,granted it immediately ; but whenhis Officers had made a

calculation, they found that the king’s grant exceeded the

CHESS AMONG THE HIND OOS, ETC . 2 1

value Of all his treasures. The Brahminavailed himselfOf this opportunity, to show hownecessary it was for kingsto be upontheir guard.

The game Of chess has beenknownfrom the time Of

its inventionor introductioninHindustan, by thenameOf Chaturanga, or the four members of anarmy

,viz . ,

ele hants, horses, chariots, and foot-soldiers.ir William Jones informs us, that by anaturalcorru

tionOf the pure Sanscrit word, it was changed by the O dPersians into Chatrang; but the Arabs, who soonaftertook possessionOf their country, hadneither the initialor final letter Of that word intheir alphabet, and consequently altered it further into Shatranj, whichits way into modernPersian, and at length into the dialectsof India, where the true derivationof thename is knownonly to the learned ; and thus has a very significant wordinthe sacred language of the Brahmins beentransformedby successive changes, intoAzedrcz, Scacchi, E choes, Chess.

Our learned author thinks that the simpler game, asnowplayed inE urope and Asia, was invented by a s

'

ls efl’ort

of some greatIgenius, andnot completed by ual im

provements. e informs us that no account Of the gamehas hitherto beendiscovered inthe classical writings of

the Brahmins, though it is confidently asserted, that Sanscrit books onchess exist . He describes a very ancientIndiangame Of the same kind,butmorecomplex,and, inhisOpinion,moremodernthanthe sim le chess Of thePersians.According to C rawford, the ya know the game Of

chem well, and are fond Of it ; but have acquired the

knowledge of it only incomparative] recent times intheir modernintercourse with the Te gas. The evi

dence of language not only shows this, but shows also

that the Telingas must themselves have borrowed it fromthe Persians. Chatar, thename Of the game, isPersian,andnot Indian. Sah, check

,

’is the Persian‘ word shah

,

king,’and the on] way inwhich the Indianislanders

canronounce it . idah, a pawn, is but a corru tionOf

the ersianword piadah a foot soldier ; ter, the ala anname Of the castle, is of the vernacular language Of a

linga ; and mat isnot; as some have imagined, a corruptionof theMalayanword mati, ‘dead,

’but the truePersianword

for check-mate, borrowed by ourselves, and stillmore accu

rately by the FrencSir Stamford Rafi es describes chem among the Javanese

as follows

Inchess (chatur), the piews arenamed the raw or king ;

22 HISTORICAL NOTIC ES OF THE GAME .

the hor minister, correspondia with our queen; two

lore/51d

; vessels, correspondmg withour rocks ; two mantrz

'

,corresponding with bishops ; two j aranor horses, cor

responding with knights ; the bidah, or pawns ; and are

arranged as inthe Europeangame, except that each kingis placed onthe left-hand Of the queen, and cO uentlyopposite to the adversary’

s queen. Themoves are so the

same ; except . that the if he hasnot beenchecked,may move two uares the t time, either as a knight orotherwise ; and t the pawnm

aymove two squares the

first move, eventh

qprh it shoul pas?l

the

h

ch

zlck Of an

adversary’s wn. ena awnreac es t e versary

’s

first line, itIgust retrograde t

Phree moves diagonally before

it canbecome a queen, except it has reached the rock ’s

square, inwhich case it becomes a queenat once. There

may be any number Of queens onthe board at one time.

The king cannot castle after having beenchecked. C astlingis performed by twomoves: the castle must first be broughtup to the king ; after which the kingmy pass over the

castle at any future move, provided he sh not have beenchecked, or thatno piece has occupied the square he wouldmove into . A piece or pawnmust remainonthe boardtill the last ; if the king is left alone, it is considered as

stalemate, and he wins.

It has beensu posed that the ancient Egyptians wereacquainted with em

, orat least with a game bearing some

close affinity therewith. Very slight inquiry, however, issufficient to show that the game represented onthe Egyptianmonuments isnothingmore thana species Of draughts.

The players are represented sitting onthe ground, or onchairs, and the pieces, or men, being raned inrank, at

either end of the table,were probablymovedona chequeredboard ; but, the game being always re

presented inprofile,

the exact appearance or thenumber O the squares cannotbe given.

The pieces were all of the same size and form, though

they varied ondifferent boards, some beinsmall, others

large, with round summits ; many were O a lighter andneater shape, like small nine-pins, —probably the mostfashionable kind, since they were used inthe palace OfKing Remeses. These last seem to have beenabout oneinch and a half high, standing ona circular base Ofhalfaninch indiameter ; and one inmy possession, which Ibrought from Thebes, ofa

*nearly similar taste, is one inchand a quarter inheight, and little more than«half aninchbroad at the lower end. It is Of hard wood, and was

CHESS AMONG THE ANCIENT EGYPTIANS. 23

doubtless painted Of some colour, like those occurring onthe tianmonuments.

T ey were all Of equal size uponthe same board, oneset black, the other white or red, standing onOpposite sides,and each layer, raising it with the finger and thumb,advanced this piece towards those Of his opponent ; butthough we are unable to say if this was donem a direct or

diagonal line, there is reasonto believe they couldnot takebackwards, as inthe Polish game Of draughts, the men

mixed together onthe board.

t was anamusement commoninthe houses Of the

lower clames, and inthe mansions Of the rich ; and KingRemeses is himself pourtrayed onthe walls Of his palace

nthe game Of draughtsowing figure from Bua'

rON’s

a: m msorc'

sManners and Customs of theAncient E gyptians.

HISTORICAL NOTIC ES OF THE GAME .

The modernEgyptians have a game Of draughts verysimilar, inthe ap rance Of the men

, to that Of their

ancestors, which t ey call dameh, and play much inthe

same manner as our own.The most impartial authorities are strongly inclined to

favour the assumptionthat chem was originally inventedinIndia, and thence transmitted to thenations of Europe;by means Of thePersians and Arabs. The instruments of

its introductionto thewesternworld aregenerally supposedto have beenthe crusaders ; but as this suppositionnecessarily excludes allknowledge of the game previous to theyear 1 1 00, it is liable to very formidable Objections.Aneasternhistorianinforms us that the game was

knownat C onstantinople inthe year of our Lord, 802 .

At that period the Emperor Nice horns beganhis reign,and made a pointed allusionto t e e Of chess inanepistle to the C aliphHarounal Rasc

°

d. The queen,”said he, speaking Of Irene, the mother Of C onstantine, to

whom Ihave succeeded, considered you as a root , and herself as a pawn. That pusillanimous female submitted

,

therefore, to pay to thee a tribute, the double Of which sheOught to have exacted from thyself.” The game beingthus familiar at C onstantino Is at that early period, it isextremely robable that the nowledge Of it was speedilytransmitte to other parts Of Europe

, and the intercoursemaintained betweenthé courts of C onstantinople and Francerenders it very possible that the latter kingdom wasone Of the first, ifnot the very first, inWesternEuroto become acquainted with chess. It is singularly cO

mative Of this suppositionthat a set Of ivory chem-men,

Of great antiquit are still preserved inthe C abinet ofAntiquities, int e Bibliothéque da Roi

, at Paris, andthat inthe history of the Abbe of St. D enis, where theywere formerly deposited, there 8 ould be found the following notice L

’Empereur Roy de France

, SainctCharlemagne, a donne au Thrésor de Sainct D e'nysnu jeud

’eschets, avec ls tablier, ls tout d

’

yvoire : iceux eschete,hauts d’

une pauline, fort estimez ; le dit tablier et unepartie des eschets ont esté erdus ar successionde temps,et est bienvra semblab e qu

"ont esté apportez de

I’

Orient, et sous es gros eschete ily a des caracteres Arabesques.

” The dresses and ornaments Of the two principalfigures m this set are declared by Sir F . Maddento be instrict keeping with the costume of the Greeks intheninthcentur so that, having examined the en vings givenof theking and queen, he is persuaded that tl

gxge chess-men

INTROD UCTION OF THE GAME INTO EUROPE . 25

reall belong to the period assigned to them by tradition,andhalieves them to have beenexecuted at Constantinople,by anAsiatic Greek, and sent as a present to C barle e,

either by the Empress Irene, or by her successor ice

horus. Embassies were frequently despatched by the

ishmonarch to the court Of C onstantinople, and thatsort Of friendly intercourse was maintained which increasesthe probability of the above supposition. The size andworkmanship Of the chem-menrove t hem to have beendesigned for the use Of somenob e personage ; and from the

decided style ofGreek art visible inthefigures, it is inferredthat the came to C harlem

qgne from a soverei Of the

Lower pire, andwerenot Of theMOO princesof Spain, or evenfrom the

‘

phHarounal Raschid,whose costly

'

fts to the Emperor of theWest are particu

lar] descri b Germanhistorians.0 Old Fren romances abound with references to the

game Of chess, inthe time Of C harlemfne. Inone Of

these, calledM deMontglaoe, the w Ole story turnsupona game Of chem, at which C harlemagne lost his kin

c

gl;dom to Guerin, the latterhaving proposed a gameat whi

the stake was to be the kingdom of France. Anotherromance

,describ

'

the arrest of Duke Richard Of Normand says that e was laying at chess with Ivonnet,sonO Regnaut, and the O cers came upto him, saying,“Aryse up, Duke Rychards, for in rte of C harlemayne,that loveth you so muche, ye be hanged now .

”

WhenDuke Rychards saw that these sergeauntes hadhim thus b the arm, andhelde inhis hands a ladyé

dame)of ivory, where w'he would have givenamate to ounet,he withdrew his arms, and gave to one of thesuch a stroke with it into the forehead that hetumble over and over at his feet ; and thenhe took a

rooke (roe), and smote another wt all uponhis head, thatbe all to brost it to the brayne.

”

Instances may be multiplied to disprove the commonO inionthat chess wasnot introduced into Europe untilter the first crusade. We will quote one more exam le,

and this is from the E pistles Of Damiano, CardinalB '

opof Ostia, who died in1 080. Ina letter to PopeAlexanderthe Second (1 061 - 1 073 he mentions anincident whichoccurred betweenhim and a bishop of Florence.Whilst we were dwelling hy

sther,having arrived in

the evening at a resting-place, withdrew myself to theneighbouring cellOf a priest ; but he remained with a crowdof people inalargehouse Ofentertainment. Intlg

morningcums.

26 HISTORICAL NOTIC ES OF THE GAME .

my servant informed me that the bishop had beenplayingat the game Of chess ; which thing whenIheard, it piercedto my heart like anarrow . At a convenient hour Isentfor him, and said, ina tone of severe reproof, The hand isstretched out ; the rod is ready for the back Of the offender.

’

Let the fault be proved,’said he, and penance shallnot

be refused .

’ Was it well,’rejoined I

,was it worthy Of

the character you bear, to spend the evening inthe vanityof chem-play, and defile the hands and tonuswhich ought

to be the mediators betweenmanand the fieity? Are you

not aware that, by the canonicallaw, bishops who are diceplayers are ordered to be s

uspended 2’ He,however,‘

seekinganexcuse from thename the game

, and sheltering himself under this shield, suggested that dicewere one thing andchess another ; consequently that dice alone were forbiddenby the canon,“

but chem tacit] allowed. TO which Irepliedthnar ‘ C hess is not nam inthe text, but is comprehended under the general term Of dice. Wherefore, sincedice are prohibited, and chess isnot expressly mentioned, itfollows without doubt that both kinds Of play are includedunder one term,

and equally condemned .

’ TO this thepoor

prelate could makeno rep] and was ordered by his superior b way of penance for is Offence, to repeat the Psalterover t rice, and towash the feet Of, and givealms to, twelvepoor persons.

”

Inthe year 1 83 1 anannouncement made inthe Scotchnewspapers excited the attentionof anti uaries to a curious

discovery made inScotland intheIsle 0 Lewis, onthe seashore, inthe parish of Uig, of a considerablenumber of

chess-menOf ancient workmanship. They were discoveredby a peasant Of the island, whilst digging ona sand-bank,near to a ruinOf somenote, and having beenpurchased bythe Trustees Of the BritishMuseum, thesefiguresnow formpart of ournational collectionOf antiquities, together witha bone or ivory fibula, and fourteentable-men, or draughtmen, which were found with them. The chem-menare

sixty- seveninnumber, forming the materials Of six or

more,sets, but the pieces are Of such various sizes, that it is

difficult to select two sets which correspond exactl Ofthe total number, six are kings, five queens, tgirteenbisho s

,fourteenknights, tenwarders, andnineteenpawns.

The argest king is inches high, and 6% inches incircumference ; the la est queen35mobes inheight, and 55incircumference ; t e largest bishop, knight, and(the latter boldinthe place of rock or castle), are respectively 5 inches ineight ; and the largest pawn23 inches.

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28 HISTORICAL NOTICES or THE GAME .

some slight variations, and inone the hair isnot plaited,but spreads over the back insix long wreaths: the ornaments of thechairsarealso diversified ; one of them exhibitsanintersectionOf semicircular arches, as seeninsome Ofourearl Normanchurches.

TheQuE ENs, who arealsocrowned,arerepresented sittinginchairs, ornamented ina style similar to those of the

kings. From the back of thehead Ofeachhangsa speciesOfhood, which spreads over the shoulders, and accords withwhat was universally wornby ladies Of rank inthemiddleages, as is roved bymanuscriptsand monuments of variousnations. rom the shoulders to the feet hangs a longmantle, which shows infront anunder garment or gown.The sleeves Of this, like those Of the Saxons and NormanFrench, are short, with a Worked border ; and fi-

OIntheelbows to the wrists are a series of

‘

ts,resembling bands,

which probably were wornround51 8 arm. Most Of these

figures are represented ina contemplative posture, thehead resting uponthe right arm,

which is supported by theleft . OneOfthem (represented inthe cut)holds a curiouslyshaped drinking-horninthe left hand. Inthe differentfigures there are some variations inthe forms Of the crbwnsand hoods ; and inone a striped petticoat and the feet arevisible, whichare covered inother Instances ; the chair-backOf the latter piece furnishes also another example Of roundand intersecting arches.The Brsnors. Five Of these pieces are represented in

ornamented chairs, and the remaImng eight ina stanposition. All the sitting figures, and four Of the standz‘gones, wear the chasuble, dalmatic, stole, and tunic, Of theform anciently prescribed, and com e onding with repre~

scutations Ofmuch ter antiquity ; 51 s remainder have acope instead Of a c asuble, but the stole and dalmatic are

omitted. The mitres are very low, and insome instancesquite

cplain, but have the double band, or infula ,

attachedbehin Thehair is cut short round the head. The holda crosier with one, or with both hands ; and inthe ormer

instances the other hand holds a book, or is raised intheattitude Of benediction. Onthe backs Of the chasuble andstole are various crosses or ornaments. Inthe details bothOf the habits and other work, there arenumerousminutevariations.The KNIGHTS are full-length figures mounted onhorse

back, and are probably the most interesting portionOf thewhole. They are habited inlong costs or mbesons,which descend infolds to the feet ; the sleeves ave a cuff

ANCIENT CHESS-MEN. 29

m l BISHOP.

or border at the wrist. The leg has apparently a coveringof some sort downto the ankle, where it is met with a

species of half-boot without spur. Their helmets, with afew exce tions, are of a conical shape, and mostl

ywith

m eals anround flaps to protect thenose, ears, anneck .

All the figures have moustt and large round beards,except one, which has the beard se ted into three forks.A long kite- formed shield, suspened from theneck, hangsonthe left side of each, ornamented with various devices,approaching, insome instances very closely to heraldicdistinctions. Beneath the shield a pears the sword, whichis fastened round the waist by a be t, and inthe right handeach knight carries amassive spear. The horses are caparisoned inhigh saddles, plainor ornamented ; saddle-clothscuriously bordered ; stirrups and bridles ; the mane is cutshort, and the hair sufl’

ered to grow downonthe forehead.

Onone side of the shields is a cross bearing a lozenge, plain;onanother is anormmented lozenge ; and the remainderare variously indented with crosses and other ornaments.TheWanmms are armed warriors (Hr-oh inIcelandic),

which here take the place of the rook or castle, and are

represented ina standing attitude, wearing helmets of

30 HISTORICAL NOTICES OF THE GAME .

various shapes, but chiefly conical, some with, and otherswithout flaps ; but all wanting thenasal piece. The cost,or gambeson, which most of them wear

,descends to the

feet ; yet, inlieu of this, others have a coat ofmail, withahood which covers the head. They all hold a sword inonehand, and a shield inthe other ; but the positionis varied ;the shields insome instances beinhome infront, and inothers at the side. The shields bear distinctive marks,like those of the knights ; but some of them are of a broadershape and less elonted. Ingeneral the warders are morevaned from each thanthe similar figures of the other

pieces. One peculiarity inthe figures of three of thewarders tends to strengthenthe belief of their being of

Norwegianor Icelandic workmanship, and that is the

singular manner inwhich they are represented bitingtheir shields.Now this was a characteristic of the ScandinavianBaa

ssnxan, who were unarmed warriors, subject to fits of

madness onthe eve of battle, under the influence of whichthey performed the most extraor feats. They are

thus described by Snorre The sol iers of Odinwentforth to the combat without armour, ing like dogs or

wolves, biting their shields, and instrengthequal to furiousbears or wolves. Their enemies they laid prostrate at their

ANC IENT CHESS-MEN. 3 1

but chieflyoctagonal, with conical terminations : onone is a fret-likeornament, and onanother some scroll-like adornment ; theothers are lain.Theshi dsof theknightsandwardersarehighly curious,

as

gresenting a series of devices,— the immediate precursors

of ereditary armorial bearings, - ingreater variet thanisto be found onanother e monuments 0 such anearly period. The thicnations, owever, from theearliesttimes, were accustomed to paint their shields of various

a

rr}flo

d-I

l

fl'

the Romans the might easily haveearn to o t

°

erent ins1gma°

m some passages inthe Volucpa, andKyil’eSaga, it has beenassumed bmany of thenorthernanti uaries, that the ancient Scandinavians adorned their shiel with representations of theire loits; but Sperlingius, Inhis C ollections” ontheanject argues strongly against it, and aflirms that beforethe twelfth centuryno traces of any devices onshields are

to be found among them. The only device onshieldsnoticed by Snorre is that of a cross, whichcoa was first introduced by King Olafat the commencement of the eleventh century. Most of

the shields depicted inthe Ba eux tapestry, bear crosses ofdifl’

erent shapes ; and this is ewise the case with those of

the chessfigures some of the former also exhibit a species

The ancient chm mendiscovered inthe Isle of Lewis

of the

32 HISTORICAL NOTIC ES OF CHESS.

And first, with regard to their material,Mr. Maddenassumes ongood evidence, that the are formed out of the

tusks of the animal called in celandic Ros'rurtea, or

Bosmat , and inother parts of Europe by thenames of

morse, walrus, or sea-horse. The peculiarities of structureinthe tusk of this animal are shownina remarkablemanner throughout the entire series of the chess-men, andmost unequivocally so inthe draught-men, which were

necessarily cut transversely through the task . The eco

nomy of the artist is likewise visible infashio hisfigures according to the portions of the teeth best cdlcISatedto serve his purpose.

The estimationwhereinthe tusks of the walrus, fromwhich these chess-menwere unquestionahl carved, wereheld by the northernnations, rendered t em a presentworthy of royalty ; and this circumstance is confirmed bya traditionpreserved inthe curiousSaga ofKroha Ref or

Kro'

ba tlw G afly . It is there”

related, that Gunner, refect

of Greenland, wishingqto conciliate the favour of d

Hardraad, king of orway (am. 1 046 by theadvice of Barder, a Norwegianmerchant, sent to the kingthree of the most precious gifts the island could produce;these were, first, a full-grownwhite tame bear ; second, achess-table, or set of chess-men, exquisitely carved ; third,a skull of the ros-tungr, with the teeth fastened init,wonderfully sculptured, and ornamented with gold.

Theancient Norwegians,andmoreparticularly thenativesofIceland, seem to have beenat a very earl period us

for their skill incarving implements and gures in ne ;and this talent was exerted chiefly inscul turing chess-menfrom the tusks of the rosmer. The arcishopof Upsala,inhisAntiquarianHistory of theNorthernNam ,

informsus that it was usual amongst them to cut the teeth of themorse inthe most artificial manner for the p as ofmaking chess-men. Olaus Wormius, writing a out a

century later, states that the Icelanders were accustomed,during the longnights of winter by their firesides

, to cut

out various articles from whales’teeth.

”This,

”he

continues, is more particularly the case with chess-men

(at which game they excel); and Ipossess some

of these, distinguished by being of two colours, white afidgreen, which are scul tured so exquisitel that each pieceexpresses infeature,dress, and attitude, t e personage it isdesigned to re resent Thus,also, inthefigures discovered

int e Isle 0 Lewis, the costume, &c. , of every piece hasbeenespecially attended to,and,so faras that mode of proof

INTROD UC TION OF THE GAME INTO EUROPE . 33

canbe admitted, evince them to have beenexecuted inthe

four years.Betweenthose islands, and thenorthern, as well as the

Ireland, for the sake of trafi c, and that the ship, inwhichthey were conveyed, being wrecked, these were

awe t by thewaves onshore, and buried hence the sandbsnk, which, for the sacs ofnearly sevencenturies, contrived to accumulate fore the fortunate discovery tookplace which rostend them to light.

Mr. C ronhelm, ina letter to the Editor of the Ohm

34 HISTORICAL NOTIC ES OF CHESS.

subdued Persia, nirinthe e, and floatinit alonontheir tide ofmquesgto th

ge

mSl

outh andWes? At thgcommencement of the eighth, they conquered Spain;whence, during that century and theninth, they extendedtheir empire into Aquitaine and the South of France, aswell as into Italy

, holding Sicily long insubjection, andcarrying their victorious arms to the very gates of Rome.

The courts of the C ali hs of C ordova, and of theMoorishKings of Seville and ranada, were the seats of literatureand science

, and the resort of learned menfrom all parts ofE urope, during the loom of the middle “ages. And theancient Arabianand panish C hronicles bear testimony tothe

prevalence of chess inthose courts, and also inthose of

the hristianKings ofArragonand C astile. So much forthe opportunities ossessed by the Spanish Arabs for diffusing the game t ugh the South of Europe, whence itwould pass, by commonintercourse, to the surroundingnations.

Andnow for the proofs impressed onthe language of thegame. Whenadopted by theArabs, theythe king by their ownpeculiar title of eminenceandtheSheik. The primitive meaning of this word isbeing the fountainof power inthe atriarchal

he Romangcngtor, and

th

the SaxonXldcrmar

tx, had t

fie

same origin. 1 1 pamah’

is word is or aqua, t e

X being guttural, and retaining the tnzeronunciationoftheArabic word,which isnot conveyed by the Sh ofSheik.

This is the word used by theArabs, and by the Spaniardsing check to the King ; and it at oncef a term ado ted by all the Eurosm o, shac &c., &c. ; but wit out

etymological significationina of their languages, exce ts

athat of Spain. It is simp y the call of warning on e

‘

h, to defend or remove himself from peril: and thus it

is that the m ehas diffused thisOrientalword through thelanguageso t heWest. Inthecheck of war,or ofdiplomacy,inthe court, and the Barons ofE cchcquer; inthe cheeky of

heraldry, and the banker’s cheque; nay, evenonthe checkapronof the housewifef—we encounter and recognize, ateve turn, theShell: of the desert.

caseswhere other termsofchessaremerely translatedinto the several lan es, as inthenames of the king andthe kni ht, there is litt eo portunity fortracing derivations;but I ians, French, English, D anes, Icelanders, Germans,Poles, and Russians, all give the king warning of check, inSpanish Arabic. C anlanguage afford a more conclusive

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3 8 ORIGIN OF THE NAMES OF THE PIEC ES.

greatest im rtance, was by the Persians styled Pherz or

General. boss hath universally beenconsidered as anengagement betweentwo armies, and if the piece of the

greatest importance is termed the General, this allusionisproperlg

carried on.Mr. ouce remarks Although the title of cannot be traced so far back as that of

fa ce, it is o consider

ableantiquity, as it is to he met wit inFrenchmanuscriptsof the thirteenth century ; and inthe Gena Roam -up , a

a collectionof stories compiled about the beginning of the

thirteenth century, this piece is called regina .

”

About the year 1 408, JohnLydgate, the monk of St.E dmonsbury, wrote a poem which he dedicated to the

admirers of the game royal at chess, from which the follow

ing extract is preserved by D r.Hyde

Which love the fair pleynotable,Of the cheese, most delytable,Whith allher hoole fullententeTo them this boke y willpresenteWhere they shall fyndeand sonanoone,How that Inat yore agoone,Was of a Fers so fortunat,Into a corner drive andMast.

The last two lines become intelligible if we read themthus,

“The king was by a fortunate queen(of the adver

sary), driveninto a corner of the chess-board and checkmated.

” We introduce the quotation, however, to showthatMr. D ouce isnot correct insu

fiphosing it “not possible

to trace the term fers inthe Eng language beyond thetime of But the term queenseems to havecome into general use by the year 1 474, whenC axtonprinted the second editionof his B ook onChess, for hedescribes the queeninthe following terms Thus ought

the quene be mead. She ought to be a feyr lad sitt

ina chayer, and crowned with a corone onher ead,

cledde with a cloth ofgold, andabove furridwitherm es.

”

We also find the same term continued inthe reignof eurythe Seventh, as appears from a passage inthe Va aria of

W.Horman,printed at London, 1 51 9 .

“We shou de have

II kyngis, anIIquyens, IIIIalfyns, IIIIknyghtis, !IIIrokis, and XVIpaunys.”

C haucer thus introduces the piece inquewonShe staleonme and tokemy fears,And whenIsawemy feem away,Alas, Icoutheno lenger play !

THE QUEEN— THE BISHOP. 3 9

Sir F .Maddenthinks that from the pieces found intheIsle of Lewis", andalso by the set of chess-menbelonging toC harlemagne, of the eighth, or beginning of theninthcentury“, the very early appearance of the queenontheE uropeanchess-hoards is proved,and consequently wemustreject the theo which ascribes this introductionto theF rench, from e fancied similarity betweenFierce, or

Bars, and the PersianPherz. That It is to the Greeks weshould rather “

ascribe the merit or blame of metamorphesing the minister into the queen, and, by that means, ofintroducing so strange ananomaly as the promotionof a

foot-soldier to be a lady.

” Mr. Barringtonalso observes,“Another impropriety arises from the pawn’e becoming a

queen, whenhe hath reached the last square of the adver

mry’s camp ; as it is a suitable reward to thepawn(or foot

soldier?lto make him a general, if he penetrates so far

throng the enemy’

s troops ; but certainlyno prowess onhis part canentitle him to be transformed into a queen. ”D r.Hyde states, that inPoland and Russia the chem

queenis sometimes called the old woman, ornurse.

Tm ; BISHOP. Among the Persians and Arabs, theo name of this piece wasPil, or Phil, anelephant ;nner which form it was represented onthe easternchesshoard. It appears that the Spaniards borrowed the termfrom theMoors

,andwith the additionOf the article al,con

verted it into analfl, whence it became varied by Italian,F rench, and Bughah writers

,into arfil, alferee, alphilus,

alfino, alphr'no

,alfiere, aufin, aljjm,

aw and alphyn. Itis quite uncertainat what period the iShOp first took the

lace of theelephant. Sir F .Maddenbrintogethersnumof authorities to shew that the termfiishw was inuse

so early as the eleventh or twelfth century. It was incommonuse inthe time of E lizabeth

,as a pears from

Rowao'rln'n’s Pleasatmt and wittie Playe o the C limate

m and, 1 2mo, London, 1 562. He says of it,“The

B ishoppes somenamed Alphins, some fooles, andsomenamethem rinces : other some call them Archers, and theiare fashioned accordinge to the Of the workemen. ”And Of the bishop or

“Inthe auncienttyme the Frenchmennanied him Poole, which seemeth

vuto me animproper name. The Spaniardesnamed himPrince, with some reason; and somename him Archer,

”

and, of its form among the English, he tells us,“The

B ishoppe is made with a toppe, and cloveninthemuche vnlyke to a iShOp

’smyter.

”

See ante, pcgm % and 24.

40 ORIGIN OF THE NAMES OF THE PIEC ES.

The French, at a very carl

Iyeriod, called this piece Fol,

anevident corruptionof ll.)

Hence, also, the F renchname for the piece F oa, or the fool, anatural perversionofthe ori

gnal, whenwe consider that, at the time it was

made, e court foolwas a usualattendant onthe king andQueen: or, asMr. Barringtonobserves, “This piece, standing onthe sides of the king and queen, some wag of the

times, from this circumstance, styled it Thefool, becauseanciently royal

piersonages were commonly thus attended,

from want of ot ermeans of amusing themselves.”It is difficult to say why this piece should have beennamed the archer, unless, asMr. Douce remarks, Archerswere formerly the body-

guards of monarchs,and might

have beenthought, bya

l

ome,morepro r personages inthe

00 8game of chess than especially they were

CHESS BISHOP, AS DE SIGNE D BY FLAXMAN.

Behold four Archerfi , eager toadvance. )Send the light reed, and rushwith sidelong glance ;Thro

’angles, ever they assault their foes,

True to the colour which at first they chose.

The bishopwas formerly called thearcher. Seeante, p. as.

THE KNIGHT. 41

to give it a military turn.” This iece has also beencalledthe Secretary . The Russians and wedes retainthe originala pellationof E lephant ; the Germans cell It Laufer, or

e Leaper, from the ancient mode of tak'

over anIntervening iece ; and the Poles call it POp, apa,The Icelanders and Danes appear to have called It

B iskup, or Bishop .

7 8 3 cases KVIGH‘

I, AS DESIGN E D BY sau nas .

E achKnight exalted ona prancing steedTheirarching com-

sens vnlgar limit knows,Transverse they leap, and aim insidious blows ;Nor friendsnor foes their rapid force restrain,By one quick bound two changing squares they gainF rom varying hues renew the fierce attack ,

And ruah from black towhitc , from whitc toblack .

THE KNIGHT. This piece has beensubject to little ornoIt is likely thiat inearly times the knight was

represented onhorseback , and hence the piece has oftenbeencalled theHorse. Onthe Euro board this piecedenoted the nobility ; but D r. Hy e states, that amongC harlemagne’

s chess-menit is represented under the formof a centaur. F rom the peculiar leap of this piece the

Germans call it the Springer : the Russians continue to call

09 5 8 .

42 ORIGIN OF THE NAMES OF THE PIEC ES.

THE ROOK.

Four solemnelephants the sides defendBeneath the load of pond’

rons tow‘ra they bend

Inone unalter’d line they tempt tofight

Now crush the left , andnow o’

erwhelm theright.

The most ancient form of this piece after the introductionof the game into E urope is uncertain; but it wasprobably that ofanelephant, as appears by C harlemagne’

s

chess-men: and this form,with or without a tower, has

beenretained by the modernGermans, Russians, andD anes.

The Spaniards, Italians, French, and English,” (asMr.Maddenremarks,)“inmore recent times adopted a towerorcastle as ane itome of the figure (inthe same manner as

they took a orse’s head for the knight), and hence arises

the strau anomaly of a castle representing the swiftest

piece ont e chess-board.

”

The earliest form of the (21 8 88 rook is preserved ontheancient seals of those families, both inEngland and Germany,who bear chess rocks for their arms, onwhich subjectthere ismuch curious information.Before the general introductionof cards, the game of

chess was a great favourite with our ancestors, and we gainsome idea of the high esteem inwhich it was held

,from

the fact that no fewer thantwenty-six English familieshave emblazoned chess-boards and chess-rooks

arms : it must, therefore, have beenconsidered a most valuable accomplishment. Gwillim, inhisD isplay ofHeraldry,endeavours to show that the arms borne by distinguishedpersons containre resentations of implements or instruments which ene ly have some relationto the occupationor talents of t e first owner of those arms. After speakingof the eculiar implements represented invarious arms

,he

roceePAll these have sundry instruments, whichmay be (and

doubtless have been) borne incoat-armour : but becausethey arenot usual, Iwill refer them to each man’s ownObservation, and will give some instances inthe last kindof arts of delight, which we call Playing, which com te

bendeth either theatrical recreation, or other games whatsoever.

And forasmuch as their first institutionwas good, andthat the are inthemselves the commendable exercises,either 0 the body or of wit and invention

, (and if there beinthem any evil, it isnot inthem,per se, butper accidens,

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44 bRIGIN or THE NAMESorTHE PIE C ES.

Walter, and was granted to SirRobertWalter, LordMayorofYork

,lst of October

, 1 603, inthe first car of the reignJames the First . The said Sir bert, uponreking whenhe came out of Scotland, received

ty ofknighthood .

Armsof the family of Oanoox. Argmt, a chevronbetweenthree chess rooks sable— Butnowa chevronor, betweenthree mullets urgent, as many chess

rooks onthefield .

“It beareth argent, six chess rooks, three, two, and oneby thename Rokwood, and is home by Nicholas

Rockwood, of Kirby,inSuffolk, Esq.

Smith ofMethuen; azure, a burning cup betweentwochess rooks infess or .

”

Many other families have chess rooks and chess boardsgrafted ontheir arms; such as the Rookewoods of

,

THE soon. 45

Norfolk ; the Books ofKent the Rockwoods, Rokewoods,Rokeles, Rocklifl

'

es, Bokes, Rockes and Rocolds ; but theseexamples will sumec to show the high esteem ia

'

whichchess was held until it was to a certainextent supersededby cards. It wasneverto chess, but they werehad a better chance of

estates often

Augustus, duke was anardentHe published a work onthe

game, at

Leipsic, in1 61 7, under the fictitious name of ustavus

Sclenus. He alsonamed one ofhis towns B ach ta,with a

arms. This townwas also obliged togive to everynew bishop a siltar chess-board, with silver

men, one set of which was gilt.The forked head of the rook showninthe preceding

figures was supposed b D r.Hyde to represent the twohunches of the rudeor dyromedary, under which352:

this

piece occurs onthe E asternchem-board. InI d the

piece is calledHro’kr, a brave warrior or hero, which seemsto have beenthe meaning of the ancient Persiantermap lied to this piece, viz .

, rob/z, a valiant hero seeking after'

tary adventures, inwhich character, says D ’Herbelot,it was introduced into the game. Some have atte tedto derive the term rook from rude or me, the fab ous

that the rook is to be deduced from roth’of the old

Hindoo game of chess, which was anarmed chariot ; this,he a s, thePersians changed into re“, the etymology of

whichlatter word has givenrise to somuch discus ion.The modernFrench term for this piece is Ia tour

,and

the English sometimes call it the castle . Inthe earlyItaliantreatises it is represented as a castle, although called

ORIGIN OF THE NAMESOF THE PIEC ES.

flroccho. This term having beenconfounded with m a,

a fortress, has givenrise to much conjecture.

THE Paws . The pawns appear always to have beensocalled by the English. Inthe middle ages the Frenchused amultiplicity of terms, such as, paon,paomzet, peonnes, ponm'

ere, poem, poomzes, and pioomes. Inanold

French romance they are called “garcons. D r. Hyde

derives ourpawnfrom the Spanish peoa or French pic»,whichhe thmks a contractionof eepiona spy, or peton, afootman. Mr. Douce thinks all the foregoing terms derivable frompodcme, a barbarous Latinterm for foot-soldiers,which inthis gamewere represented by the pawns. By theItalians the were called pedones by the Spaniards peoms.The Russiags andPolesmake them also foot-soldiers : butthe Germans, Danes, and Swedes have converted them intopeasants (Bauern).

CHESS PAWS , AS DESIGNE D B"FIA XHAN .

Bright inthe front the dauntless soldiers raiseTheir polish

’d spears : their steelly helmetsblaze.

Prepared they stand, the daring foe to strike,D irect their progress, but theirwoundsoblique.

CHAPTE R III.

Originof thepower: of the pieces—Simplicity of theirmoves—TheKnight 'smoveno real exception—Limits of themoves inthe earliu t forms of

chea - Hindustanee game— ”

Qiemove of the Shah, Bay, or King—Thepower of the Farce or Queen—The Aifyn, or Bishop—Moves of the

other pieces—The powers of the pieces inCanon’

s time—Recapita

IN the first chapter wasnotiwd the attempt made to connect chess with two very ancient games. It is probablethat a patient investigationof the subject would lead tothe conclusionthat from the elements of those two games

pawns inmodernchessview itwould be thoughtdraughts for their origin.moves at chess reduces

0 pieces ina simpler and more ancientgame, were similar ineffect to the shortest move of the

rook together with the shortest move of the bishop, and

that thesemaynow be takenas the type of the moves of

all the pieces intheThe knight’s move may be immediately cited as

objectionto this supposition. If we bear inmind only theshortestmoves oftherook and bisho and thenexamine themode by which the squares of the ess-board are attachedone to another, we shall see that they are connected eitherb anangle, which forms a th from square to square, bytie contact of the dingo — or by a side, which forms

to square betweentwo els. The

first of those movements belongs to the b'

op, the secondto the rook . Now the one of these movements seems to

have beencombined with the other, inorder to give a

move to the knight, and the combinationwas of the sim

Teodoro C iccolini, llamhese di Gnardagrele, whose work ,“ D el C avnllo

m acacchi,"appeared at l

’artsa few ymram

ORIGIN OF THE POWERS OF THE PIEC ES.

F rom the limited informationthat we have beenableto collect onthe originof themoves at chess, we are led

to suppose that, at anearly eriod inthe history of the

game,the moves of some of e pieces were limited to a

sinle square at a time ; that by a subsequent privilegeeac player was allowed to make several moves at once before his an onist moved ; and that, inthe present state of

the game, w enever a move is made by certainpieces of

more thanone square at a time, it is to be deemed as the

result of such privilegenow lost and forgotten.But this privilege 1 8 to a certainextent preserved intheHindostanee game, at the beginning of which tour or

moves,asmay be agreed upon, are played up onboth

Inthis game also the two royal pawns and those of the

two rooks are allowed to move two squares each at first, so

long as their ieces remainat their squares. The other

awnsmove only one square at a time. Some of the peeniaritics of the Hindostanee game are still preserved at

Strobeck . Mr. Lewis says,The iecea being head as

usual, eachparty is obliged top

lay°

s king’s roo

’s pawn,

queen’s rook s pawn,andqueens wntwo squares, and thequeento her third square.

”r this the other pawns

canmove but one square.

We arenot aware of the precise powers of the pieces at

the time of the introductionof chess into E urope ; but wehave abundant evidence to prove that they were very different to those exhibited onthe modernchess-board . Inthe thirteenth and fourteenth centuries, the powers of the

rook, the knight, and the pawn, were the same, as at

present ; but many remarkable peculiarities belonged to theother iecea, which we will state at some length.

1 . HR SHAH, RE Y, or KING . The easternname givento this piece was Shah, equivalent to our EuropeanwordRey, orKing,and it is from this piece that the game derivesits name. The original movement of the ray appears tohave beenextremely confined,he being incapacitated frommoving, except whenabsolutely forced to do so by anadverse check : thismay insomemeasure be accounted forby reflecting that, as the value of the king at this ame isbeyond calculation(since the instant he ismated t e contest is decided), they were therefore the less willing to riskhis personinthe field. About the commencement of

the thirteenth centur the ray was allowed the shortestmove of the rook, anthe reasonwhy he wasnot allowedto movenor to take angularly, seems to be foundinthetaste that predominated inthe twelfth and thirteenth cen

THE QUEEN. 49

tnrim of moralizing almost every subject, that theking ought to take everything

instiy, andnot inanohlique, i. e. indirect, manner. his restriction, however,

actionnever extended beyond one square.

Thename of this piece in

t ime,and that angularly, andnever directly.

tutionof a female at this game, instead of the Menareunder which

they represented chem,would be very imperfect without a

woman; that sex plays too important a partnot to have a

place inthe game ; and hence they c the ministerinto a queen,the similarity of the words rerge and Viergefacilitating the change.

”The gallantrynatural to anage

of chivalry and politeness, subsequently converted the

F orce from the least considerable of the chem-pieces to the

inost powerful '

m the game ; but this gallan introducedthat strange anomaly into the e which estroyed itsmili character : a pawnor t-soldier having ierced

throng the enemy’s battalions, was rewarded

m g fbr hrsvalour by promotionto the rank of vizier, minister of state,or general; but it is absurd to make the pawnchange hissex, and from a foot-soldier become a queen. This point isquite sufi cient to prove that the second piece at chem has

beenimp ly named Virgin, or Queen. The ancientwriters onase game, to get md of this anomaly, endeavourto insinuate that such pawns as are made ferces, were

always females ; but they explainthis so very awkwardlythat the point is left precisely where it is takenu Thus

inanearlyMS. quoted byMr. Lake Allen, the ollowinglines occur inF rench :

Le damohelmme vnt requis. The damaelshave requestedme,

That their game benot forgotten.B pnr lamour qe a eus ay. And for theesteem that l bear to them

Lourm m ceste esc‘

t mettny. Iwillhere describe their gnme.

50 ORIGIN OF THE POWERS OF THE PIEC ES.

Kar reynesfaimes dopounes.

E du'

kesheroes les appaliomes. Them we callHeroes :And because they signify damsels,

Nonpasgarconnescu’les vnes di'nt They arenot boys as some say.

Kar si lipou’males estoyt. F or if the pawnsweremales,

James femalesno deuedroyt. They wouldneverbecome fm alas.

By means of such reasoning as this the author concludes,E pur oeo ke ceste guy onpou'

. AndbecausethisisagamewithPawns,Le guy de damoiseles appellom. The game of D ausnnswe call it .3 . THE ALBYN, or Brsnor . We have already spokenof

the mutations to which the phi], or elephant (the E asternname of this piece), has beensubject inE urOpe. It was

evidently as much at variance with the character of the

game for us tonamethis piece the Bishop, asfor theF renchto call it the Fool.

century the alfynhad the diagonalmove ofour bishop restricted inits range of actionto thethird square from which it stood. So that, inorder to

capture anadverse piece, it wasnecessary that the alfynshould be distant from it one clear square: thus, suppom a

white alfynto be onthe fourth square of his rey, he couldthenca ture any pawnor piece standing, 1 , onthe adverse

rey’s c ivalier

’s third square ; 2

, reyne’s alfyn’s third

square ; 3, his ownrey’s chivalier

’s second square ; and

4, his reyne’s alfn’s second square. But as he was

always incapacitate from moving to a greater or lessnumber of squares,no piece could be either captured or considered enpn'se, if situated close to it, or removed at a

distance thanthe third s uare. As a com tionconfined anactionont e board, the a was

allowed the vaulting power of the chivalier. Thus, if awhitenlfynbe onhis rey

’s fourth square, a black or

rok onthe adverse reyne’s fourth square, and a black

pounonhis re e’s alfyn’s third square, the white alfyn

could capture t e black poun,notwithstanding thepositionof the rok . The subse uent extensionof the rangeof actionof the alfyndeprived

qhim

, inthe course of time,of this vaulting motion.4 . The As orHorseman, C hivalier or Knight. 5. The

Ruch, Ruk,Poo, or Rock , that is, the camelor dromedary.

6 . The Beidak,Poun, Pawn, or Foot-soldier. The powersofmoving and other prerogatives of these pieces havenotvaried since the introductionof the game into Europe. We

need only remark, that to represent the swiftest piece onthe board (as theme was at one time), by a castle, isnuother strange anomaly inthe game.

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52 THE POWERS OF THE PIEC ES.

comencise,but alway ri ht forth. Wherefore all the sub

jects of the king, as we good as evil, ought to

their moving that the authority of the vicars and commissioners ought to be very true, ri hteous, and just .”The powers of the knight anpawnseem to have been

the same as inmodernchess. Whena pawn, however,arrived at the adversary

’s royal line, its promotionwas

modified by the singular powersof the queen. If the

pawn

reached the royal line ona black square, it thenha the

power ofa queenplaced ona black square, viz.,to move on

the black squares diagonally, and One square at a time. If

the pawnbecame a new ona white square, thenit couldmove only onthe w °

te diagonals one square at a time.

Our informationdoesnot allow us to trace the rogress

of the game hour the time of C axton, so as to s ow the

gradual stepsbywhich thepieces became invested with theirpiesent powers. Butwehave said enough to show that chess,aall other humaninventions,has beensubject toprogres

sive change and improvement ; for, notwithstanding the

many anomalies int e modername,its character 1 8 far

more scientific andvaluable thant 0 game of thethirteenth,fourteenth, and fifteenth centuries. The powers of thepieces, as they at present exist, may be accounted for onvery simple principles, ifwe are allowed to take the bishopand rook as types of allthe rest . The diagonalmove of thebishop seems to have beenborrowed from the ancient e

ofmerelles (to which draughts may also be traced,)anthemove of the rook may similarly owe its originto thewen-era, or game of pebbles. Now, tinthis to be thecase, we arrive at a very remarkab e resu t by comparingthe powers of the king, the queen, the knight, and thepawn

,with those of the rook and the bishop .

l . The king may make the shortest rock’smove, or the

shortest bishop’

smove butnot bothat once.

2 . The queenmay make anoptional rock ’smove, or an

optional bishop’s move ; butnot bothat once.

3 . The knight may make the shortest rock’smove, and

the shortest bishop‘

smove, bothat once.

4. The pawnmay make the shortest rook’

s move forward, whenit doesnot capture; and the shortest bishop’

s

move forward, whenit does capture.

Weare therefore, to think it probable that themoves of the ishop and rook were derived from some game

or games more ancient thanchess,and that by certain

simPle extensions, modifications, or combinations of themoves of these two pieces were derived the moves of theother pieces inthe game of chess.

CHAPTER IV.

CHESS-WRITERS, AND CHESS-PLAYE RS.

C he- at Bsgdsd intheninth century—Anccdote of C harlemsgns—C bemplayed blindfold inthe tenth century—C hem among the D ana - William the Conquerw and his sons—Anecdotea—Notice of the first regu

lu bu fim onC hm by C esolis—The l crality of C hcm—C axton'stranslationof C o ons—The secmd sdition—Tm tisss of Vioent,J ohnFrederick , elector of Saxony—Paolo Roi—C hem cultivated byC atherine de Medicis, QueenE lizabeth, and James L—Middleton‘

s

of Sh obach—Greco The famous game of C hemo-plan”—BerttnC unningharn—Stamms—Philidor—Ercole del Rio, the AnonymousMada me—W h ecdots of the D ukedc Nivsrnois.

Tunknowledge of the game of chem has beenextensivelypast, as may be seenby the

numerous manuscripts and

Tprinte

dtreatises which have

appeared onthe su jcet. e latter have beenwrittenin,or translated into,nearly all the E uropean ages, andseveral of the Oriental ones ; and it may per ps rove

interesting to such of our readers as havenot met wi anynotice of these works, to take a cursory glance at them, andat the players and modes of play they celebrate.

As early as the commencement of theninth cen the

game of chem was insuch high repute inthe East, AI

AmimKhalif of Bagdad, is said to have commanded thedifl’

erent provinces of his empire to send to his court all

such persons as were the most expert at chem, to whom he

allowed pensions, and passed the most considerable part ofhis time among them. Onone occasion

,whenhe was play

ing at chess w ith his freed-manKuthar, without the leastapprehensionof im ding danger, Al Mamirn’s forcespushed the siege of dad with so much vigour, that the

cit was uponthe point of being carried b assault. Onwarned of his danger, Al Almincri out,

“Let mealone ! for Isee check-mate against Kuthar. This anecdote is quoted b D r.Hyde from anArabic histo of the

Saracens. At this period about theVyear c seewas

not unknownto themonarc of the cat C harlemagneinthe curious and ancient French romancedeMontglace, as being exceedingly fond of

the game. This romanceihasbeenalready alluded to (ante,page and the anecdote referred to is as follows“I bet,

”“said the emperor to the hero of the tale,

“that

54: CHESS-WRITERSAND CHESS-PLAYERS.

you would not play your expectations against me at

chess, unless I were to propose some very high stake.”

“D one,” replied Guerin, “I will play, provided only youbet against me your kingdom of France.

” “Very good,let us see

,

”said C harlemagne, who fancied himself to be

strong at chess. They play forthwith ; C harlemagne loseshis kingdom, but laughs the matter of as a joke. Guerin,however, isnot disposed to view it inthis light, and swears

by St .Martinand all the Saints of Aquitaine that he must

receive some compensation. The emperor thengives himpermissionto conquerMonlave (Lyon)from theSaracens,and surrenders to Guerin his right inthat city.

Other romances of that period containnotices of thegameof chess, and it is infabulous histories that we get the first

mentionamong westernauthors of this celebrated amuse

ment. There isnothing to induce the suppositionthat atthis time, the E uropeanplayers had attained any great

skill at chess ; but we find mentionmade of a

Tripoli, inSyria, who inthe year 970 was famedthrough the game blind-fold . This man, Jusuphbyname, was accustomed to use very large chess

men, and to playnot bynamingthe moves, but by feeling

themen, and placing them ont e squares or removing themfrom the board as occasionre uired. At the period we are

now speaking of, the chess- ta ls seems oftento have beenthe scene of fierce dispute, and violent anger. Two or

three fatal affrays are represented by the French romancersto have takenplace, inconsequence of the terminationof agame of chess ; and though we are prepared for highlycoloured pictures inworks of this description, there is nodoubt but that some measure of truth is to be found insuchrecitals

, and that they had their foundationinthe customsof the times. Ina book published at Stockholm intheIcelandic language, King C anute, so celebrated for hiswisdom

,is described as resenting very deeply a provocation

received at chess. The assage runs thus“As King C anute anEarlUlfwere playing at chess, the

king made a false move, inconsequence of which the earltook one ofhis knights ; but the kinwouldnot allow this,and replacing the piece, insisted on

playing differently .

The earlwaxed angry, overt urned the c ess-board,and was

going away, whenthe king called after him,saying ‘Ulf

,

thou coward,dost thou flee2

’The car] returned to the door,

and said, ‘You would have takena longerfli ht inthe riverHelga, had Inot runto your assistance w enthe Swedesbeat you like a dog

*

you didnot thencall me Ulf the

THE FIRST CHESS-WRITER. 55

coward.

’ The earl thenretired, and thenext morning theordered him to be killed .

”

the fondues of the Danes for chew and dice wehave aninstance inthe fact that whenBishop E theric cameto C anute the Great 01

51311

;rt

fintf

businesgi]and entere

él1h

}:ro presence st mi’

h e ound t e’

ancoir-hers busily engaged at these games, evefn

lmftg anhour

which inthose early times must have beenconsidered a

m ost unseasonable one for thy

urposes of amusement .Inanold book, called the auto-y ofHelene/lob,

where

chess is recommended as “a good and wittie exercise of the

minds for some kinds ofmen; but too troublesome, too fullof anxiety,” and “

all but as bad as study”to others, it is

givenas anillustrationof its tendency to promote a testycholeric feeling inhim that loseth the mate, that

“William

m y’s patg which was a cause afterwards of much enmity

betweenthem.

” The cheescontest seems tohavebeenaflerw ards carriednninmuchthe same irit betweentheirsons,for we find that towards the close of illiam

’s reign

he appointed his two sons, Robert andHenry, joint governors of Normandy, and these go'

together to visit the

F rench king, were entertained 2ih a variety of spoth .

Henry played with the Dauphin(Innis ls Gros), at chem,

much irritatedInnis thathe threw the chess-menatHenry’s

head, using at the same time ofl’ensive language towards

him . Henry retaliated with blows; and the quarrel, it ismid, reached such a height, that but for the interference of

the Prince Robert it might have terminated fatally . Johnof Salisbury relates that ina battle betweenthe FrenchandEnglish in1 1 1 7, anEnglish knight seizing the bridle ofInnis le Gros, and crying out, “The king’

s taken” Innisstruck him to the ground with his swordfi a

“Ne scais

tu pas qu’aux échecs onhe prend pas Is my “Dost thou

not know that at chem the king isnever taken? ”

We now approach the period whenthe first regular

trm tise onchess made its ap cc. This was the workof Jacobus de Cm ollis, orm pres umed to have beenw rittenbefore the year 1 200. Verci says that the originalwork was composed either inLatinor inFrench, and thatthe Latinmanuscript is still preserved inthe University of

Padua. Two manuscript copies of this work are preservedinthe BritishMuseum. The first is entitled Libcr w b

'

c

56 CHESS-WRITERSAND CHESS-PLAYERS.

de budor Scaocor, and it is a quarto of fifty leaves ofment, twenty-nine lines ona page. The first page

miniature border, ingold and colours, represen flowers,a peacock, and other birds, with two angels. .l

‘

he first

letter, which is a Gothic Mof about aninch square, isornamented with a kin laying at chem with a monk .

The coloursare vivid andthe drawing is good elevenmore

capitals are embellished with flourishes ingold, and the

writing is neat and well-preserved . The other co y is

writtenonpa er,and unornamented . Thework of esolis

was transla into English b William C axton, in1 474,but previous to that time t ere had appeared a curious

manuscri t of which wemust first take account. It wascalled A orah

‘

ty onChess, and was ascribed to Pope Innocent III.

, but seems to have beenwrittenby anEnglishmonknamed Innocent

,about theyear 1 400. As it is not

without its merits, and boldly pomts out the abuses whichcreep into the highest oflices, we give it at full length ;referring, however, to the descriptionalready givenof thewere of the king, queen, and bishop inthe ancient game.{See ante,p.

s48 , 49,“This w o e world isnear] like a chess-board, ofwhich

the oints are alternately w its and black, figuring thedoub e state of life and death, grace and sin.

“The families of this chess- board are like themenof thisworld : they all come out of one and are placed indifferent stations inlife. They have

'

fl'

erent appellationsone is called king, another queen, the third rook, the fourthknht, the fifth alphin(bishop), the sixth pawn.

0 conditionof the game is, that one iece takesanother ; andwhenthe me isfinished, theyare depositedto

gether, likemaninti:same lace. Neither is there any

di erence betweenthe king andpthe poor pawn: for it often

beppina that whenthepiecesare thrownpromiscuously into

the the kinlies at the bottom ; as some of the greatwill find themse ves after their transit fi°

om this world to

“Inthis e the k'

s into all the circumjacentplaces andfi everythiii

ggigrima direct line, which is a sign

that the king mustnever omit doing justice to alluprightly,for inwhatever manner a king sets, it is reputed just, andwhat leases the sovereignhas the force of law .

e queen, whom we call Fora, goes and takes ineu'

oblique hne ; because womenbeing of anavariciousnature,take whatever the can; and often, being without merit or

grace, are guilty 0 rapine and injustice.

AMORALITY ON casss.

” 57

“The rook is a judge who perambulates thewholeland ina straight line, and shouldnot take anything inanobliquemanner

, by bribery or corru tion,nor spare any one ; elsethey verify the saying of mos,

‘Ye have turned justiceinto gall, and the fruit of righteousness into hemlock .

’

“But the knight inta goes one int directly, andthentakesanobliquecircuit, insignthat

'

ghtsm dlordsofthe land may justly take the rents due to them, and theirjust fines from those who have forfeited them,

’

accordingto the exigence of the case. Their third point being obliqueapplies to knights and lords whenthey unjustly exact .

“The poof pawngoes directly forward inhis simplicity ;but whenever he will take he does so obliquely. Thusman

,while he is poor and contented

,keeps withincompass

and lives honestly ; but insearch of temporal honours hefawns, cringes,and forswearshimself,and thusgoes 0i uelytill hew a superior degree onthe chess-board o the

w orld. enthe pawnattains the utmost inhis power, hechanges to Farr, and inlikemannerhumble poverty becomesrich and insolent .

Thealphins are the various prelates of the church; pope,archbishop, and their subordinate bishops, who rise to theirsees not so much by divine inspirationas by royal power,interest, entreaties, and ready money. Thos e alphins move

and take obliquely three points, for the minds of too manyprelates are perverted by love

, hatred, or bribery,not toreprehend the guilty or bark against the vicious, but rather

to absolve them from their sins ; so that those who shouldhave extirpated vice are, inconsequence of their own

govel

tousness, become promoters of vice and advocates of theevr

Inthis chessgame the devil says check ,’whenever he

insults and strikes one with his dart of sin; and if he thatis thus struck cannot immediately deliver himself, thedevil resumiu the move, says to him mate,

’carr

ying his

soul along wit him to prison, from whichneither ovenormoney candeliver him

,for from hell there isno redemption.

And as huntsmm have various hounds for taking various

beasts, so the deviland theworld have different vices, whichdifferently entanls mankind, for all that is inthis world isInst of the flesh

,ust of the e ea, or proud living.

”

Wenow returntonotice e treatise onchess, by Jacobitedc

"

C ecelia, which appeared about the year 1 200. This

C esolis (whosename, wemay observe, is spelt inupwardsof tw enty different ways)is said to have beenanative of

the v illage of C essoles,near the frontiers of Pi

ézardy and

58 CHESS-WRITERS AND CHESS-PLAYERS.

C ham agne. Hismanuscript was translated into Germanverse y C onrad Ammenlmsen, a monk of Stettin, in1 337.

After the inventionof printing, the work of C esolis wentmany editions and translations : editions inLatin,

German, D utch, French, Italian, and English, appearedwithina short period ofeach other. TheEnglishtranslation,byWilliam C axton, printed in1 474, is a small folio of 1 44

pages, dedicated to the rightnoble, right excellent, andvertuous Prince George, D ue of C larence, E rle ofWarwykand of Salisburys, grete C hamberla of Englonde, andleutenant ofIrelond, oldest broder of ge E dwardIt be

°ns thus — “I have put me inevour to translate slityll ok, late comeninto mynhandes, out of frensh into englishe, inwhichIfind thauctorites, dictees, and stories

of auncient doctours, philosophes, poetes, and of other w ysemenwhich beenrecounted, and applied unto cheese.

”

This translationof C axton’s is the more interesting onaccount ofits being the second book ever printed inEngland,and the first inwhich metal types were emplo ed . The

forms andnames of the chess-pieces, as giveny C esolis,are asfollows —The kinsits onhis throne, with a crownonhis head, a sceptre inhis right hand, and a globe inhisleft. The ueenona chair,Wlth amantle of ermine. The

alfin, or bisho is represented as a lawyer, seated, with a

book outspreesonhis knees; and the distinctionis drawnthat he onthe white square is for civil, and he onthe blacksquare for criminal cases. The knights are onhorseback,infull armour. The rooks, legates, or vicars, are menonhorseback

,quite unarmed . The descriptionof the pawns

is, however, themost remarkable, onaccount of the varietyintheir form, and inthe offices assigned to them . Theking’s pawnhas a pair of scales inhis right hand, inhisleft a measuring wand, and a purse hanging at his waistband . The queen’s pawnis a manseated inhis arm-chair,with a book inone hand, a vial inthe other, and varioussurgical instruments stuck inhis girdle. This personagerepresents a physician, who, to be perfect, ought, accordingto our author, to be a grammarian, logician, rhetorician,astrologer, arithmetician, geometrician, andmusician. Theking'

s bishop’s pawnis a manwith a pair of shears inone

hana knife inthe other, aninkhornat his button-hole,and a penbehind his ear. The queen’s bishop’

s pawnis amanstanding at his owndoor

, with a lass of wine inonehand, a loaf inthe other, and a bunch o ke s at his girdle.

The king’s knight’s wnis a smith w it hammer and

trowel. The queen’s night’s pawncarries keys, and com

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60 CHESS-WRITERSAND CHESS-PLAYERS.

The second editionof TheGame and Plays of the(such was the title of C axton’s book) app

ealed in1 490.

It is decorated with seventeenprints, anhas a curious

preface, which, with the concludmg regraph of the work,also writtenby C axton, wenow layligh t s ourreaders

Theholy appoetls and doctour of thepeple,Saynt Poule,sayth inhis e yetle,Alle that is wrytenlawrytenunto our

doctryne, an,for our ssrvying. Wherefore many nobleclerkes have sndev

qivred them to wryte and compyle manynotable wetkya anhistoryes to the ends that rt my ht

come to the knowledge and understondying of suche as

ygnoraunt, ofwhich thenombre is infenyte, and accordyingto the same saith Salamonthat thenombre of foles is ih

fsnyte, and emong alle other good werkys it is a werke of

ryght special recomendacionto enforms, and to late undstonds wysedom and vertue unto them that benot lsrnyd,us cannot dyscerne wysedom fro folye. Thene emongewhom there was anexcellent doctour of d yte intheroyame of frauncs of the ordre of thospy of saynt iohnsof iherusalem whichs entended the same and hath made abook of cheesemoralysed, which at such time as i was resident ia Brudgys inthe counts of flaunders cam into myhandes, which wheni had redde and overseen, me ssmed

fulnecessarys for to be had inenglischs, and ineschewingof ydlsnss. And to thende that some which have notseenitne understonds frensshne latyn, i delybsred inmyself to translate it into our maternal tongs, and wheni hadacheyvsd the said translacioni did doo sett incm rynte acertynnombre of thsym, which anons were des ed andsolde. t rfore by cause this said boks is of holsomwysedom and requysyte unto eve estateand degree, ihavepurposed to emprynte it shewing

l

thsrfore thefigures of suchpersonss as longento the plays, inwhom alastates and degrees bencomprysed, besechenal them that this litel werke

shall see, here, or reds, to haveme for excused for the rudeand symple makyng and rsducyng into our snglisshe, andwhereas rs defants to corrects and amends and inso doyngthey shaldeserve meryte and thanks, and i shal pray forthem, that god of his ste mercy shal rewards them inhissverlastynblisse ing

l

even, to the whichs he brynge us,that wyth is precious blood rsdsmsd us Amen.The closing paragra h is as followsAnd a manthat yveth inthis worlds without vertues

livethnot as a man,but as a bests. Thsnne let sue man

of what condycionhe be that rsdyth, or herit thisbook redde, take thereby ensaumple to amends hym . E x

plicit per C axton.

DAMIANO— VID A— RUY LOPEZ . 6 l

The work of C esolis, though it went through so manyeditions and translations, gavs no rules for the playing of

the game. This deficienc was soonafter supphed intheVicsnt and of

c

insane (both ascribed to the yearbut more completely by that of Damian0, a Por

t uguess, in1 51 2. The latter work was originally writtenand Italian; it contains a few of the methods of

opening the game, and also notices games inwhich the

odds of the pawnis given; but about five- sixths'

of thissmall volume are occupied with chem roblems,

” manyof which occur inthe work of Lucena. t is probable thatneither of these writers ever claimed the inventionof the

problems which they published, but merely gave them to

the vmrld as a collectionof the best problems thenextant .Indeed m point of beauty, skill, and interest, Damiano’

s collectionhasnever beensurpamed. It was twice reprinted1 606 and under the directionofAntonio Porto, who

unjustly prefixed his ownname as the author.

In1 527, Mark Jerome Vida, of C remona, bishop of

Lad“,which has us throng

mrmany editions inIntin

Italian,French, “ 1 1n Walker enumeratesnot

{ swer thantwenty- four new editions, or rints of thisw ork inLatin

,eleveninItalian, five inFrenc and ssveral

P0ps notices thrsthis author inhis E ssay on

The poct’

sM and cl-fiic '

s ivy grow.

AndWarton, inhis E raay m Popg speaks of Vida’s poem

inthe following terms :— “It was a happychoics to write

Th

a

poem onchem ;nor is the executionem happy. The

various stratagsrhs and manifold intricacies of this mgsnionsare hsre

uix

t;wr s

e

greatest persprcm an egence, so

m the gam might be learnedtyfrom this description.”

posm was valued and admired by contemporaryauthors is plainfrom the language ofPasquier, who wrotein1 560, and thus speaks:

— “Jerom Vida represented this

fins garhe of chem m the form of a battle, and his Latin

In1 561 appeared, inS the “Book of

Inventro' u anArt of the e of C hem, by Rum dc

Sigura, clerk, inhabitant of the townof C afra. to

62 CHESS-WRITERSAND CHESS-PLAYERS.

the illustrious lord, D onGarca deToledo. This

said to have added little to the knowledge of chess ; and theauthor, while csnsuri

pfiDamiano, and speaking c

tuously likewise of the Italianllplayers, was

guilty ofmany errors, whichwere sti further increased byhis translator and printer. A few yearsafter the ublicationof this book, the vanity of the author met wit a severe

check inthe defeat he suffered inthe presence ofPhilipIL,

king of Spain, as the following anecdote will show -Aoung manof C utri, inC alabria,named Leonardo, went tooms, during the pontificate of Gregory XIII. , to study

the law ; but gave his attentionmuchmore to the study of

chess, inwhich game he became so skilful, that though veryyoung, and therefore called IIPuttino, the bo he soonconquered all the best players. Ru Lopez, w 0 was anecclesiastic, and at that time consi ersd the first chemo

layer inEurope, came to Rome at this time, to solicit the

cps for a benefics which had thenbecome vacant at thecourt ofPhilip II. of Spain. Having heard of the yo

Leonardo’s fame, he sought his acquaintance,and conqu

him two followindays ; which vexed Leonardo so much

that he immediate y went to Na lss, and devoted himself tothe study and practice of chess or the space of two cars .

Returning from thence to hisnative place, he learn thathis brother had beentakenby corsairs, and chained to the

Leonardo set out to ransom him,and agreed with the

reis or captainof the galley onthe price of his dismissal;which was to be two hundred crowns. F inding that thecaptainunderstood chess,Leonardo engaged him inplay, andsucceeded inwinning from him the price agreed onfor hisbrother’8 ransom, and two hundred crowns besides. Withthis he rstum sd to Naples; from thence he sailed toGenoa

,Marseilles,and Barcelona, laying with and conquering all

he met ; and thentrav ed to Madrid, where he soonrevenged himself onhis old antagonist, Ruy Lopez, bybeating him at chess inthe presence of the king. Onthisoccasion,Philip presented Leonardo witha thousand crowns,besides jewels, furs, &c. The victor thenwent to Lisbon,where successandhonourslikewiseattended him,

andwherehe received the title of knight-errant. Onrevisiting C alabria, at a subsequent period, he was poisoned by some

envious personinthe palace ofPrince Bisignano, and diedinthe forty-sixth ear of his age. Such are some of theparticulars of the lif; of Leonardo of C utri, as giveninthework 1 1 Puttino, published by Salvio, of Naples, of whosereputationas amaster of chesswe shall speak indue order.

THE ELECTOR OF SAXONY— PAOLO BOl. 63

About the middle of the sixteenth century many excel

lent playsrs of the game, and several chess authors flou

rished. Among the former wasno lem a personage thanJohnFrederick, elector of Saxony, who in1 547 was takenprisoner by the Emperor C harles the Fifth, and condemnedto sufl

'

sr death by beinbeheaded. D r. Robertson, thehistorianof C harles the ifth, says This decree wasintimated to the elector while amusing himself inplayingat chem with E rnest of Brunswick, his fellow-prisoner.

He paused for amoment, thoughwithout discovering anysymptom either of surprise or terror ; and after takingnotice of the irregularity as well as injustice of the emperor

’s rocsedings, It is easy,

’continued he, to compre

hend scheme. Imust die becauseWittemberg willnotsurrender ; and Ishall lay downmy life withp

leasure,if,

by that sacrifice, I canpreserve the dignity 0 my house,and transmit to my posterity theinheritance which belongsto them . Would to God that this sentence maynot afi

’

ect

my wife and childrenmore thanit intimidates me, andthat they, for the sake ofadding a few da s to a life alrea

qytoo long, maynot renounce honours anterritories, whi

they were bornto He thenturned to his antagonist, whom he c enged to continue the game. Helayed with his usualattentionand ingenuity, and havingheat E rnes t, expressed all the satisfactionwhich is commouly felt ongaining such victories. After this he withdrew to his ownapartment, that he might employ the restof his time insuchreligious exercises as were proper inhissituation. ”He wasnot, however, put to death, for in1 552, before

C harles left I ruck, he withdrew the guards placed onthe degraded ector, whom,

during five years he had

carried about as a prisoner, and set him entirelya Sicilian, of the city of S is one of

the most distinguished chess-players 0 this time. Thebest account of him is contained inC arrera’

s elaborateM isc onChess (ofwhich we shall presently speak), andit is from Mr. Lewis

’s translationof that rare work that

we gather the substance of the followingnarrative. PaoloBoi was bornof a rich and good family, and whsna bodisplayed great quicknem of apprehension, so that hema 0

considerable progress inliterature at anearly age. It was

soondiscovered that he had a wonderful talent for the

game of chem, so that he could easily beat all theSplaysrs

of hisnative city. At this time the fame of the panish

64 CHESS-WRITERSAND cusss pmrsns.

players, and the honours and rewards bestowed onthem byhilip the Second, who was exceedingly fond of the game,

excited the emulationof the cuth, and he resolved to goto Spain, but first travelled t ugh Italy, trying his skill

with the best players that country could afford. Amongstothers he played with IlPuttino,” and had the honourof being considered his equal, so that the two were spokenof as the light and glory of the game of chess. Paolo hecame the favourite of many of the Italianprinces,cularly of the D uke of Urbino, several of the cardinals,and evenof Pope Pius the F iflh, who would have givenhim a considerable benefice if he would have becom e a

priest, but thishe declined. Paolo wasnevertheless a rigidobserver of the forms, and partook largely of the superati

tions of the Romish church, as appears from the followingcircumstance. Whenat Venice he played with a personwhosename isnot recorded, and lost eve game. U ponreflection

, and after having examined t e games with

great care

,he found that he ought to have won; and not

eing able to account for his want of success, he begantosuspect his adversary of using some secret art, whereby hewas prevented from seeing the moves. To counteractthese evil arts, he therefore resolved to play againw ithhis antagonist, and to arm himself for the encounter with a

rosary, rich inthe valuable relics of great saints, and also

by previously receiving the sacrament. Having done this,he conquered his adversary

,who, after his defeat, is said

to have exclaimed, Thine ismorepotent thanmine.

”

At lengthPaolo arrived inSpain, where he played inthepresence ofPhilip the Second, who gave him the revenueof certainoffices inthe cit of Syracuse, of the value offive hundred scudi a year. oi was a bold and daring chareeter, and was very desirous of bei employed intheservice of the brother of the king, D oniovanni d’Austria,onwhich account the king wrote a letter of recommendstioninfavour of Boi, from which we learnthat Paolo hadbefore served the king, though it is not stated onwhatoccasion. Thenextnotice we have ofBoi’

s chess achieve

ments is, that he played with some of the principal rsonsof the kingdom of Portugal, and woneight thousaninone day. He also played with Sebastian, king of Portugal, whonot only took delight inthe game

,but pla ed

it himself, and was reputed a good player. They ogen

played three or four hours a day ; and it ismentioned as anespecialmark of the king’

s condescension, that once whenthe king was standing playing, and the Syracusan, (as was

PAOLO BOI. 65

his duty,) with one knee ona cushion, having played a

time, and being desirous of resting, the king assistedw i his arm to raise him,

that he might kneel onthe

sent to him to defrayhis travelling expenses but shortly afler his arrival inthatcity he was seized witha complaint inhis stomach, broughtonby the exertionof hunting, and died inthe year 1 598,having attained his seventieth year. His body was interred inthe church of St. Francesco diPaolo,his obsequiesbeing sumptuously celebrated inthe presence of PrinceStigliano, and otherNeapolitancavaliers. This is C arrera

’s

account of his death, but Salvio says he was poisoned bythe sake of the wealth he had acquired. The

Iknew bim inmy youth,whenI was at the city ofPaplermo, inthe year 1 597 his hair was quite white, his form

rm . He drm ed very fashionably, like ayoung man, and was very capricious :nevertheles s he hadmany good qualities : he was exemplary inhis conduct,was extremely liberal and munificent,— very charitable,he attended mass every day, always giving alms to the

priest that ofliciated, whoever he might be,— he confemed

and took the sacrament frequently, and was very partialtoreligious persons. Henever would allow any portrait tobe takenofhim, and the drawings ofhim that arenow seenwere made without his knowledge. Henever would bepersuaded, eveninhis old age, to fix his residence inhisowncountry or elsewhere. Instature he was rather tall,well-pro

portioned, handsome, lively : eloquent inconversa

tion, angay and afi'

able with every one. He left some

66 CHESS-WRITERS AND CHESS-PLAYERS.

writinonthe game of chess, which I havenot seen. I

have t ought it pro er to give a fullaccount ofsuch a man,that hisnamemay e knownto posterity.

”

It doesnot5pm that the writings here

were ever printC atherine deMedicis isspokenofas being a chess-lil

ayer,and Paolo Boi much wished for an0 portunit of p yingwith her

,but was disappointed . 8,ueenE beth also

seems to have knownsomethinof the game, and onaiouler occasion, whenSir C arles Blount (afterwards

ord Mountjoy) had distinguished himself at a tiltingmatch, she sent him as a present a richly enamelled chessqueenof gold. Her successor, James the First, may be

hkewise ranked among the royal chess-players, thoughhe warns his sonagainst the game, “because it is over

wise.

” This counseldoesnot seem to have beenacted on,cent bag and elegant set of chess

to Charles the First, spokenof byBarringtonas beenexhibited to the Society ofAntiquaries.D uring the sixteenth century many passages incontem

porary writers seem to show that chess was practised more

or less inEngland . A kind of comedy,b Middleton, on

the game of chess, was frequently ac at the Globetheatre onBankside. It was a sort of reli ious controversy, the game being layed by amember 0 the C hurch

of England, and ano er of the C hurch of Rome, the

former, inthe end, 'ning the victory. The play was

considered too political:ll

and the author was committed to

prison, from which, however, he obtained hisfollowing petitionto the king

A harmlessgame, coyned only for delight,"l

'

wasplayed betwixt the black house and thewhiteThewhite housewon— yet still theblack dothbrag,They had thepower to putme inthebag.

Use but your royal hand ; '

twill setme free,"l‘

is but themoving of aman— that'sme.The year preceding Boi’s death (1 597)Horatio Gianutio

published his Treatise onChess, at Turin. This book isextremely rare,and doesnot a pear tohave beenremarkableformerit. D r. Alessandro Se vio’

s work, which was published in1 604, is far superior. Salvio was considered themost ingenious master of his time, and his openin of

games are said to evince the fertility of his genius anhispromptness at resource. Unfortunately,” “

says Sarratt,“most of his openings are of little use incountries where

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68 CHESS-WRITERSAND CHE SS-PLAYERS.

youthwho emplo s himself at chess, though he may‘have

played all day, wi have gained thusmuch, that he hasnotplayed at dice, and that he has eschewed idleness, whichabounds insins. As to remaining with the eyes fixed onthe chess- board, itnot only doesnot cause fatigue, but, onthe contrary, great delight, and those who imagine it tiresthe intellect, are greatly mistaken, the solace and food of

ourmind being speculation; for the truth ofwhich Iappeal

to those, who, being assionately fond of study, remainformany hours withoutlifting their eyes off their books.

”

The year during which Carrera’s Treatise onChess ap

peared,was productivealso of thework of GustavusSelenus.his is a fictitiousname adopted b the author, Augustus,duke of Brunswick-Lunenberg. work, which is a

large quarto of 550 pages, was printed at Leipsig, in1 6 1 6 .

He appears to have beenanindefatigable player : he hasanalysed with great perseverance and attentionsome of his

favourite games ; and he occasionally displa s’

considerableskill inhis deviations from themodels laid ownby other

layers. He strongly reproves several of D amiano’s moves ;

ut Sarratt is of opinionthat the duke has committed thesamemistake as Ruy Lopez inventuring to criticisea betterplayer thanhimself.

A considerable portionof his work is occu ied by a longand uninterestindescriptionof the e led the Battleof Numbers, or h thmomachai. t also contains,” saysSarratt,

“some fut

'

eattempts to improve the game of chessand, among these, there is one which is as remarkable as it

is ridiculous. It is extracted from a work (deservedl consigned to oblivion) writteninGermanverse by ames

Mennels, and pubhshed at C ostentz in1 507. Mennels hasfavoured the world with many situations inwhich check

mate is effected by apawn: some of these present a ludicrousappearance ; one part having six

,and sometimes seven

mans; but it must observed,that this sameMennels

as deemed it meet to deprive the queenof her horizontaland pgzp

endicular powers : he allows her to move only inadiago direction; so that supposing the king to be onhisownsquare, if the adversary

"s queen, properly supported,

should take the king’s bishop’

s pawn, giving check, the kin

gby removing to his bishop’s square

,or to his ownsecon

square, willbe secure from all danger.”Gustavus Selenus also mentions the method of pla

the C ourier game as practised at Striibeck, a village situa

betweenHalberstadt and Brunswick, at a distance of aboutsix miles from the former place ; and celebrated for some

GUSTAVUS SELENUS STROBECK. 69

ce

lz

r

l

ituries onaccount of its inhabitants being good chem

yera.PThe introductionof chem into this village, is due to the

following circumstance — Towards the end of the fifteenthcentury, a dignitary of the cathedral at Halberstadt wasexiled toStrfibeck ; andbe'

deserted by his former friends,he became the more attac ed to the inhabitants of the

who had received him so kindly that he was at a

loss how to testify his gratitude. After muchconsiderationhe determined onteaching them the game of chem. Hedid so, and was delighted to find that they became partialto it, and made great progress init. He soonfelt amplyrewarded for the trouble he had taken, for not on] did

they become proficients inthe game, but it afford himmany opportunities of improving their morals and behaviour

,which im rovement became apparent intheir

intercourse with their nei hbours. After some time, the

exile was honourably ed to his cathedral, and eventually became Bishop ofHalberstadt. His prosperity didnot make him forget his village friends— Ins Strobeck, ashe used to say

— but onthe contrary, he oflenwent thereand conferred many benefits onthe community, amongstwhich he founded a free- school. A special in°

unctionwaslaid onthemasters of this school, to instruct their upilainches s, and to distribute prizes (consisting of chem-hoardsand sets of pieces) at the end of every year, to the bestplayers. Inthus encouraging the game of chess, theworthy bishop had a higher object thanmere amusementhe mw that b encouraging a game which draws so largelyonthe men powers, his villagers would not be attractedby games of chance,nor injured b the vices and dism'

pations which accompany them . is object was happilygained ; and we cannot but exprem a hope that ere long,the study of chess will be considered a necesmry part ofeducation, and, as such, introduced universally into schools

of every description. It would be indeed delightful to see

the same effect produced inour villages by the introductionof this game

,as was witnemed at Strfibeck. The villagers

devoted most of their leisure time to chess : the knowledgeof the game became hereditary mothers taught it to theirdaughters ; fathers to their sons ; the old menbequeathedthe paternal

,chesm- board to their Chil

ll

r

mn; there was aninnocent emulationamo families , eac trymg

'

to surpassthe other. The fame

“

ff Strobeck extended throughout

Germany, andmany a chem playervisited it to try his skill.It is said that the villagers generally proved victorious.

70 CHESS-WRITERSAND CHESS-PLAYERS.

After a time the evil custom of playing for mone was

introduced— the villagers grew vainof their ski andwanted such a lessonas was givento them by the celebratedSilberschmidt, who visited them as a stranger, and agreedto play a match for a considerable sum of money. Hevanquished their championelect, and the villagers paid themoney, but wouldnot grant a certificate required by the

conqueror attesting their defeat . Take the

gold,

”said

they,“but leave us our glory.

” “Good peop e,”

Silberschmidt, themoney Ihave wonfrom you Iyour poor and to your school; but onone condition,—you must swear that you willnevermore play for

Thenoble science of chess carries its interest initself ; asingle game won, is a treasure of satisfactionto thewinner.

”

The villagers took the oath, gave the certificate, distribu tedthe money as was proposed, andnever againstaked anything but their skill onthe chess-board.

Mr. Lewis visited this interesting vil in1 83 1 . Hedescribes it as lying ina hollow about am

'

e from the high

road, and containing about one hundred and twentyhouses.Mr. Lewis walked to the village and introduced himself tothe resident clergyman, whom he found anobliging andwell-educated man: the inhabitants were theninthe fieldsthering inthe harvest, but a subsequent day wasnamed

or a trial of skill. “He informed me,” saysMr. Lewis,that the

mgame is still much playl

ed there, and that theyhave seve strong players ; thong himselfno player of

the game, et he is so persuaded of the advantage of cultivatinit

,t at he encourages the childrenwho attend the

schoo to practise it at proper times, and has succeeded inobtaining the grant of a small sum annual] from the community, for the purchase of six chess-boar s andmento begivento the best six players among the scholars, thenumberof whom amounts‘to forty-eight ; the method of ascertaining who are the best is, inthe first instance, to have twosets of tickets

,eachnumbered from one to twenty-four

these are drawnby the boys ; thenthe two ones, two twos,&c. , &c ., play together ; those who lose go out, and theremaining twenty-four drawnumbers ina similar wa andso on, untilonly six winners remain, to whom the dsare given.”Inpart of the village public-house,Mr. Lewis observed

the signof a chess-board inthe wall; it was rudely madeup of stone: inthe public room were hung up three boards,—one the commonchess-board, and the others larger forthe use of those who play the courier game.

ms m u ss or s'mosrzcx. 71

At hisnext visit,Mr. Lewis called onthe syndic of thevillage, who accompanied him to the pubhc

-house andshowed him the old chess- board andmen, which were keptmrefully locked up.

“The board is of large size, beingabove two feet square, including the border, which is aboutfour inches broad ; onthe border is a representationof thevillage of Stropcke, (it is spelt thus,)butnot inbar relicaccording toMr. Silberschmidt

’s account, but rather inru e

mosaic ; there appear to have beenat that time three towersor steeples inthe village, two only of whichnow remain,the third having beentakendown, and the building converted into a saw mill. According to aninscriptionontheboard, it appears to have beenpresented to the village bythe E lector of Brandenburg, onthe 1 3th ofMay, 1 651 ; onthe other side, the board is divided intoninety-six squares,(twelve by eight,) this is intended for the courier e,

which is played with the usual chem-men, to whio are

added for each player, four pawns, two couriers, a mananda fool, which last two arenow called state counsellors.

“Themid elector alsomade them a present of two sets ofchem-men

, one of ivory, and the other of silver, half ofwhich were gilt ; the latter set is lost, having beenlent tothe deanand chapter atHalberstadt, who forgot to returnthem ; this occurred so long since, that no onenow livingrecollects having seenthem : the ivory set is much too

small for: the board ; the pieces are intolerable pres ervation,and havenearly the same shape as those commonly playedwith ; the upper part of the bishop, instead of being shapedlike a mitre, has the form of a scoop . They have only twoworks onchem,

one of them animperfect cop ofGustavusSelenus, the other Koch’

s Code: dcrW ,in

two volumes ; the former they have had a long time; thelatter was presented to them some years since by their

present worthy pastor.

Mr. Lewis played three games of chem with one of the

villagers of Striibeck,and wonthem all. He considered

his antagonist a weak player ; and, from what fell incourseof conversation, doubted whether there are any players inStrdbeck to whom a first-rate playercouldnot give a knight .One of the most distinguished players that we havenext

tonotice in,the order of time is GroachinoGreco,commonly

miled the C alabrian, from C alabria, the place of his birth.

He was of very low extraction; but having accidentallylearned the game of chess, he improved so rapidly, thatD onMarianoMarano

,a celebrated player

,being informed

of his aptitude for ches s, received him into his house, and

72 CHESS-WRITERS AND CHESS-PLAYERS.

treated him as one of his family ; and under his tuition,Greco soonimproved so much asnearly to equalhismaster .

Bayle speaks of him inthese terms Greco played at

chess so skilfully that it cannot be thou ht strange that Iconsecrate to him a little article. All t ose who excel intheir professionto a certaindegree, deserve that distinction.This player didnot find hismatch anywhere. He went toall the courts inE urope, and signalized himself there at

chess ina most su rising manner. He found famous

players at the court of rance, suchas theDukeofNemours,

Arnaud, C haumont, and La Salle ; but though they pretended to know more thanothers,none of them were ableto

‘

play with him,nor could they cope with him altogether.

He was at chess a bravo, who sou ht inall countries somefamous knight with whom hemigfiit fight andbreak a lance,and he\ foundnone whom he didnot overcome.

”

Mr. Lewis (whose editionof Greco is the best) thinksthis is certainly anexaggerated account of Greco’

s sk ill;but his work exhibits so much skill and ingenuity, andabounds with so many brilliant and instructive situations,that we know ofno more fascinating work for the studentinchem. It doesnot oftenhappen,” saysMr. Lewis,that Greco

’s method ofattacking canbe much im

fplroved,

for inthat part of the game he rs eminently skil 1,but

the like praise cannot be ivento his system of defence ; itmust, indeed, be evident t t, as most ofhisgainesare wonby brilliant moves, the defence isnecessarily imperfect . ”

There have beenmany editions of Greco’s work . The

first English editionwas published inLondon, byHerringmau, in1 656, and is very imperfect . In1 750 appeared anedition, so contrived that any personmay learnto play ina few days without any further assistance.

”Onthis assu

ranceMr.

'Lewis very properly remarks Let not anone be led

,by this promising title, to suppose that so

cult a ame as chess is to be learned ina few days ; considerab e practice is necessary to form evena moderateplayer, but to become a first-rate

player

, genius and muchstudy are indispensable requisites.

Greco died inthe East Indies at anadvanced age, andbequeathed allhis property to the Jesuits.In1 672 was published The Famous Game of C hesse

Play, being a princely exercise, whereby the reader mayprofit more, by reading of this small book thanby playingof a thousand mates.

” The author of this book, oneArthurSaul

,introduces some doggrel verses, laudatory of his

game

BEN IN— C UNNINGHAM.

All you that at the famousm e

Of cheese desire to play,

C ome and perms this little books,

Whereinis taught the way.

The hiddenflights tounderstrmdThatno manyet hath shonne,Which other authors speaknot of,

E venall things that concernthls game,And may thee excellent make,

There inwas cause that me didmoreThispaines to undertake.

«he ac .

Ameng his rules and laws of the game is the followingadvice — D oenot atno time that thou playest at this game(out of a conceit as Isaid, that anything becomes theewell),stand singing, whistling, knocking, or tinker

'

wherebyto disturbs the minde of thy adversary, and

niinder his

projects : neither keeps thou a calling pnhim to la e

, or

of him thereunto, or a shewmg of muc e

that hee pla ethnot fast enough; remembering with thyselfe, that gesides that this is a silent game, whenthyturns is to pla thou wilt take thy owne leasure ; and thatit is the ro all law so to deal with another

, as thyselfw

fids

thbe e

ll“Wi

f th h th C ae ear y part o e eig teen century tainJoseph Bertinobtained a distin

guished rank among chess.

players. He mems entitled to e merit of having inventedthe three pawns’

gambit,”which being afterwardsado ted

b the celebrated player C unningham, it was nam byhilidor the C unningham gambit,

” by which term it hasbeenknown; but, asMr. Walker remarks, from its constructioninvolving a sacrifice of three pawns, it is morecorrect to term it the 1 70m Pawns’

Gambit . In1 735tainBertin ublished a small work

,entitled, The

no le Game of hem: tinted for the author, and soldonly at Slaughter

'

s C o ee-house, inSt . Martin’s lane.

”

This work contains the laws, twenty-six games, and twelveendings. Among his rules , the author makes a remarkwhich every chess-playerwillappreciate Iwish Icouldgive rules to avoid oversighMr. C unningham, the critic and editor of Horace, a

gentlemanof taste and learning, had moreover the reputationof being the first chem- player inEurope. His acquirements gained him the friendship of many distinguishedpersons. It is said that while Lord Sunderland andMr .

C unningham were at theHague, they frequentlyplayed at

74 CHESS-PLAYERSAND CHESS-WRITERS.

chess, and after continuing to play for . some time,his

lordship discovered that if either one before playing, wasjolted inthe carriage, inseeing over the rough streets of

theHague, he was gene ly the loser. For this reasonhislordship discontinued going to C unningham,

but for sometime sent for him . Under this new arrangement Mr.

C unningham found to hisno small astonishment, that helost most of the games ; and whenthe Innwas at lengthrevealed

,he insisted that the visits sho d be reciprocated.

Thisnew arrangement is said to have restored the former

ratio of success betweenthem ; but those who believe inthis anecdote must think that the head of a chess-player,before he plays

,must be moved as carefully as a bottle of

old port before it be decanted .

D uring Mr. C unningham’

s residence at the Hague, aGermanprince having heard of his great skill at chess,sent him aninvitationto go and play ona certainday .

Mr. C unningham,who had acquired anEuropeanreputa

tioninchess, didnot choose to risk it against a stranger,and therefore asked Mr. Ogilvie, a Scottish gentlemaninthe D utch service, to

Tpiga visit to the prince as Mr.

C unningham’s pupil. was agreed to, andMr. Ogilvie

waited uponthe rince with anote fromMr. C unninghamto the effect that e couldnot availhimselfof the honour ofaccepting theprince’

sinvitationfor thehournamed, but thathe had sent one of his pupils to attend inhis place, and inthe event of his being beaten,Mr. C unningham would himselfattend, and play with the prince. Mr. Ogilvie beat theprince inevery game ; which so greatly mortified him, thatthinking the master would vanquish him still more easilythanthe pupil, left the H e onthe following morning,without evenwaitinto see r. C unningham .

This distinguishe pla er died inhis native country,Scotland, in1 732, more thaneighty ears of age.

Thenext player of eminence is hilippe Stamms, whoat les himself “native of Aleppo inSyria, and interpretero the Oriental languages to the Kinof Great B ritain. ”He ublished at Paris in1 737 a em work containing a

bunred situations or ends of mes : many of these are

very instructive, and ought to knownby every chessstudent : others

,says Sarratt, there is every reasonto be

lieve,never occurred inthecourse of a e, and it may bedoubted whether they could occur. e may add that thesame remark also applies tomany of the chess problems ofour ownda

y.

Inane'

tionof this work inFrench, published by

https://www.forgottenbooks.com/join

76 CHESS-PLAYERSAND CHESS-WRITERS.

Stamms was inLondonin1 745, and published animproved editionofhis treatise, which has since beeneditedwith notes b Mr. Lewis. In1 747, Stamma tried his

skill ? ainst hilidor ina match of tengames, Philidor°

ving‘

m themove, and allowing a drawngame to be a

ost one. With these advantages Stamms wononly two

games, ofwhich one was a drawngame.

As it is our intentionto devote a separate chapter to a

short sketch of the life of Philidor, we roosed tonoticeafew of the principal satellites, which, uring a considerable portionof the last century, hovered round the greatestluminary that ever threw lustre onthe science of chess.

In1 750, a treatise entitled Practical and Theoreticalobservations onthe Game of C hess,

”was published at

Modena. The author,”says Sarratt, chose to conceal

hisname, and it is difficult to assignafor his diflidence, for it is unuestionably a publicationofgreatmerit, and realutility.

”ormany years the author of

this book was referred to as The AnonymousModenese,”but it isnow knownthat D r. E rcole del Rio w as the

author. In1 820,Mr. Bingham published The incomparable Game of C hess developed after anew method of the

facility, from the first elements of themost scientificof the game. This high

-sounding title, which

such, promisesmore thanit erforms, is applied toa work which professes to be a trans tionfrom the Italianof D elRio, whereas the real author is Domenico C anonicoPonziani, anadvocate inthe Ecclesiastical C ourts, and a

friend of D elRio, who wasanadvocateinthe C ivil C ourts.Mr. Bi ham has translated the third editionof this book,publishe at Venice in1 8 1 2, which is greatly inferior tothe second, published atModena in1 782, the third, asMr.

C ochrane thmks, being probably a reprint of the first . Intheadvertisement to thesecond edition,Ponzianiis distinctlystated tobe the author, and is said to have beenassisted byhis friend D el Rio, inthe compositionof the work .

The work of D el Rio received a commentary from thelabours of Lolli in1 763 . This comments

?(a folio volume

of 632 pages), like that of C oke upon ittleton, or of aD utch schohast upona classic, exceeds a hundred-fold thebulk of the original work .

”The size of this book

, addsMr. C ochrane, was, onits first ublicationridiculed inBaretti

’

s F rusta Literan'a . It is, owever, the most com~

plete and valuable treatise onchess which has hithertoappeared . This high praise was givenb Mr. C ochranein1 822; and althoughmany valuable wor onchess have

D EL RIO— ANEC D OTE . 77

a

ppeared since that time,Mr. Walker, inthe third edition

0 his treatise, doesnot hesitate topronounce Lolli’s

the most classicalwork onches s extant. ’We conclude these rambl

'

sketches with anamusinganecdote, related of the D uke e NivernorsWhenthis accomplished noblemanwas ambassador to

England, he was oing to Lord Townsend’s seat inNorfolk,

onaprivatevisit, ut was cm by a veryheavy shower tostep at a house inthe way. he master of it was a clergyman,who, to a smallcurac ,added the care ofa few scholars,which inallmi ht make living about eighty pounds ae

i." t

i?‘

ffi’

k kmwmmWife“13?

°

mhfl

nd

giisen e e e s an,not 0

rank, begged him to come inand dry himself; which the

other accepted, by borrowmg a of old worsted stockingsand slippers,and warminMmsglf

l

bya fire. After someconversation, the duke o rved an01 chess-board hanup ; and as he was passionately fond of the e

,he as ed

the clergymanwhether he could pla The tter told himthat he could play pretty tolerably, ut found it diflicult inthat part of the country,V

et anantagonist. Iam yourman,” says the duke. ith allmy heart,

”answers the

and if you will stay and take pot- luck, Icannot beat you. The day continuing rainy,

the duke accepted his ofl’er ; whenhis antagonist played

so well, as to winevery game. This was so far fromfretting the duke, that he was pleased tomeet a manwhocould give him so much entertainmentm. He accordingly inquired into the stats of his

y affairs : and making a memorandum of his address,without discoverinhis title, thanked him,

and departed .

Some months e and the clergymanthought nomore of the matter, when, one evening, a footmanrode upto the door, and presented him with a

,note, The Duke

de Nivemois’compliments wait onthe Rev . Mr .

and as a remembrance for the good drubbing he gave himat chess, begs that he will acce t the living of

worth 400l. per annum ; and t he will wait uponhisGrace the D uke of Newcastle onF riday next, to thankhim for the same.

"

The good clergymanwas some time before he couldimtlgine it to be any more thana jest, and hesitated to

obey the mandate ; but as his wife insisted onhis makinga trial, he went up to to and to his unspeakable satis

factionfound the contents 0 thenote literally true.

Game” g

ed b Parmnonblindfold, against C omer Baum ;aving two other es at the same time

against r. Bowdler andMr. finance.

22 Q . checks.

23 Q . takes Q . checking .

24 K . B . takesKt.25 K. Kt

I

P mne.

266 Q. .Kt P. one.

277 Q. R. toto B . secoud.

28 P. takes P.

29 Q. R takesR .

80 R. to Q R . square

3 1 R . takes P.

82 K. to B . second.

S3 R . to Q. R . sccond.

84 R . takes B .

35 R . to Q. B . second.SB B . checks.

87 P. takes P.

3S R . to advsrse Q. second39 B . takss Kt.40 K. to Kt second4 1 R . takes P.

42 R te adverse Q. square.

48 Q. P. .one“ Q P. one45 K. to B . square

46 Doubled P. one.

47 D oubled P. one.

Whiteabandoned the game.

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CHAPTER V .

aroem rnrcu . snares or ram mn.

cans PA" , AS DESIGNED BY W I .

The vai’

mat guards, theirminds onhavoc bent,Fill thenext square , and watch the royal tentThough weak their apu ra thm h dwarfiah be their height,

Cornpact theymove, the bulwark of thought.Bra Wim anJonas .

Ir has beenremarked,‘

as a curious circumstance, that whilethe talent for playing chess bearsno relationto the generaltalent of the player, yet that eve one has anindividualmaximum of talent for chess, to w ‘

ch, b study and practics he may be brought, but beyond which

,

he cannotThis remark ought to be extended to every meum

suit, for it expresses a principle of ournature, instead of a

curious solitary fact, applicable to cha onl Those whose

chief object it is to improve their mentalpowers, alwaysfind delightful occupationinstriving after excellence. We

are most fortunate] denied the wer of foreseeing howfar our faculties w

'

carry us in e cultivationof a particulat subject, but by slow de

fies we gradually get nearer

andnearer to a certain.

int, yond which we find we donot advance. Before point, however, is attained, we

80 BIOGRAPHICAL SKETCH

are able to appreciate the powers of the great masters inthe stddy, for doubtless it requires a certainportionof thesame faculties to appreciate excellence as to attainit

,and

if we cannot equal, we are at least qualified, to admire.

The general progress of knowledge is for the most

made by those gifted menwho appear at intervals few andfar between, and excel all others m the articular ursuit

to which their inclinationleads them. e look bac uponsuchmenwith respect and admiration: we desire to knowtheir histo f

,— their modes of study,— their general conduct

inthe wo

r

rld and inprivate life,— and we thus fondlyimagine that by endeavourinto imitate them we may gainsome of the skill for which t ey were so famed . It would

be unwise to check such feelings, but it isnecessary thatyounpeople should be cautious inthe choice of their

mode they should remember that themost eminent men,notwithstanding their eminence, have still the errors andweaknesses of ournature, and that these, being oftenmistakenfor the offshoots of genius, are more easily adoptedthantheir better parts, and prove exceedingly injurious totheir imitators.

The subject of Our presentnotice is knownto us only as

a kind, amiable man, who, had henot beenthe best chessplayer of his own, and, perhaps, of any other time, would

pro ably have beenknownas aneminent musician.AND RE BANIGAN Parmnoa was borninthe year 1 726, at

Dreux, a small townabout forty-five miles fromHis grandfather, whosename was D anican, was celebratedas anoboe player at the court of Louis theThirteenth. AnItalianmusiciannamed Philidor was admired at that courtfor his performance onthe same instrument ; and after hisdeparture the king gaveM. D ahicanthe soubm'

quet ornickname of Philidor, which afterwards continued as anappendage to the familyname. The father, and several of thebrothers of Philidor, belonged to the band of Louis theFourteenth and Louis the Fifteenth.

At the age of six years Philidor was admitted into thechoir of the C hapelRoyalat Versailles,where, being obligedto attend daily, he had anopportunity of learning chessfrom themusicians inwaiting, of whom there were abouteighty . Games of chancenot being allowed inthe sanctuary, a long tableinlaid withsix chess- boardswas provided,hfith which they amused themselves during their leisureours.

In1 737, whenPhilidor had only completed his eleventhyear he produced a motet for a full choir, which so much

OF PHILID OR. 8 l

him fivelouis, andencouraged the lad

to compose four more motets but we donot learnthat thero al condescensionwas followed by anymore solid acknow

ent ; for at the ags of fourteen, whenhis voice beganto change, and hem

ags

quitted the band, we find him sub

mitting to the drudgery of copying music for his subsistence, andgiving a few lemons. Whenhe left the chapelhehad the reputationof being themost skilful chess-player of

the wholePband. In1 740 severalmotets of his composition

were performed at the famous concert spiritual, establishedby his uncle in1 726, and these were favourably receivedby the public as the productions of a child, who wasalreadymaster of music and of chess. At this time Philidor mr ht

for himself a lucrative practice as er

of music ,but the fascinations of the chequered field caused

him toneglect his musical pupils, and they,m consequence,soonrocured other more attentive masters; This inducedPhili or to e the study of chess, rather thanthat ofmusic. At&na time the game was played inalmost 'everycoffee house inParis. M. de Kermur, sire de Legalle, wasthenesteemed the best chess player rnFrance, and youngPhilidor sought every opportunity of receiv his instruotiom , by which he improved so essentially, t inthreeyears he layed as wellas hismaster.

M. deLegalle once asked Philidor whether he had ever

tried to lay by memory without seeing the board ? Therephed that he had calculated moves, and evenwhole

games at mght lnbed, and he thought he could do it. Heimmediately played a game with theAbbé C henard, whichhe wonwithout seeing the board, or hesitating uponanyof the moves. This circumstance was much talked of lnParis, and consequently he oftenrepeated this method of

it so lay a single game without seeingheofl

'

e p ay two es at the same time.

This feat he performed ina pub c coffee-room, and wonboth games. Inthe middle of one of the games a false

move was designedly made, which after a great number ofmoves, he discovered, and placed the piece where it oughtIn1 745Philidor went toHolland to joinsome musical

brethrenrna scheme for giving concerts to the Dutch,but

the death of one of the party terminated the plan, andPhilidor found himself alone ina foreignland without

means to support himself. His skillrnchess and inPolish

82 BIOGRAPHICAL SKETCH

drau hts procured him enough to so ly his wants : hegave essons inchess to the Prince of aldeck

,who then

commanded the D utch army,and after remaining about a

year, chiefl at theHague, e leftHolland.

In1 747 e visited England for the first time. The principal Londonchess club thenheld its meetings at Old

Slaughter’s C offee-house inSt .Martin’sLane. SirAbraham

Janssenwas thenthe best pla er inEngl

and, and with theexceptionofM. de

Dig-

alle,pro ably the playerPhilidor

ever encountered . r remaininabout a year inEngland, Philidor returned'

to Hollanwhere he composed hiscelebrated Analysis of the Game of Chess. At Aix- laC hapelle he was advised b Lord Sandwich to visit E yndhoven

, a village between is- le-duc andMaestricht, wherethe British army was encamped . He there had the honourof playing with the D uke of C umberland, who,not onlyhimself subscribed liberally for anumber of copies of thework

,but rocured many other subscribers. TheAna lysis

was publis ed inF rench, inLondon, 1 749, and has beensince reprinted or translated inalmost every capital ofE urope

‘.

Phrlidor frequently played chess at the house of theF rench ambassador, the D uke of Mirepoix, who gave a

weekly dinner to the lovers of the game, at which he himself was expert. The King of Prussia also . enjo thereputationof being a chess- player, and in1 73 1 hilidorvisited Berlin, by invitationof that monarch, who took

great interest inseeing Philidor play, although he did notencounter him himself.

During these chess excursions Philidor didnot neglecthismusical profession. In1 753 he set to music C ongreve’

s

Ode toHarmony, which was performed inLondon. The

greatHandel was present at the performance, and approvedof the chorusses, but thou ht the melody defective. Two

years after he returned to aris with the intentionof odevo

ting himself entirely to his musical profession: he composedsome sacred music, and solicited the appointment of m mde la chapelle but as his productions were thou ht by theC ourt to savour too much of the Italianstyle,histionwas unsuccessful.It would be out of place here to follow Philidor through

Philidor brought out a second editionof this work in1 777 with considerable additions. Of thenumerous translationsof thiswork into English,

the editionbyMr. GeorgeWalker is thebest.

https://www.forgottenbooks.com/join

84 BIOGRAPHICAL SKETCH

each was allowed the first move. The games lasted onehour and forty minutes. The game with the C ount wasdrawn, andMr. Bowdler wonthe other, owing to the exact

similarity inthe openings, for if the two games had less re

sembled each other, M. Philidor would have preserved a

distinct recollection.The idea of the intellectual labour that was passing

the mind ofM. Philidor suggested a. painful perceptiontothe spectator, which, however, was quite unnecessary, as heseldom paused half a minute and seemed to undergo little

mental fatigue, being somewhat jocose through the Whole,and uttering occasionally many diverting pleasantries. The

whole d inthe French language.

W enthe intrinsic difficulty of the game is considered,aswellas the great skill of his adversarres, who of course

conducted it wrth themost subtle complications, this exer

tionseems absolutely miraculous, and certainly deserves tobe recorded as a proof,of the power of humanintelligenceThe periodical called The World, of the same date, after

givinsimilar details of thematch, concludes thus:his brief article is the record of more thansport and

fashion: it is a phenomenoninthe history ofman, and so

should beboardedamong thebest samPlesofhumanmem ory,tillmemory shall beno more.

The ability offixing onthemind the entire planof twochess-tables, with the multiplied vicissitudes of two-andthirty pieces inpossible emfloyment uponeach table, thata manshould maintainthe two games at once, withoutseeing either, but merely from the report of move afler

move uponboth; and this contendingnotinexpenenced play, but with two of thepractised players inE urope,— all thismakes up a wonder ofsuch itude as couldnot be credited, perhaps wouldnotbe credib e, without re sated er

iperience of the fact .

Thishas beenhad mM. hilidoragainandagain, butnever with more struggle, for his antagonists were C ountBruhl andMr . Bowdler. Theyneverweremore excellenthow much resource there was, and guarded enterprise,maybe imagined from the time they took inlaying . D uringthe

‘

whole of that period the memory of)

this astonishingmanwasnever for a moment absent or confused : he madenot onemistake.”These wonderful

(performances procured Philidor more

fame thanprofit ; anhehimself seems to have beenrousedto the convictionthat his exertions would have beenbetter

or PHILID OR. 85

directed had he acquired a com tence for himself andfamily instead of such unrivalled inchess : for we are

told that he would never allow any one of hisnumerousfamily to learnthe game. With a wife and nineteenchildrenentirely dependent uponhis labours for support,hefound it difiicult for many years to procure them more thana very m income.

D uring e latter years ofPhilidor’s life he continued to

reside inLondoninthe winter, andwithhis family at Parisinthe summer, occasional] playing matches m publicwithout seeing the board, an nerally winning of the best

players opposed to him . Thefillowingnotice appeared inthe LondonnewspapersinMay, 1 783 :

Yesterday

at the chem -club inSt. James’s Street,M.

Philidor pe ormed one of thosewhich he is so much celebrated .

games at once without seeingo ponente were C ount Bruhl, Mr. Bowdler (the two bestyers inLondon), andMr. Maseres. He defeated C ount

ruhl inone hour and twenty minutes, andMr. Maseres intw o hours ; Mr. Bowdler reduced his game to a drawnbattle inanhour and three quarters. To those who understand ches , this exertionofM. Philidor

’s abilities must

appear one of the greatest of which the humanmemory issusceptible. He goes through it with astonishing accuracyand oftencorrects mistakes inthose who have the boardbefore them .

”

Betweenthe years 1 788 and 1 792 Philidor playedsimilar matches, eachmatch consisting, ingeneral, ofgames ; and in1 792 two such matches were played inthepres ence of the Turkish ambassador. In1 795, whenhewas at the age of sixty-nine, he played three blindfoldmatches inpublic

, the last of which was thus announced inthe daily pa rs

“ C rmss mm, 1 795,Pansnox’s, Sr . Jam ’

sSmm .— By

particular desire,Mons. Philidor

, positivel for the very lasttime, will play onSaturday, the 20th of une, at 2 o

’

clock

precisely,three games at once against three good chess

players ; two of themwithout seeing either of theboards, andthe third looking over the table. He most respectfullyinvites all the members of the chess -club to honour himwith their presence. Ladies and gentlemennot belonging tothe club may be provided with

‘

tickets at the above mentioned house to see thematch, at five shillings each.

”

OnSaturday, August 29 th, 1 795, the following sad intelligence appeared inthe daily papers

86 BIOGRAPHICAL SKETCHOF PHILID OR.

Mons. Pmmnon, rm; CHESS-PLAYER .

OnMonday last, the24th ofAugust, thislong-celebratedforeigner made his last move— into the other world . For

two months, he was ke t alivemerely b'lzart and the kind

attentions of anold anworthy friend 0 the last momentof his existence he enjoyed, thoughnearly seventy years of

a strong and retentive memory, which long rendered

far-

l

emmkable inthe circle of his acquaintance inthiscap!M. Philidor was a member of the chess-clubnear thirty

mm,and was amanof thosemeek qualities that renderednot less esteemed as a com on,

extraord'

skill in o chess, for which he was

pro-eminent yIt is only two months since he played two mos blind

fold at the same time, against two excellent c ces-players,

and was declared the victor. He was, besides, anadmirablemusicianand a com oscr.

What seemed to veshakenthe poor oldman’sconstitution, and to have precipitated his exit, wasnot bein

gable

to

1procure a passport to returnto Paris to see his y

w o reside there), before he paid the last debt ofnature .

his refusalwas rendered stillmore bitter, onits beinintimated to him that he was denounced by the blood- t iratycommittee of French Revolutionists as aM ad character .

F rom the moment he was made acquainted with this cir~

cumstance he became a martyr to grief— his philosophysook him— his tears were incessant— and he sank mto the

grave.

”

CHAPTER VI.

THE AUTOMATON CHESS-PLAYER .

OnAutomata gum-ally Various clam s of Automate - Notice ofKampala :the inventor of the AutomatonC hem-

player—Originof this toyWindisch’

s account—Squationwasted by its performances—Visit to«bKanpelm ’

sstudy— TheAutomatondescribed—Mode ofexhibition—TheAutomatonat play

’

— TheAutomatoninParis—inLondon—Attemptsmade to get at do Kempelen's secret—Napoleonplays with the Auto

Automaton- This explanationver ified—M. Momet ’

s explanationAnecdotesof theAutomaton—Gamesplayed by the Automaton.

A m VII"0 ? m l aurora -nos , SIRS IN F RO NT, WI1HALL TB]

noons THROW“OP“ .

Pnomnu no contrivance of the fertile genius of maneverexcited so much wonder and delight for u wards of half a

C hess -player. e announcementuent productionof amachine which appeared so

to vary its Operations and modes of actionas to suit the

ever-varying circumstances of a game of ches s were sufi

cient to account for this excitement throughout E urope.

The results of automatic machinery ingeneral cease tointerest themind strongly so soonas the effects produced byit are clearly traced to well-established physical causes.

The wind which turns the sails of a windmill; the flowingst eam which

°

ves motionto a water-wheel; and the elasticsteam which e evates and depresses alternately a piston, are

“ ple results of self-evident causes. These prime movers

88 THE AUTOMATON CHESS-PLAYER.

may impart motionto more or less complicated machinery ,

so as to produce the variegated carpet which adorns our

rooms, or the sheet of paper uponwhichwe write, but still

the mind is satisfied that these results are produced bymachinery inmotion,whichmotionis imparted and sustainedby some well-knownforce. So also m machines which

imitatemany of the motions and attributes of animals, themind is soonsatisfied that the cause is mechanical, andresides withinthe automatonitself

,since by a slight obser

vationit is seenthat the automatonis adequate to the

performance only of a very limited routine of actionsare alwa s repeated, like the tunes ona barrel-organ,same or er.

Automate may be divided into three chimes— viz .,the

simple, the compound, and the spurious. The first class

com rises those insulated automate, themovements of whichre t from mechanism alone

,by the aid of which they

perform certainactions, and continue them so long as themoving force is kept inanactive state. As examples we

may cite the trumpeter ofMaelzel,the flute—player of Van

canson, the self-acting iano- forte, &c.

The second class incndes those automate which, like theformer are moved by machinery

,but possessing at the same

time a secret communicationwith humanagency , are

enabled to change the regular order and successionof theirmovements according to existing circumstances, and henceinsomemanner to assume the character of living beings.

The third class contains those automate which, under thesemblance only of mechanism

, are wholly directed andcontrolled by a concealed humanagent .

Now itmust be at once perfectly clear to every intelligentreader that the AutomatonC hess- player cannot belong tothe first class, because, great and surprising as the pow ers of

mechanism assuredly are, themovements which result from

it arenecessarily limited and uniform . Those who knowanything of the difficulties and intricacies of chess will

readily admit that intellect, and that ofno meanorder,is

alone equal to the task ofmanaginglthis game ; that m achi

nery cannever usurp andexercise t e facultiesofmind ; andtherefore, that the C hess Automaton, which inits dayencountered, and oftenconuered

,some of the first-rate

professors of chess, cannot e admitted into the class of

simple automate. Its claims to a place either inthe secondor inthe third divisionthe reader will easily decide uponafter a erusal of the following details.

The hess Automatonwas the inventionofWolfgang de

NOTIC E Oi’M. D E KEMPELEN. 89

Kempelen, anative ofHungaryaulic councillor to the

royal chamber of the domains 0 the Emperor of Germany,and celebrated for his skillinmechanics. Inthe year 1 769de Kempelen, being at Vienna onbusiness relative to hisofi ce, was ordered by the court to be present as a scientificw itness ofsome magnetic games or performances which onePelletier

, a Frenchman, was to exhibit before the EmPressMaria Theresa. During the exhibition,HerMajesty havingcondescended to enter into familiar conversationwith doKempelen, he was induced to hint that he thou

ght himself

capab e ofmaking a machine, the sheets of whic would bemore surprising, and the deceptionmore complete thananythingHerMajesty had seenduring thismagnetic exhibition.The empress took him at his word, and expressed so earnesta desire to see his roject carried into executionthat she

a promise o him to set about it immediately . Hekept his word, and insix months appeared againat the0

11m of Vienna incompany with the AutomatonC h

P yer.

It may readily be supposed that this automatonexcitedthe admiration d surprise of every one who either saw it

with it . Anaccount of the inventionsoona great part of Eumpe ; thenewspapers and

journals were eager to announce its marvellous powersthe smallest scrap of informationrespecting it was read with

and the result of all this excitement was, that theseaccounts become daily more exaggerated and contradictory .

intimate friend of the inventor, who had repeatedtn the rformances of the au

tomaton,expresses himself in e following high

-flownThe boldest idea that everentered thebrainof amechanic

was doubtless, that of constructing a machine to imitateman

, the master-piece of the C reation, insomething morethanfigure and motion. M. de Kempelennot only conceived this idea, but also carried it into execution; hisC hess-player beingbeyond contradictionthemost astonishingautomatonthat ever existed . Never before did any mere

mechanical figure unite the sis matrixwith the sis directriz,or, to speak more clearly, the power of moving itself indifferent directions, as circumstances unforeseenand dc ending onthe will ofany personpresent might require. as a

woodenfi ever before seenlaying at the most difficultand comp

'

cated of allgames, frequently beat'

the momconsummate adept, and setting him right if ever e deviatedfrom the rules of the game?

”

cums.

90 THE AUTOMATON CHESS-PLAYER.

The same writer published a series of letters to a frienddescriptive of all the externals” of the C hessA

These letters are extremely interesting,not only onaccountof the admiring simplicity with which he speaks of the

inventionofhis friend ; but for the informationthey give asto the mode ofexhibitionadopted by de Kempelenfrom the

very first. Our author writes to a friend at a distance fromVienna, and begs him to set bounds to his curiosity, “forhe

cannot grati it and although he admits the automaton“must be a eception,” yet he is forced to the humiliatingavowal that it is as incomprehensible to himself as to the

ersonhe addresses.” He is, however, ke t incountenancey the fact that others endowed wi much superiorknowledge and quicker penetration, have not beenmore

successful thanhimself indeveloping the mystery .

” Andthengrowing warm with his subject, he exc

'

ms, It is adeceptionl—granted : but such anone as does honour tohumannature ; a deceptionmore beautiful,more s rising,more astonis thanany to be met with inthe arentaccounts ofmat emetical recreations.

The first idea that strikes you ona superficial examinationof this chess-player

,

”continues this writer, is a

suspicionthat its movements are effected the immediateimpulse of some humanbeing.

\I my fell into thismistake. WhenIfirst saw the inventor shovehis automaton,fixed to a kind of large cupboard out of analcove, Icouldnot any more thanthe rest of the company avoid sus ectingthat this cupboard certainly contained a child, whic fromthe siZe of it Isupposed might be from tento twelve yearsold. Many of the company were so full persuaded of it

that they madeno scruple to declare it. assented only insilence to their Opinion, but wasnot less confused whenIsawM. de Kempelentuck up the dress of the automaton,take out the drawers, and openall the drawers of the cupboard, and inthis situationroll it round the room onthecastors which it goes upon, turning it inevery directionsoas to enable each personpresent to examine it onall sides.

You may be sure that Iwasnot a little eager to gratify my

The titleof thisbook isremarkable, and displays the spirit of credulitywith which itwas written. It is as followr — luamuar s RE ASON ; or Acircumstantial Account of that astonishing piece ofMechanism, M. de

Kempelen? Chen-

player . ByM. Cnaat ss Gorru sa onWmnrscn. This

gentlemanis spokenof,elsewhere, as the respectable author of TheHistoryand Geography of the Kingdom ofHungary, and the intimate friend andcountrymanofM. deKempelen.

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92 THE AUTOMATON CHESS-PLAYER.

by whichmeansit is easilymoved from oneplace to another.

Behind this is a figure, the size of life, dressed intheTurkish fashion, seated ina woodenchair, attached to thechest

, and whichmoves with it whenit is wheeled aboutthe room . This fi re leans with its right arm uponthetable, and inits eft hand holds a Turkish pipe, intheattitude of a personwho has just beensmoking. It plays

with its left hand,— a circumstance which the inventor as

was due to his owninattention, andnot discovered until e

work was too far advanced to rectify it . But what doesit signify,” asks Windisch, whether Titianpainted with

his left hand or his right?”Before the automatonis a

chess-board, screwed downto the table, to which its eyesare constant] directed . M. de Kempelenopens the frontdoor of the chest and takes out the drawer at the bottom.

The chest is divided by a partitioninto two uneqlual parts :

that onthe left hand is thenarrower ; it occupies '

ttle more

thanone third of the chest, and is filled with wheels,cylinders, levers, and other pieces of clock -work . Inthatonthe right are also seensome wheels, spring-barrels, andtwo horizontal quadrants. There is also a box, a cushion,and a tablet, onwhich are traced some characters ingold .

The inventor takes out the box, and places it ona smalltable standingnear themachine: he also removes the tablet,which is to be placed onthe chess-board as soonas the gameis over

, to enable the automatonto answer such questionsas may be put to him .

Inthe drawer abovementioned are red and white chewmenona board, with which the are takenout and placedonthe side of the chess-board . here is also a small oblongbox, containing six small chess-boards, each showing theend of a game. Any one of these situations being set uponthe automaton’s chess-board, he undertakes to win,whetherhe

Iplay

with the red or the white men.1 1 s owing the interior of the machine the inventornot

only opens the front but also the back doors of the chest,by

which the wheel-work becomes so exposed as to afford themost thorou h convictionthatno living beingbe concealed; and inorder to make this exposure morecomplete, the inventor generally places a wax light inthechest, so as to illuminate every corner of it. He thenliftsup the automaton’s robe, and turns it over hishead, so as to

display the internal structure, which consists of levers andwheel-work, of which the body of the automatonis so fullthat there isnot room to hide a kitten. E venhis trousers

EXHIBITION OF THE AUTOMATON. 93

have a little door inthem,which is opened to remove even

the shadow of icion.M. deWin assures us that the inventor doesnot

shut one door beforehe 0 another, N0,you see at one

and at the same time, thinsuncovered automaton, with his

garments turned . up, the drawer and all the doors of thechest open.” Inthis state the inventor moves it about, andsubmits it to inspectionAfter allowing sufficient time to examine it closely, he

shuts all the doors, and places it behind a balustrade, which

prevents the company from shaking the machine by leaninguponit while the automatonis at play, and leaves room forthe inventor to walk about, and approach the cupboard oneither side, but henever touches it except to wind up theworks. He thenintroduces his hand into the body of theautomaton, inorder toarrange the movements properly,andconcludes by lacing a cushionunder that arm of the automatonwith w '

ch he plays.The inventor places the little box (before spokenof)ona

tablenear the machine : there is, however,no visible com

municstionbetweenthe automatonand the table or thelittle box ; but while the automatonis playing, the inventorfrequently opens this box, to examine its contents, whichare unknownto the company . It was generally supposedthat this box was merely a plancalculated to distract theattentionof the spectators, but the inventor assuredMdeWindisch that it was so indispensable that the automatoncouldnot play without it .We arenow prepared to see the machine lay. When

the automatonis about to make a move he his armleisurely, and directs it to thepiecewhichhe intends to playhe suspends his hand over it,— 0pensthe fingers— takes it,places it onthe proper square—and againremoves his armto the cushion. Incapturing a piece he first removes hisadversary’

s man, and thensubstitutes one of his own. Aslightnoise of wheel-work, somewhat resembling that of a

noise ceases as soonas amove is made and the automaton’sarm replaced onthe cushion; and not till thencantheadversary make a fresh move. The automatonalwa

claims first move,and moves his head so as to look over e

whole board whenever the adversary makes a fresh move.

Henods his head twice whenthe adverse queenis attacked,and thrice whencheck is givento the king .

If the adversary makes a wrong move, the automaton

94 THE AUTOMATON CHESS-PLAYER.

shakeshis head, returns the ieee to the uare from which

it hadmoved, and thenplayslrismove ; so t at the adversaryloses hismove as a punishnmnt for his inattentionor wilfulmistake : this oftenhappens, from a desire onthe part of

the player or the com any recent,to see the automaton

detect a mistake, and hike vantage of it . This conditionis one among others which facilitates the winning of games

by the automaton.The inventor requests thosewho playwith the automaton

to be careful to place the pieces exactly inthe middle of the

squares, lest the automatoninopening his hand to take thepiece should miss it, or receive some damage. A move

once made oneither side isnot allowed to be retracted .

Themachine cannot make above tenor a dozenmoves

without being wound u again but itv

is evident that thesimpll

jeDOPerationof win up the springs of the arm of the

mac e canproduceno other effect thanthat of restoringto it the via matrix, without having any influence onits

Inthis latter quality consists the principalmerit of the machine, and here also lies the mystery : forthe operationof winding up is the only one the inventor is

rm, and this the only time whenhe touchesMathematicians of all countries have ex

amined it with themost scrupulous attentionwithout beingable to discover the least trace of its mode of operation.”

I have frequently beeninthe apartment” (continuesWindisch) where the automatonwas at play, with twentyor thirty more persons who kept their e es rivetted ontheinventor. We never saw him a proac withintwo or

three yards of the machine,nor o aught else thanlook

occasionally into the box before mentioned ; nor ever

betray himself by the least motionwhich to us appearedca able of influencing the machine inany shape whatever.

”

0 show also that magnetism hasnothing to do with themovements of the chess automaton, the inventor permitsany one to place the most powerful magnet onthe

machine.

The automatonalso performs the feat of moving the

knight over the sixty-four squares of the chess-board inasmany lea 8 . One of the spectators places a kni ht onanysquare : t e automatonimmediately takes it

,anobservin

the knight’s peculiar move,begins at the square occu i

by the knight, and causes the iece to cover the sixty our

squares inthe samenumber 0 moves without missing one,and without touching one square twice: this is ascertained

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96 THE AUTOMATON CHESS-PLAYER.

detractedfrom themerit of the machine, if suchwemay callit nor did it tend to elucidate the mystery which was thegrand cause of the excitement which everywhere attendedthe presence of this automaton.D e Kempelenfound the automatonso profitable

bitiou inParis that he determined to visit London, whereheengaged apartments at No. 8, Savile Row,

BurlingtonGardens.At this time chess was extensive] pat and pla ed

by the up r classes of society in ugland . Philidor

formed a chess- school around him,and excited public

attentionb the blindfold games for which he wasso cele

brated. ese circumstances contributed to make the

chess-automatona subject of the greatest curiosity ; andalthough the sum of five shillings was charged for admissionto see it,yet hundredsand thousands ofpersons crowdedto the exhibition.Mr. Twiss, inhis amusinwork onchess, informs us that

he was present onsome 0 these occasions, and conversedwithM. de Kempelen, who once remarked, that the most

rising circumstanceattendingv

his automatonwas, that itha beenexhibited at Presburg, ienne

,Paris, and Londo

to thousands, many of whom were mathematicians anchess-players

,and yet the secret by which he governed the

motionof its arm, wasnever discovered . He prided himselfsolely onthe constructionof the mechanical powers bywhich the arm could perform tenor twelve moves : it thanrequired to be wound u like a watch ; after which it was

capable of continuing t e samenumber of motions. The

automatoncouldnot play unlessM. de Kempelenor hissubstitute wasnear it, to direct hismoves. A small

'

squarebox during the game was frequently consulted by the exhibitor ; and herein, (saysMr. Twiss,) consisted the secret,which he told me he could inamoment communicate. Hewho could beatM. de Kempelenwas of course certainofconrqluering the automaton.”is last assertion, however, is byno means true, as we

shall see hereafter.

TheMonthly Review for April, 1 784, has the followingremarks Many are simple enough to affirm that thewoodenmanplayed really, and by himself (like certainpoliticians at a deeper game), without any communicationwithhisom ituent. It appears, indeed, asyetunaccountableto the spectators, how the artist imparts his influence to theautomatonat the time ofhis playing, andall the h theseswhich have beeninvented by ingenious and learns mento

m s AUTOMATON IN LOND ON. 97

unfold this mystery are but vague and inadequate ; butwere they evenotherwise, they rather increase thandiminish the admirationthat is due to the surprising talents anddexterity ofM. de Kempelen. ”A pam hlet was at the same time ublished inLondon,

entitled, AutomatonChm erimm and D etected;inwhich the author says see a foreigner come amongus, and demand five shillings a-piece admittance, to seewhathe calls anautomatonchess-

player. Anautomatonis a selfmoving en

gine, with the principle of motionwithinitself

but this ese-player isno such thing. And therefore tocall it anautomaton

, is animposition, and merits a publicdetection; especially, as the high rice of five shillings foreach person’s admission, induces e visitor to believe that

performed by mechanic powers

when, infact, the whole elusionis supported by invisibleThe opinionbecame very commonthat the automaton

was moved by a concealed player, but where and how hewas concealed after the apparently completeexposure of theinterior of the machine, was as great a mystery as ever.

One pamphleteer declares that he saw the ermine trimminof the Turk

’s outer garment move once or twice, when e

figure should have beenquitemotionless ; andheis convincedthat there is a concealed confederate ; for,

”sa he, they

only exhibit the automatonfrom 1 till 2 c'

c ock, becausethe invisible player couldnot bear a longer confinement :for if he could, it cannot be supposed that they wouldrefuse to receive crownsfor admittance&0m 1 2 o

’clock to 4,

instead of from only ] to 2.

The automatoninthe course of its travels visited, byspecial invitation, thecourt of Frederick theGreat, at Berlin,where it conquered the monarch and his whole court.

E ager to possess himself of the secret, Frederick for a largesum of money bought the automaton, and ina secret

interview withM. de Kempelenlearnt the whole art andmystery of this wonderfulmachine. Certainit is, that likea child who cries after anew toy andno longer re

gards it

whenM onhas shornit of itsnovelty, Frederic threw

M. de Kempelendied at Vienna in1 804. In1 806 whenNapoleonoccupied Berlin, we find the automatonchess

player under another master, and prepared againto astonishthe world . Napoleonplayed a game with the automaton.

98 THE AUTOMATON CHE SS-PLAYER.

After a few moves he purposely made a false move ; the

automatoninclined its head, replaced the iece, and made asignto Napoleonto play correctly. He '

d so,and after a

few moves, againplayed a piece incorrectly . Onthis

occasionthe automatonremoved the piece from the board

and played its ownmove. Na oleonwas highlyamused,

and after a short timemade a f move for the ird time,whenthe automatonswept the pieces from the board anddeclined to continue the game.

Weneed not trace the progress of the automatoninasecond tour that it made through various cities of E urope,untilwe againfind it inLondonin1 8 1 9 . We will merelyst0p for a moment at the C ourt of the King of Bavaria, to

relate ananecdote of Prince E ugeneBeauharnais, the king’

s

son-in-law, told so amusingly byMr. GeorgeWalker

Eugene was fond of chess, and money was of little

object . He couldnot resist the temptationof acquiring thesecret whichhad set the wits of the world at defiance for somany years ; and for the second time was the automatonchess-player sold like a slave for a price. Thirty thousandfrancs were asked by the proprietor‘

, and this sum was unhes

l

i

i

tatingly paid by Prince Eugene for themachine andits e

Abndnow themoment has arrived whenthe treasured

mystery of de Kempelenis tobe againopened at the goldenbidding of ro alty. The veil is about to be raised and thecuriosity of the kinto be gratified . The courtiers are dismissed the room, t e door locked by Eugene, and everyprecautiontakento ensurehis acquiring the sole knowledgeof the hiddenenigma . The prince is alone with the demonstrator ; the latter, unhesitatingly and insilence, flin opensimultaneously allthe doorsof the chest ; and Prince ugenesaw— what he saw !

”

E ugene, somewhat like hisro alpredecessor inthesecret,found that whenonce revealed

,the automatonwasnot worth

keepin He therefore acceded to the roposal of M.

Maelze to returnhim . themachine onconitiou of payinginterest for the purchase mone The automatonagainproceeded onits travels— visi Paris

,and was received

with enthusiasm, and by the year 1 8 1 9 it wasblished inLondoninSaint James’

s Street.C rowds of visitors flocked to the exhibition; the perio

M. Maelzel, the celebrated fabricator of the musical metronome andother worksof art.

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1 00 THE AUTOMATON CHESS-PLAYER.

lyse the automatonchess-player. Taking advantage ofso much as was seenand heard at the exhibition, and withthe assistance ofnumerous drawings, his reasonings amountto the following simple conclusion: that the man, whoreall played thechessautomaton, wasconcealed inthe chest.

enow proceed to lay before the reader anabstract ofMr. Willis’

s clever work .

At the commencement of the exhibitionthe spectatorsare shownthe interior of the chest, which appears to be so

occupied by pieces of machinery that the concealment of ahumanbemg seems im

'

ble. Whenthe movements ofthe automatonbegin, e beholders, inthe first momentsof surprise and inthe absence of any ostensible livingcause,naturally refer the efl

'

ect to the mechanism which

has beenexhibited, because the movements irnmediatel

follow the familiar actionand well-knownsound of w ining up clock-work, and are skilfully aecom

'

cd by thetingnoise of movinwheels. But still t ere isno evi

ggrce that the conceal machinery exerts any influence onthe arm of the automaton, or that themachinery is ever inmotionat all. The machinery at rest is freely exposedthe chest is ostentatiously opened, and the semblance at

least of wheels, and pulleys, and levers, is submitted to

inspectionwithout reserve ; but whentheir realit shouldappear, and their connectionwith the automaton mademanifest, the doors are carefully closed and no further

examinationpermitted. The glaring contradictionbetw eenthe eager display onthe one hand and studied concealmentonthe other canonly be reconciled by considering the

exhibitionof the mechanism as amere stratagem, calculatedto distract the attentionand mislead the judgment of thes tators. This opinion

,too, receives further sup rt flom

tbzc

undeviating mode of disclosing the interior of t e chestdoors and drawers are opened rnone uniform order

, inwhichno variationhad ever beenobserved . The mode

, too,

of winding up was suflicient to convince a skilful mecha

nist that the axis turned by the key was quite flee andunconnected either with spring or weight, or any system of

machineInall

,

machines requiring to be wound up two conseuences are inseparable flom their construction: the first is

first inwinding up the machinery, thekey is limited inthenumber of its revolutions ; and the second is, that somerelative roportionmust be constantly maintained betwixtthe wining up and the work performed, inorder to enablethemachine to continue itsmovements. Now these results

THE AUTOMATON D ETE CTED . 1 01

arenot observable inthe chess-player ; for the automatonwill sometimes execute sixt - three moves with only onewinding 1 1 at other times t e exhibitor has beenobservedto repeat e winding up after sevenmoves, and evenafterthree moves ; and once, probably flom inadvertence, withoutthe interventionof a single move: whilst, inevery other

instance, the key appeared to perform the samenumber ofrevolutions ; evincing thereby that the revolving axis was

unconnected with machinery, except, perhaps a ratchet

wheel and click, or some similar a paratus, to enable it toroduce the necessary sounds. anconsequently that theey, like that ofa child

’s watch, might be turned whenever

the urposes of the exhibitionseemed to require it. ”

enow come to examine the interior of the chest, andby the assistance of several diagrams, the reader will have

no difliculty inunderstanding how a humanbeing was

concealed withinthe machine, although it was apparentlyhrowncompletely opento public inspectionbefore the

automatoncommenced play. The letters of referenceapplyto all the figures .

It willbe first remarked that the drawer 0 (figs. 5 and 6)doesnot, whenclosed, extend to the back of the chest, but

leaves behind it anOpenspace O, which isnever seenby the

A aoruw rnar. SE CT ION 0 ? TH! CHEST, AS am M I AN VI .

1 02 THE AUTOMATON CHESS-PLAYER

spectators. The smaller divisionof the chest, the flontdoor Of which is seenopenat A (figs. 3 and 7 is dividedinto two parts by a screen1

, fig. 3, where t e reader issupposed to look downupont e internal arrangements,)

F ig. 4.

A. VERTICAL SE CTION OF THE CHE ST.

F ig 5.

A VERTICAL SEC TION O F THE CHE ST , WITHTHE FALSE BACK RAISID .

SID E VIEW.

uponahinge and so constructed that it closes uponthemachineryn, the same instant the door a is closed : thismachinerynoccu ies the front part, and the hinder part xis empty ; but it c unicateswith the Openspace 0 behindthe drawer. The back of the greater divisionof the chest is

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1 04 THE AUTOMATON CHESS-PLAYER.

the machine about the room. No notice is takenof this

(

l

loor being locked, because the keys are wanted for otherocks.

The door a being secured and the screenI closed, the

exhibitor, leaving the door A open,proceeds to Openother

parts of themachine. The drawer s isnext Opened

AN nc VA'rrON or r un: raos r or run: cassr ,

snowmo rns concm xnPLAYE R inms rrasr POSITION wuss ransoonA rs 09 3 m m

,

apparent purpose of showing the chess-men,cushion, and

counters, contained init ; but the real Object is to give the

pla er time to shift his positionfrom that showninfig. 7to

;at seeninfigs. 7 and 9, 1

nd to replace;tl

he false back

an artitionre to to t e o snino t e t cu

boar It willbgmsebn

r

if

hat the bgdy ofthe livignr

g

ea

playg;is now inthe small com artment betweenthe screen1

(fig. 3)and the door B, bo of which are closed, while hislegs are contained inthe openspace 0 behind the drawer O,and thus the door A canbe left openwith impunity . The

great cupboard being Opened, a glance Of thee e is sufficientto show thatno personis concealed init : antomake thismore sure a li hted candle is held at a door which 0 us at

the back . TEe doors A c 0 being left open, the c est iswheeled round to show the trunk Of the figure ; the door 1 )

(fig. 3)is opened, and thebunch of keys allowed to remaininit,probably to remove any suspicionwhich may have

ariseny locking the door a. The drapery of the figure isthenraised, and two doors, one inthe trunk and the other

THE AUTOMATON D ETEC TED . 1 05

withdrawshis legsflomwhich he cando themore readily while it is left Open.

A SIDE E LEVATION OF THE SAME , WITE THE D EA" . OPEN.

O

m E LE VATION , SHOWING THE N NC E ALE D PLAY ER IN E IQ SE N ND

M ON , WHE N THE ” 03 B IS CLOSE D AND A C C OPE N

Inall this routine the spectator imagines that he hasthe whole of the interior of the machine, and

fee convinced that the partsnot exposed are full ofmachinery : whereas several parts havenot beensho

l

v

i

vnat all,cams.

1 06 THE AUTOMATON CHESS-PLAYER.

and evenwhenall the doors except a are open, about onehalf of the chest is quite excluded from the sight.

The drawer 6 being pushed inand the doors A c 0 closed,

the exhibitor occupies some time inadjusting themachinery

F ig 10.

A FRONT E LEVATION , SHO ‘VIVG THE C ONC 'CALE D PLAYE R IN HISSUPPOSED THIRD POSITION.

F ig I] .

A SIDE E LE VATIO N 0 ? THE SAME .

at the back ; duringwhichMr. Willis supposed the player

to assume the positronshownina front view infig. 1 0, andinprofile infig. 1 1 ; that inthispositionhishead being above

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1 08 THE AUTOMATON CHESS-PLAYER.

have derived the following information, whichfore, inevery respect, be considered authentic.

It was formerly stated that, d the

the interior mechanism, the exhibitor old a

dle to several parts of themachinery, and thatcandle burning onanadjoining slab : the reasonfor this wasto prevent anynotice being takenof a wax taper intheinterior of the machine, should its rays chance to flash out

during the exhibition. The wax taper furnished the concealed player with light ; and he was supplied withcertainopenings which didnot appear,and by others

seemed necessary to the constructionof the outer chest,or to the trunk of the Turk .

Withinreach of the concealed player were,first, a handle by which he could guide the arm of the automaton;secondly, anelastic spring for moving its fingers ; and,thirdly, a cord incommumcationwith bellowsfor producinga sound to imitate The

{ Irinci contrivance

requiring explanationis, that by w’

ch e player was

made acquainted with the moves onthe automatonchemboard, and thus enabled to repeat them ona smaller chessboard of his own. The concealed player is seated inthat

mf the chest immediately under the automaton’and ma be supposed to be looking u to the roof of

hisnarrow ce There, onwhat may be called hishe sees a representationof that chess-board, each squarepainted to correspond with the square above ; the only difference being, that, inthe automatou

’s board, some of the

squares are occupied by chess-menand the rest are empty,while, inthe board beneath, every one of the squares isnumbered and furnished with a small metallic knob.

Every chess-manonthe automaton’s board contains a smallmagnet, and eachmovemade with any one sets inmotionthe metallic knob belonging to the squares flom and towhich such piece is played .

To illustrate this actionmore clearly, let the reader so

pose himself placed under a table both surfaces of Whig;are respectively divided into sixty-four correspondingsquares : to each square of the under-side of the table issuspended by means of a very short thread a little ironball.Now,

as am et exerts itsattractive force for unmagnetisedironand stee through any knownsubstance, (except, of

”ii Thislast additionwasmadebyM. deKempelen. previous tohissect-dar.

THE AUTOMATON D ETECTED . 1 09

course, through ironand steel,) it’

1 s quite clear that thewood of the table willnot prevent the

thmaginets contained

withinthe chess-menfrom attracting th ttle balls, andthem, as it were, fixed to the under surface of the

table : ut, as there are only thirty-two chessmenactuallyonthe board at the commencement of the gunit followsthat thirty-two balls are attached to the wood o? the table,while the other thirty- two remain

.

suspended by theirthreads. As

f

soonas one particular piece is takenup forthepu

rpose of amove, it is obviousthat themetallicm mediately be ow it, beingno longer subject to the

magnetic attraction, falls as far as it is permitted by thelength of the thread which supports it, and thus intimatesto the personbelow that the square just occupied bpiece isnow vacant — but the piece being placed onano er

square, the knob below that square starts up and thus indicates the precise square to whichthe piecewas played. Theconcealed player repeats the move ona little board, withwhichhe 1 s furnished

,andwhich 1 snumbered to correspond

with the board onthe under-side of the table ; this board 1 8lingconstructed in

be

th

sgfr

pannerat the chess-l

ipids

.

used

th

intravel, so as to from e dauger o a e pieces

wt . Onthis board he also makes his move, andesnote of thenumbers of the uares from and to which

his piece is pla ed — he thensets e arm of the automatoninmotion, es up the piece he designslittle knob falls down— he plays the pieceintended, and the little knob rises up;— and

the reader a more perfectnotionthanhas yet beengivenof themode of working them tmnaton. We havenothing more to say respecting themechanicalpart of this strange deception, and therefore begto conclude ournotice with a translationof the latter halfofM. de Tournay’

s very amusing article.M. Maelzel having entered into anagreement withM.

Mount, aneminent chess-player, to conduct the interml arrangements of the automaton, the two confederates

1 1 0 THE AUTOMATON CHESS-PLAYER.

whichhe permitted to his opponent ingiving him thepaand move.

The exhibitor and his assistant went onfor some time inperfect harmony : accounts were settled betweenthem at

every halting-place, and each was perfectly satisfied . It

happened, however, onone of these occasions that M.

Maelzel remained debtor to his assistant for a considerablesum,

and as weeks andmonths passed by he stillhad somepretext for omitting its payment. At lenh a year had

fixed, without producing the desired set sment, andM.

out et, weary of thisdelay,found themeans of frighteninghis companioninto his proper duty.

The automatonwas thenat Amsterdam ; the King ofHolland sent one morning to engage the exhibition-mo

at the same time ordering a sum equal to three thousanfrancs to be paid toM.Maelzel. The latter went jo yto announce the good news to his associate —they teakfasted together, and were delighted at the thou ht of entering the lists with a crowned head. M. lzel thenhastened to make such preparations as should make the

exhibitionas brilliant as possible. The performance was tocommence at half-past twelve at noon. Twelve o

’clock

arrives, and it is time forM.Mouret to take his stationinBut he has not yet arrived, and M. Maelzel

hastens to find out the cause of the delay. What is hissurprise to findMouret inbed, and seized with a convulsivetremblin “What do I see? what is the matter?

”ex

claimed lzel. “Ihave a fever,”said hisartfulassistant.

— “Why, you were ve well just now!” Yes, but thisis a suddenattack.

”king will be here presently.

”

“Hemust go back again. But what canIsay tohim?”Tellhim theautomatonhas got the fever. No more ofthis folly.

— “I don’t wish to joke with you.

”— “Thenpray get up.

— “Im ossible.

”Let me call a hysician. ”

— “It is ofno use.

’Is therenomeans of subduing this

fever?” Yes, one only.

”— “What is iti” To pay methe 1 500 francs you owe me. You shall havethis evening2’ No,no, this moment.” -M. Maelzel sawtoo plainly that there wasno alternative, and went to fetchthe money. The cure was wonderful; the automatonwasnever so attractive before. TheKing didnot actually labut he advised hisMinister of War, who played forhim.

The pair were completely beatenby the automaton, but allthe blame of the defeat was

, of course, thrownupontheMinister.

Another anecdote is related of the automatonto the fol+

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CHAPTER VII.

m a m anr’snova.

Movesof the Pieces - Leaps of theKnight over the slxty-fonr squaresof theboard insixty-four moves—Attempts to solve this remarkable problem

by celebratedmathematicians—Examplesonlimited systemsofsquares—Solutions of the Problem onthe C hem-board— D r . Roget

'

s solufim—The power of endlng aa well as beglnnlng onany glvensquare

WHILE studying the various powers of the ieces at chess,we cannot fail to be struck with the remar ble

the knight : we have thought it probable that themove of

this piece originated ina compound of the shortest movesof the bishop and rook ; but inmodem chess this iece is

the onlyone which is allowed to move over the eads ofother

p‘leces. The peculiarpowerwhich this privilegegives

to the night inactual lay, it isnot our purpose here todiscuss: another interesfih usationwill occupy attention.A little considerationw ’

s ow that the king, providednoother piece were onthe board, could pass insuccesfiontoevery one of the sixty-four squares, either with or with

out going twice over the same square: the ueencould dothe same, and so likewise could the rook . ut the pawn,as it canonly move 8 ht forwards (except incapturing,and eventhenit moves o liqnely forwards), cannot traversethe sixty-four uares ; nor canthe bishop do so, for oneconsequence of

mhis diagonal move is to confine him to

squares of one colour : consequently, he cantraverse onlythirty-two squares. The knight is yet remaining, and a

questionarises,- C anthe knight traverse the s1 xty-four

squareswithout stepping onanysquare twice ? The solu

tionof this questionis one of t emost remarkable circumstances inthe history of chess; for as it was soonfoundthat the problem couldnot be solved by mere inspection,the difficulty attendin

git drew the attentionof ingenious

persons towards theenjcet . D ifficulties act uponsclentificand ingenious minds rather as incentives thanas discouragements; and thisproblem of the knight’smove attractedthe notice of first-rate mathematicians, who might nototherwise, perhaps, have paid any attentionto chess and itsassociations. Among the distinguished menwho haveendeavoured to solve this problem are Euler, Bernonill'

kMairan, Demoivre,Montmort,Willis, and Dr. Roget ; anwe propose inthe present chapter shortly to consider theresults at which they arrived .

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1 1 6 rm: xmcsr’sMOVE .

The angles represent the variouand the lines, his ths from one square toginning withfig. 1 a),we see that if thetourthe left-hand bottom corner, all the twenty-five squares insuccessioncanbe traversed without any one being covered

twice; and the route terminates at the central square. Infig. 1 (b), the tour commences at the right

-hand bottomcorner square, and, after extending over the thirty

-six

squares insuccession, ends at the squarenext above theinitialsquare.

"Infig. 1 (c), the route is over all the fortv

and the terminal square is at afrom the initial one.

F ig . l (c).

Them examples show that the knight may make thetour of a chess-board containing a smaller number of

squares thanthe regular board : and there is little doubtthat it might also be done ona board of more thansixtyfour squares' . These imaginary boards have helped to

macsystems whereby the problem canbe solved ona redd.

We willnow °

ve three diagrams, representing threemodes of solving t e problem ona regular chess-board : andthe reader would gaina clearer idea of the subject byactually performing the operation: he will do well tomark each squarewith a counter, as the ht steps onit,inordernot to go twiceonthe samesquare. nthefirst diagram we shallcommence at one corner and terminate stanother inthe second,weshallcoverallthe thirty-two squaresof one half of the board, before proceeding to the other

EXAMPLESor runrm cnr’s LEAP. 1 1 7

at havingingsymmetry, but less so thanone or two

which hereafter give. Infig. 2 (b), the squares

are separated into two portions, one of which is traversedbefore the knight crosses over to the other. Fig. 2 (c),

1 1 8 THE KNIGHT’S move.

mence the tour onany square : incommenced at the right

-hand bottomthe knight’s third square ; but any other initial square

might have beenselected, because theroute is aninterminable one, re-entering into itself.

Fig . 2 (cl.

Many ether ingeniousmodeshave beendevised, some of

whichwill benmicedhereafter ; butno satisfactory attem t

to give a general solutionto the roblem had been e

public, until the month of Ap 1 840, whenD r. et

communicated a short but admirable paper to the PMsaphz

'

calMagazine, unfolding a method by which the problem could be solved inany form, that is, by beginning at

any givensquare, and terminating at any other givensquareof the opposite colour". We willnow attempt to explainthis ineniousmethod.

Int e first place, thereadermust conceive theboard to bedivided into four quarters, of sixteensquares each, by tw o

lines passing through the middle at right anice to eachother, and parallel to the ed es of the board. henselecting any quarter, it will be cund that the sixteensquaresmay be divided into four systems, each of which consists of

four regular knight’s moves. These systems are sha ed,

two as perfect squares, and two similar to the rhom us,

1“Since the knight , at each move, goes to a square of a diflerent colourfrom that which he before occupied, all the odd squares are of the same

colour as the initial square, and all the evensquaresmust be of the oppositeconsequently the sixty

-fourth square, which is the terminal one,

must always be of the opposite colour to the initialone.

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1 20 rue KNIGHT’SMOVE .

Fig . 4 (b).

after having traversed the sixteensquares of one system,

pass onto another system ? He :cando so underconditions: he canass from a square to a diamondor from a diamond

)

to a square system : butnotdiamond to a diamond, or from a square to a square.

Moreover, the sixteenth, or last square of each

ought to be asnear the centre of the board as possible, srnce,if it be at ornear a corner, the passage to another systemmay be difi cult, or evenimpossible. If we examine fig .

4 (a), we shall see that, beginning at the corner uare, theterminal one of that system is such as to allow t e knightto step onto either of the uare s stems, there being a

choice of four moves, of whic two ong to each of thes

quare systems : similarly, from the terminalsquare infig . 4

(c),we canselect four squares to move to, of which two

ong to each of the diamond s stems.If thenecessary precautions e attended to, it willnow

be evident that the problem may.be solved by themethodunder consideration. Let the initial square, for example,be inone corner : it will thenbelong to a diamond system .

After traversing the sixteensquares of that system, theknight passes to a square system,

which is succeeded bythe other diamond, and this by the other square, whenthetour terminates. A little practice will give thenecessaryfacility, provided the player attends to these two poinlst, to complete the sixteensquares of one system beforehe passes to another : 2nd, to terminate each system rathertowards the centre of the board thantowards one corner.

Generally speaking, he may pass round either to the right

1 22 THE KNIGHT’SMOVE .

squares of the first system. We will illustrate this b a

problem . Required : to commence at the kins roo’a

uare, and to terminate at the king’

s bishop’s 6 square.

?hese two squares belong to the same diamond syst em ;consequently we must pass onto another system before

completing this one. Inthe diagram (fig. 5)we beginat

the rook’s square, and cover only two squares of the dia

mond system to which it belongs: we thenpass onto a

square system, the 1 6 squares of which we complete : afterthis we traverse the 1 6 squares of the other diam ondsystem, and thenthe l6 . ot

‘

the other square ; finally , we

cover the remaining 1 4 squares of the first diamond system,

and end at the required position.If the initial and terminal squaresare respectively inthe

two diamond or the two square systems, another modificationis required, arising from the circumstance that theknight cannot passfrom one diamond system to the

nor from one square system to the other . Let the initialsquare be inone diamond s stem, and the terminal squareinthe other. C omplete t e first diamond system ; thenone of the square systems ; thentraverse a portionof thesecond diamond system, omitting that square which is tobe the terminal square, as well as some others ; after this,cover the second square system ; and lastly, traverseremainder of the second diamond . system, ending onthere uired one. By transposing the words uare

”and

ond” inthis descri tion, it will be availab e forvariety of the problem w

lliich begins inone square systemandends inthe other.

‘

If the initial square be ina diamond system and theterminal ina square one, or vicesend, the solutionis easierthanineithernf the cu es before supposed ; because all thefour systems canbe completely traversedbearing inmind that the second system traversed mustbe that which contains the terminal square.

We have endeavoured to impress onthe mind of thereader, that attentionto the respective systems inwhichthe initial and terminal squares are contained, is the pointof most importance ingivina general solutionto thevarieties of this problem. henthis is once attended to,minor difficulties are more readily surmounted. Amthese are, the quarter of the board onwhich the term '

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1 24 THE KNIGHT’SMOVE .

To show the interesting variety of which this problemis susceptible, we will give three additional representations, each of which possesses some peculiar propertycapable Of being committed to memory : they are partlyor inal, and artly altered from methods already known;anthe wholeof them difl

'

er from D r. Roget’

s mode of

solution. F ig. 6 is produced by attending to

this one simple rule —Kcsp as far from the of theboard aspossible. Inobedience to this direction, the tourof course commences inone corner,no matter which, andevery successive move is determined according to the distances, from the centre Of the board, to those squares opento the knight ; the greatest distance being always chosen.It might appear from this rule, that the terminal squareought to be stillnearer to the centre of the board thanit isseento be ; but it willbe found that inthe course of the precedingmoves, the four central squares havenecessarily become occupied ; since it happens insome cases that there isonl one square left Opento the knight, and that one mapro bly benear the centre Of the board. NO diflicul

zwifi

Occur, provided we adhere strictly to theone rule laid wn.F ig. 7 is roduced by adhering to the following rule

Play the {gilt to that s e where he has leader . Supposing the to be unoccupied except

flythe knight, the reader caneasily satisfy himself, that

eknight cancommand 2, 3, 4, 6, or 8 squares, according to his osition: if inone corner, he commands on] 2squares; if e be onthe knight’s square, he com 8 3squares ; if onthe bishop’

s square, 4 squares ; and as he

VARIETIESOF THE PROBLEM. 1 25

approaches the centre, the squares commanded are 4, 6, or

8 innumber. Now the rule requires, that inevery instancethe square chosenfor the knight’s leap be that which, ofall those remaining opento the knight, will give him least

power. If at any move there are two opensquaresof equalpower inthis respect, either onemay be chosen. Inmanypoints this solutronresembles the last, since, generallyr

king,theknight has “least power” whenfarthest fromcenne ;” but a

,comparisonof the two res roduced

w ill show that the routes are byno meansmtimrl.

Fig . 8 (a) is possessed of a most remarkableproperty, and belongs to a class of problems whichwould

F ig . 8 (a).

Inorder to

1 26 THE KNIGHT’

SMOVE .

exhibit this pro rty, we have ina separate dragram'

or

table, fig. 8 (b),nlue

mbered the squares inthe order inwhichthe knight stepped onthem. The tour commences ononeof the central uares, which we have marked 1 , and tarmiastes onthe ing’s bishop’

s third, which is thereforemarked 64 . Now it will be found, that if we select two

sides of the centre, and equidistant

corner squares are 1 6 and 48, 27 and 59 ; and 48— l6=59the four central squares are 1 and 33, 1 4 and46 ;

and 33 Inthe same way wemay selectany two squares, provided the centre of the board is precisel betweenthem, and equidistant from them

,and we

sh find that the smaller number subtracted from the

greater will invariably leave 32.

There are other remarkable circumstancesconnectedwiththis last solution. The route is a re-entering or interminable one

, and the figure produced, as seeninfig . 8 (a), isone of the most symmetrical which we have yet given.The route beininterminable,may be commenced onanysquare, and as t e initial squaremust always bemarked 1 ,the distributionof thenumbers over the board would varywith the varying of the initial square, every squarebeingaffected alike. Now it will be found, that at whateversquare the route commences the samenumerical law willhold good ; there will infact be 1 28 modes of varying theorder of thenumbers, inall ofwhich the same figurewill

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1 28 THE KNIGHT’SMOVE .

of twonumbers situated onop its sides of the centre, andequidistant from it

, is 1 6,—mthe amount of constantdifference inthe last case. This route isnot a re-enteringone, and we donot think it could be made so, with a constant differenceof 1 6.

Inthe solution another singular numericalproperty has been namely, that the sum of eachcolumnamounts to 260. A similar result is obtained if thesquares of ,the chess- board numbered inthe regulnorder giveninfig. 1 0 (b).

Fig. 1 0 (a). m . 1 0 (b).

The reader willnow have had sufficient roof of thediversified solutions of which the knight’s pro lem is sus

ceptible. We havenever heard of a chess kaleidoscope,but the instructions we have ivenwillenable him to formone out of thenumerous ot or modes of solutionwhichmay be left to his ingenuity to produce. Nor will thestudy of this subject be without its use to the chess-player;since itnot only teaches the art of manoeuvring this beautiful piece, but brings the fact into forciblenotice, that theknight has less power, and therefore becomes less valuable,whenhe approaches the corners and sides of the board.

CHAPTER VIII.

ON m POWERS OF THE PIEC E AND PAW S.

beard—Pom d the ptaaaa at tbe eanm m t d tbe pne

m a thematics.

W3‘

te agree with the suggestionthat aghast method of learnmg thenames of the pieces,with their moves, and the manner of

placing them at the

beginnmg

'

of the game, is to take anour’s lessonfrom a

fria rd. up this to have beendone, and the studentto bew as! play, he will soonperceive that thevarious pieces have difi

'

erent degrees of wer ; that a rookis of more value thanabiahop or a t, and that s pawnis of fi r less value thana minor piece. He will find thequeento be a match for several pieces, andmay be willingto part with a rook, a bishop and a knight, inorder tocapture his antagonist’s queen. The different values of thepieces and pawns are soonappreciated by the player, and heendeavours to regulatehis exchangesaccordingly ;neverthelem, few persons have attended to the circumstances whichdecide these values, and although they arenumericallyexpremed inmost elementary works, yet the computationswhich have led to them are always omitted.

Ha general had two bodies of troops similar inmostrupem but one of which, from any cause whatever, couldoccupy only a particular part of any hostile district ; whilethe other was capable of occupying different posts at

dinat points by a series of rapid movements; the firstbody, would, nerally “

speaking, be far lem valuable thanthe second. gow something analogous to this occurs at

chem ; thosepiecea which are le of taking thegreatest

range over the board, and of g themost rapi movements, are the most valuable. For the hills and valleysof a contested country, we havenothing but the black and

of the chess-board : therefore the test of

we arenow considering is this—how manysquares of the chem-board caneachpiece qr pawncommandInthe first place, let us suppose the board to be cleared

ed itspieces and pawns, and one of each to be placed onit

1 30 THE POWERS OF THE PIECES.

insuccession. C hoose a central square, such as the king’s4th

, and ascertainhow many squares a pawnor a piece cancommand from

!

that position. At.anplaced onthat

square commands two others, being ose towhich it wouldmove if it made a ca ture. The knight could move to anof 8 squares ; the b

'

o to any one of l3 squares ; theto 1 4 ; the queento 2g; and the king to 8 .

— We refrainfrom demonstrating thesenumbers, because the reader caneasily satisfy himself onthis po

'

t, b

yuplacing the pieces

successively onthe king’s 4th square, the other squaresbeing unoccupied . So far, then, as thismode of comparisonis concerned, the power of the pieces to move to othersquares la

8

1 31 4

Queen 278

But We havenow to inquire whether this proportionexists for all thesquares equally. A very little experiencewill show thatit doesnot: every ieceisdiminishedm valueas it approaches theed es of the but thisdiminutionisnot the same for Let us select the king’

s rock’s

andnotice the change inthe were of the

pieeces.

them one by one, we shall finthat thenum r of

squares to which each canmovePawn

QueenKing

Here it will be seen, that while the rook hasnotinvalue, the others have done so considerably,difl

'

erent ratios. Ifwe select any other square intermediatebetweenthe centre and the corner, we shall find the

numbers to be higher thanthe one, and lower thantheother of our two lists. Theknight, for instance, commands2, 3, 4, 6, or 8 squares, according to his situation; thebishop commands 7, 9, 1 1 , 1 3 squares; and so on. Thecorrect way, therefore,of comparing the powers of thepiecesinmoving over the openboard is to suppose a piece to beplaced onevery one of the sixty-four squares insuccession- to add up the respective powers inall these positions,

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1 32 THE POWERS OF THE PIEC ES.of moving to his singular privilege of leaping over otherpieces or pawns. So far, then, as the power of moving isconcerned, a pawnis actually more powerful thanevenaqueenat the commencement of thegame.

Now inactual pla the relative powers of movingare

chm : intermediate betweenthe two extremes whio we

have mentioned ; from the time of the first move beingmade, the constrained limitsof the pieces ‘nto be broken,and theirnatural powers to be developed ; ut onthe otherhand, these powersnever attainthe rank givento them byour first supposition, for the two kings—evenifnothingelse-« arealways onthe board. The power of moving fi-

ot

r

lqwr

fromnearrook

increasing.

It thusappears that the degree of openness of the bowchanges the proportionate value of the pieces, and it isdifficult to fix a point where the wermay be deemed anaverage betweenthe highest and

plowest. It is assumed,however, that wemay supposeeach party to have lost threepieces and four pawns, leaving four pieces and four pawnsto defend the king. This is a fractionmore thanhalf theoriginalforces, andmay therefore be takenas anmedium betweenthe powers possessed by thepieceswhenthe board is quite open, andwhenallare arranged for the commencement of a game.If, duung the rogress of a game, whenabout half the

pieces and pawns ve beenremoved by mutual exchanfione of the players estimate the various powers of

remaining pieces, hemay sometimes observe that a wholerank, or file of squares is blocked up by the interventionof one single piece or pawn, and moreover, that the interveningpiece Insuch a

case his own way ; andth e self

HOWMOD IFIED . 1 33

not the power of moving along a line of squares, but ofpreventing the antagonist from occupying any square of

that line without 1m Supposing the board to be abouthalf—cleared ofmen, the power of the relative pieces inthuspreventing the Opponent from occupying any square inaparticular line,has beencalculated to be

2

Knight

But if wenow omit allhostile proceedings, and considerresults,

1 34 THE POWERS OF THE PIEC ES.

reach of the piece at one move,— supposing the board, asbefore, to be about half-cleared of combatants,— has beencalculated at

Pawn 1

Knight 5

Bishop 7Rook 1 0

Queen 1 6;

Suppose we wish to attack a particular piece with one ofour own. If ours happento be a pawn, we cando so bymoving it to one square only ; but if it be a bishop, thediagonalsmay be so far clear as to allow of our doing it ineither of t he directions. Place the black king onhis ownsquare, and the anta

gpnist white bishop onits

bishop’s 2nd. : the his op cangive check at two

squares. With the king inthe same position, and theantagonist rook onits ownw e: the rook cancheck at

two different uares. Wit the black king inthe sameposition, place t e white queenonher bishop 8 second : shecancheck at six difi

'

erent squares. Place thewhite knightonhis king’

s fourth: he cancheck the king ontwo uares.

In.

all these cases, we eu pose the attacking piece to free

from any obstruction, either from anally or anantagonist.From this enumerationof powers it is seen, that whenaparticular piece is to be employed to make anattack onaparticular antagonist piece, It may oftenbe done onmorethanone square. But as the interventionof other pieceswould insome de e prevent this from being done, andas‘

the presence of oil; pieces blocks out some more thanothers, according to their different modes of movement, wehave hence anew scale of powers. The comparative powerof the different ieces, inchoosing what point to select asapositionof attac has beenestimated at

Pawn 2

Knight 6

Bishop 65Book

QueenLet us assume that a piece is actually attacked . Inorder

to save it, one of three thingsmust be done:— lst . , to capture the attacking piece: 2nd. , to interpose another piece:3rd. , to remove. Now difi

'

erent pieces have these severalpowers indifferent degrees; and to compare them it willbe7

convenient to suppose that the attacking piece cannot be

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1 36 THE POWERS or THE PIECES.whichmodifies the power of apawnis thecontiguity

ornot of another wnonthe adjoining file; if a pawnis

isolated, that is, neither of the adjacent files is occupiedby a pawn, thepawn

’s value is below the average hitherto

expressed ; but if it be supported b pawns onboth thecontiguousfiles, itsvalue is greatly enhanced. These detailsshow how much the value of a pawndepends onposition.Lastly, there is a difl

’erence of power indifl’

erent piecesingiving checkmate to the adverse k

' Whenthe kinghasno ieces or pawns left for his de ence, the attackingpieces 3 ow degrees of wer very different from those

which they possess int e usual course of thewe. Arook is of almost infinite value compared with a ishop or

a knight ; for while the former, acting inconjunctionwiththe king,may give checkmate, and must do so if propercare be taken, a knight or a bisho cannot. Under such

circumstances a rook isnearly as uable as the queen, forthe latter hasnow a sur

plusamount ofpower whichcannot

be brought into use ; ancheckmate is givennearly intheglame

l

way by the rook as by the queen, only rather moreow

This,

reader willnow be ina conditionto understand,from this briefandnecessarily imperfect sketch, how manycircumstances must be takeninto account before we cancorrectly estimate the relative value and wer of the combatants inthe chess battle-field. In0 er to elicit someth

'

like a ractical rule which may be valuable inplay,all t e seve lists which we have given, and a few morebesides, are added together, and the total balanee of suchpower compared with that of the others. The values ofanyparticq piece, inmovi over the openboard— inmovingover a board about half c cared by play— inkeepinofi"anantagpnist from a particular set of squares— in ing an

attac ontwo or more different squares— indislodg'

anantagonist from a particular square— ingivingmatewi out

the aid of other pieces, &c.,— are added together : this is

done for each piece ; and finally thewhole are reduced tosmallernumbersbymaking a pawn 1 . The finalrelativevalues thenare as follows

PawnKnightBishopRook

Queen

nscarrrm rios. 1 37

lamaient to give themove,”the advantage ofwhich inan

average state of the game is reckoned to be equal to half apawnthis value, added to that of the knight,would accountinthe superior value of the bishop .

The result arrived at inthis manner is found to be

Themoves and attacking powers of the several pieces aredata -mined by line, direction, and limit.The lines of movement and attack onthe chess-board

CHESS.

POWERS OF THE PIEC ES.

1 . The sides of squares.2 . The: diagonals of squares.3 . The diagOii

als of parallelogramsi. c. 3 2.

The directions of mozement and attack are fourfold,forward, backward, lateral, and diagonal.The limits ofmovement and attack are threefold.

1 . Whenconfined to adjacent squares.

2. Extending over the whole board.

3 . C onfined to the opposite squares ofparellelograms, 3 by 2.

ofmovement and attack are coincident for allwhose line of motionis oneand their line of attack, one

squares, ineve direction, to theThe bishop’

s eofmotionandnals of squares

,inevery direction

board.

The knight’s line ofmotionand attack isalong thenals of parallelograms, 3 by 2, inevery directiontoopposite square.

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1 40 CHESS WITHOUT THE BOARD .

ingnow under consideration The last-mentioned individual was inthe habit of playing three games at once without seeing any one of the boards, and without intermittinghis usual strainof lively conversation. He was contemporary with Rny Lo z

,who was decidedly his inferior

, andwith Leonardo of utri

,who was by manpersons deemed

his equal. The life of Paolo is sketched y two historiamC arrera and Salvio, and contains many interesting partienlars, which we hays giveninournotice of celebrated chessplayers. Paolo was the conqueror of every chess-player ofis day, exce t Leonardo da C utri. The contest betweenLeonardo anPaolowas very severe. The played a matchwhich lasted three whole days. D uring t e first two daysthe were exact] equal, but onthe third Paolo, who was3 erininhealt at the time

,lost ground, and was finally

def The two heroesnever encountered each other

again. Respecting the style ofplay of these two menweread that Paolo was rapid inhismoves,while Leonardowasextremely slow and cautious.

Girolano Saccheri, a riest of the order of Jesuits, isspokenof by Keysler, t e historianofTurin, as a manofextraordinary chess attainments. He lived at the earlyof the last century, and was of soprecocious aninte ect

,

that, before he was tenears old, he could solve the mostdifficult problems inarit metic and algebra, and was afterwards constituted public lecturer onmathematics at Pavia.

He could play three games, or, according to some writers,evenfour, at the same time, with erfect clearnem andaccuracy, without seeing any one of t e boards.

The raetics Of playing chess blindfold, had for so manyears fa eninto disuse that the astonishing performances ofhilidor were regarded as a feat of intellect altogethernew

andpeculiar to that great layer. But the faculty ofplayingchesswithout seeing the oard isnot theinvariable

,noreven

neralaccompaniment of excellence inthe game. Manygist-rate players have beenunable to attainit, while somewho have accepted odds of these,have found little diflicultyincarrying out a me to its terminationblindfold. Thosewho study chess c icfly fi-

om books, find less difficulty inplayinwithout the board thanthose who have acquiredtheir nowledge chiefly from raetics. There have beenvery eminent menwhonever Ooked ina chess- book untiltheir ownhigh standing was already taken— of such wereLa Bourdonnais, D eschapelles, St . Amant, Boncourt,there were others who were essentially book -players, andlikewise excelled. Mr. M‘D onnell studied much from

ITS D IFFICULTIES. 1 4 1

books. Inthe blindfold£2t pla ed by him, his movesy whenhemw thepieces. Heof annoyance if the bystanders spokeno objectionto conversationbeinginanatural tone of voice.

”

But since the time of Philidorno one has excelled so

MM. Boncourt, Jouy,layed two games at

once, andwas preparing to lay threeb indfoldgames at oncewhenanalarming rush 0 blood to the head was the resultof this severe, and we may add useless, mental exertion.A long illness was the consequence, andM. de la Bourdonnais was compelled to relinquish all further attempts at

playing without seeing the board.

The difficultiesattendant onacquiring skill inchess canscarcely be rated evenwhenpl

aying inthe usual

manner with '

ted time at commanto ex d insurveying the forces onthe field before us. Inow vast a

degreemust thesedifi culties bemultiplied whenthemechanical objects of the chess-menand chess-board are abstracted,andno longer exist save inthe powers of the mind ; whenthe windows of the brainare closed down, and the facultiesof sight are hermetically sealed ; whena bare idea aloneremains, aud allabroad is darkestni ht ; whenall that isleft of the chem-board and menis eir vague and timidshadow,

wandering, spectre-like, across thementalchamberlike objects ona camera obscure ; whenmemory and theperceptive faculties of the brainmust be taxed unaided toname the positionof every piece

,pawn

,and square of the

ch ner l And whenthese efforts of the reasoning andthanpowers require to be uninterruptedly prolongedand sustained, during a period of pofl bly several consecutive hours, without the slightest relief, break, pause, rest,or relaxation; then, Isay, the art of playing chess without seeing the board, becomes

,fairly considered, anextra

ordinary efl’ort of themind ; and onewhichmust be allowed

to be, inthe eyes of the metaphysician, equallyas interesting.

”

These remarks byMr. GeorgeWalker apply, of course,to first-rate layers who conduct the game blindfolda pawnof eir strength, and inthis way play two or eventhree gamesat the same time. But to pla one game badlywithout seeing the board is comparative y easy, and may

1 42 CHESS WITHOUT THE BOARD .

be done b many a second or third-rate player who is

willing to stow a little time onthe exercise.

Mr. Walker gives some very sensible directions for theguidance of those chefi

layers who are desirous ofwithout seeing the bo Referring such as are ininthe subject to his article inFrazer’

sMagazine, Vol.XXL, p. 302, we pass ontonotice the “Art of Playingwithout seeing the Board,” by C arrera, whose remarks arenot so well knownnor so accessible asMr. Walker

’s.

Those who are desirous of learning the art of

flip-ing

without seeing the board, must have intheir min the

squares of the chess-board, andall the pieces that are or wereonthem. It isnot sufficient, as some think, to know that

sucha square belongs to sucha piece, or has such anumber,becausemuchmore thanthis must be learned. Inthe first

place, the playermay take as a certainrule, that onthe perendicular lines all the oddnumbers are of the same colour ;or exam le, if the first square ofa line be white, thenthethird, fift and seventh squares will be also white ; if the

first be black, the third, fifth, and seventh will be black .

It is difi'

erent with the obli ue lines, which are either allwhiteorallblack ; forexample, theobliquelinewhichbeginsat thewhite king’

s rook’s square is entirelywhite, and that

be

ginniplg

at thewhite queen’srock

’s square, entirely black

anas the straight hues haveneither morenor less thaneight squares, it isnot use to say anythinmore re

specting them ; but it is very erent with the ob ue lines;only two of these containeight squares, name those

which b'nat the rook

’s squares, one of which is white,

and theo er black ; thoselineswhichbeginat the knight’ssquares having only sevensquares, one line is black, theother white ; moreover from the knight

’s white square on

the left hand is another line containing only two squares,and from the king’

s black square onthe right hand, is alsoa line containinonly two s uares, but it would be tediousto mentionall t e squares o the obli ue lines ; sumos it tosay, that all the squares, whether b ack or white

,onthe

right hand or onthe left, should be remembered by thestudent. This is the more re uired, because it isnot onlynecessary to know the squares rom the be but alsofrom the middle and end of the lines or example, thethird square of the white queenis white, which branchesinto anoblique line of four squares forwards onthe k '

a

side, and backwards onthe same line two uares onqueen’s side ; forwards to the left is another e of threesquares, and backwards onthe king’

s side two squares ;

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CHESS WITHOUT THE BOARD .

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LESSON I

Thenames of thepieces—How to set up themen- Namesof thesquaresonthe C hess-board—E xercises.

THE game of chess isplayed by two persons upona

chequered board of sixty our squares. Each player is fureight pieces,namely, King,Queen, two Rooks,

two Knights, and two Bishops ; and eight Pawns. The

and pawns of the two pla ers are distinguished byof o posits colours, and wr be represented inthe

course of t ese lessons as followsWHITE . BLACK.

K . or

for Queen.

for Rook orCastle.

for Bishop.

Kt . or

The k'

and ueenare supported each by three officersand four so diers ut before you inquire into the powersof the various members of this little army onmustbecome acquainted with the field of battle, and earnhowto marshal your forces inproper order. The chess-boardmust be so placed, that each player’s right

-hand cornersquaremay be white. The only reasonfor this is, to establish a universal rule whereby to set up the pieces. Indeed,it isnotnecessary that one half of the s uares of the chess

board be of a difi’

erent colour to the ot er half; but that

HOW TO SET UP THE MEN. 1 49

arrangement greatly facilitates the play. Rememberthe rows of uares runmng

'

upwards are callcdflan,

while those from le to right arc tcrmcd ranh ; the ob us

news of squares , either white or black, are called diagomgb .

We willnow set up the meninthe proper order for commencing the game. Your right

-hand corner square is

white, Pla

t:a

.

rock 951 it,:lll

cd

mt

l

l

l

ieml’er that

]this i

t?beaug ou c kmg’

s si c is c kifi

’s roo an 0

square onwhich it stands the king’

s roo a square. Next

to this place a knight, thena bisho , and onthe fourthsquare from the right the king must placed. You thus

see that the king's ofliccrs stand onhis right ontheir res

pective squares ; the king’s knight onthe king’s knight’s

square, and the king’

s bishoponthe king’s bishop’

s square.

Onthe squarenext to the kmg place the queen,and observethat she will ow

ta white square, while the queenof

your antagonist w'

stand ona black square. Beginnersare frequently at a loss to remember the squares occupiedh the two royal pieces ; but if you bear inmind the simpfc law that the gamers d oads onlwr owncohur you cannoterr. One consequence of this arrangement is, that yourueenis to the left of your king ; but if you turnrounde board inorder to play the black pi your queenwill

thenbe to the right of your king. This circumstance isvery puzzling to beginners who study from books, inwhichadvice is generally givento the pla er of the white pieces;for whenthey have to lay the b menthey get confused. This 18 why we ve advised you to accustom yourself to the use of either colour ; besides it is very likely thattwo persons who agree to play may have anequal liki forwhite, but as one of the two must have black, you see ow

necessary it is to make it a matter of indifference whichcolour you use. Good players always draw lots for colour.

But we must finish settmg upour pieces . A bishop attendsthe ueenonher left hand ; thencomes a knight, and onthe

‘

left corner square stands the queen’s rook . E ight

pawns stand immediately infront of the pieces, and havethe following mmes, beginning from the right.

if“?

w“

s nig t s pawnKing’

s bishop’s pawn

King”pawnQueen’s wnQueen’s ishop

’spawn

Queen’s ht’s pawn

Queen’ rook s pawn.

1 50 LESSON I.

Whenyou have finished setting up our pthe state of your board with the fo owingwhich shows the roper positionof all the piconboth sides at t e commencement of the game.

WRITI

pieces occupy is sometimes calledthe royal line, and the ei

ght squares which compose

called by thenames of t c pieces occu yinthemcommencement of the ame : such asu s square, els. ,the square whereonthe inis first placed, and the squareretains this name

, throng out the whole of the game,whether the king occupies it ornot. The same remarkapplies to all theother squares of theroyal line.

hefiles are alsonamed according to the pieces occupying the first 5 uare ineach file. Thus king’

s rook’s square

is the first 0 the king’s rock’s file : king’

s rook’s pawn

occu ies the kins rook’s second square. King's rock

’s

third, fourth, h, and sixth squares are unoccupied

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LESSON II.

THE MOVES.

Youmustnow learnthe moves of the ieces and pawns ;for which purpose, place your board in c proper position,which, you know, is with a white uare at your right

hand corner, and thenplace the kings rook onits square,the rest of the board being unoccupied. Themoveof the

rook is alwa s instraight lines, parallelwith the sides ofthe board . its resent °

tionthis piece canbe playedto your advs s s rock

’s uare, which square,

you know, is the same as your K. 8th, or it may be

playcd to your Q.. R. uare, from thencc to Q. R . 8th

square, thence to K. R . 8 and so home again, thus takingfour moves to go along all four sides of the board . The

rook may also take a short as well as a long move. Itsshortest move is one square forwards or backwards, or onesquare to theright, or one square to the left. Inits presentpgsitionit canneither move backwardsnor to the ri

ght,

cause it is at home; and so also the queen’s rook, w anat home, canneithermove backwardsnor to the left : butplace either rook onany but a rock

’s file, and you will

ad that it canmove inthree different directions : placeK. R . onK. square, and onwill find that it commandsfour squares to the left, t squares to the ri ht, and allthe sevensquares inthe king’s file. Still in itionthe rook cannot move backwards. But placeK . Q.

4th square, and you will find that it cannow move backwards, but although it canmove infour different directions,it doesnot command a largernumber of squares thanbefore.

Remember that a piece issaid tocommand a certainnumberof squares only whenthe areunoccupied. If, for example,your K. R . pawnbe at R . 2nd square, the rook hasnopower whatever ina forward direction, but only to the leflz,where it commands seven uares; but if we place theK . Kt . at its square, the K . hasno ‘

pc rwhatever tomove,and commandsnothing. Rememberalso that a iecedoes not command or defend the square onwhio it

actually stands, but only those squares to which it canba

iloved

fim d bc’ °

cd, 1 th kng'our mg againunoccu 1 ace e s

bishop and the queen’s bishop on cir rgspcctivc uares.

The move of the bishop is always diagonal or filique.

Your king’s bisho being ona white square, must always

remainonthat so our, because it cannot by any oblique

THE MOVES. 1 53

move pas to a black square . The queen’s bishop is onaand remains onthat colour d the whole

of the game. Play your K. B . to K. R . 3 thence toyour Q. B . 8th, thence to your Q. R. 6th, and thence homeagain. So also plz

l

t

zyour Q. B . to Q. R. 3rd, thence to

your adversary’s B ., thence to your K. R . 6th, and

thence home again. Play your K. B . to K. Kt. 2nd. thenceto K . R . square, thence to your adversary’

s Q. B . Thislast move is the longest stride the bishop cantake. Performa similar exercise with your Q. B .

Whenthe two bishops are at home, they each commandsevensquares. But play K. B . to Q. B . 4th square, orQ. B . to K. B . 4th square, and you will find their power

mew ed, each bishop commanding elevenbishop has the same privilege as the rook of

moving through many squares or few, or of moving only

the moves of the ieces at

games’, inone 0 which the menwere played as wenow

play the rook, and inthe other the moves were similar tothose of our bishop, and that by a combinationof the

powers of these two pieces, the moves of the other pieceserive their origin, we have thought that it better under

standing of the moves inthe moderngame might be hadby first describing the powers of the rock and bishop

,

and then(manslto them themoves of the other pieces.The king is owed the shortest move of the rook and

the shortest move of the bishop, but not both at once.

Place your king onhis square ; he canthenmove to anyone of the following squares: K. B . s

quare, Q. uare,

K. 2nd square, Q. 2nd square,K. B . 2nsquare. at ifwe place the king onone of the centralsquares his powerto move is increased. Place your K. onhis fourth uare ;he thencommands K. 3rd and 5th squares, Q. 3rd,:thand5th uares, and K. B . std, 4th, and 5th squares. Remember t your king cannever be ona uare immediatelyad

'

ining that onwhich your adversary’s stands.

queenis allowed the move either of the rook or ofthe bisho butnot both at once. Place your ueenonher

shecanmove foursquaresto the right,hm . squaresleft ; she commands sevensquares of the queen’s

file, a diagonal to thc left of thrce white squares, and a

8cePart L,p. 47 ante.

1 54 LESSON 1 1 .

diagonalto the right of four whitesquares. You cantherefore already form anidea of the great value of this the

most powerfulpiece at chess.The knight is the most remarkable of all the pieces ;

it is the only one that has the privilege of moving over

the other pieces, and this it oftendoes, under the guidanceof a good player, ina remarkable manner, threading itsway safely through its ownand the enemy’

s ranks until itcanform anattack onsome distin hed piece, ormar an

enious plot of the adversary. hrs piece isnot onlygigicult to la well

,but diflicult also to resist, so that it

is a deservesgvouritc among skilful pla ers. The move

of the knight consists of the shortest roo smove and theshortest bishop’

s move, both at once. For exam 1s, place

your king’s knight at home he canmove to R . 3rd

square, i.s. ,from K. Kt . uare to K. Kt . 2nd, the shortest

rock’smove, and from K. t. 2nd to K . R . 3rd, the shortest

bishop’s move, or from K. Kt . uare to K . R . 2ud, the

shortest bishop’s move

,and from t cncc to K. R . 3rd, the

shortest rock’s move. Wherever we cancombine the

shortest move of the rook with the shortest move of thebishop

, the kn' ht canbe played, provided the square towhich you wis to play him benot occupied by one of

our ownpieces or pawns. But if such square be occupiedy a piece or awnof your adversary, the knight cancapture i t . enyour K. Kt. is at home, he canbeplayed to your K . 2nd square, or to K. B . 3rd square,or to K . R . 3rd square ; but whenthe knight gets to themiddle of the heard, his power is wonderfully incrcamd.Place him onyour K. 4th, for example, and you will findthat he canbe played to any one of eight squares. Seeif you canfind out these squares

,and write downtheir

names correctly.

Should you find any difliculty inremembering the

knight’s move, the following exercise will fix it inyourmemory. It is one of thosenumerous solutions of theproblem which requires the knight to be played to thesixty-four squares of the chess-board insixty-four leaps,without twice touching anone square“.

The problem to which t c annexed diagram is the solutionis as follows — Beyinthe tour of theKnightB ishop

’s square, and and onQ. R . square.

The pawns have the shortest move forward of the rock

OntheKnight’smove. Sec antepage 1 1 4.

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l56 LESSON III;

which must be instantly warded of , for if being underattack he is unable by any means to escape therefrom,

he is said to be check-mated and the game 1 8 at anend.

The grand object of chess is therefore two-fold, namely,to guard your ownKing from danger, while at the sametime you form a systematic attack onyour adversary

’s

Kin“ghenever you make a direct attack uponthe King, on

must inform your adversary of the circumstance b!

calhngout check,

”and he must immediately 11 t to the

warning and escapefrom check, orget out of clleclr, b one ofthe three following methods -

r- l . By moving the out

of check ; 2. By capturing the piece orPawnwhichchecks;3 . By interposing a piece or Pawnbetweenthe King andthe checking piece ; except inthe case ofa Knig

ht, a check

fi'

om which canonly be parried by moving c King, orca turing the Knight.

e will show the a plicationof check and checkmate” by means of a c css problem. Wemay first informyou that the moves at chess are played by each playeralternately, and as we suppose you to play the white pieceswe shall generally give you the first move. Be careful,therefore,whenever a ositionor problem is givenby way ofillustrationtonotice t e directioninwhich thePawns are

moving — those of our adversary, els.,the black Pawns,

always move towar s you, while your ownPawns alwaysmove away from you . Whenyou are directed toone ofyour adversary’

s pieces or Pawns you removeoff the board

, and place your ownpiece orPawnonthesquare which it occupied .

The accompanying diagram represents the ositionof theieces at the end of a game. The player of thewhite pieceseving tomove first, is able to checkmatefour moves.

C ertaingiven sitions or combinations of pieces of thiskind are called nonnsms

,many of which are remarkable

for the great beauty or ingenuity of their solutions or

answers. Whenyou are a little further advanced we willoccasionally °

ve you a problem to solve,and you will find

the exercise oth pleasant and instructive.

Inorder to solve this problem you pla your Rook to

K. B . 8th sq., and call out check .

”ledw of the three

methods of escaping check, Black canavailhimself of two:hecannot mtcrposc a piece, because your Rook checks hisn

B

ontheverynext square to that which he occu iesthe lack King must therefore either take the Rockor

A cssss PROBLEM. 1 57

move out of check . If he take the Rook you checkmatehim instantly by playing your Q. to K . 8th, and he cannottake your Q. because she is

e:zxp

ortcd b the B ., for were

hc to turc hcr he would be inc eck with the B . ,

and the is inno case allowed to put himself incheck .

The King must therefore be moved out of check, and youwill observe that there is onl one square to which he canbe played, and that is to his 2nd

,which you know is the

same as your K. R . 7th.— For your second move you

play Q. to K. Kt . 6th checking. Of the three modes of

escaping check, Black canavail himself of

cannot interpose, and he cannot move onElationof your Rook ; he must therefore take our Q. ;t this he cannot do withhis K.

, because your 3. is supported by thePawnat your K . R . 5th ; hemust thereforetake your Q. with his B . We may here mentionthatalthough your Q. is of farmore value thanthe B . which

you get inexchange for her, yet occasions sometimes

arise whenit is desirable to sacrifice a Queenor a Rook for

l58 LESSON III.

one of the minor pieces (as the Bishops and Knights are

cd), orevenfor a Pawn.— Your third move is tak es

B . checking. The Black King not being able to moveout of check must take the Pawn. Younow play for yourfourth move K . B . to Q. 3rd, and thus give check

beca

lqsc the Black King is incheck, and cannot move out of

chec

The term check”isused only whenthe King is laced

da‘nlger. The Queen, Rook, Bishop,Knight, and awn

may be attacked and captured,but wenever say they are

checked, except sometimes inthe case of theQueen, whenbeing attacked, the player calls out check to the Queenbut the practice, howcvcr courteous

,isnot to be recom

mended, sincc chess is a silent calculatinglg

ame, and we arenot willinto impose a word more ont e player thanthelaws of c game re uire. There are four kinds of

checks. — 1 . A simp check, that is, whenthe is

attacked only by the piece which is moved . 2 . 0 bydiscoceey, that 1 8

,whenthe piece which moves does not

check,but unfolds another piece which does ; for em ls

,

- tlct the Black King be at home ; thenplace a W °

te

Rook onyour K. R . 8th, and a White Knight onyourK. Kt . 8 th. Inthis positionb pla nr Kt . to yourK . R . 6th, your R . checks the BE]?K. by discoverByplaying your Kt. to K . B . 6th, instead of to K . R . 6t

we vc the third species of check,namely thedoubk check,which combines the simple and the discovered check . The

fourth descriptionof check is the“perpetual chec}: that is,

whenone pla er cancheck the o er, every move, and thecheck cannot parried so as toprevent its repetition: thenif the first player persist in

filing check every move thewngamemust be abandoned as For example, lace

the Black K . onhis R . sq. lack B at K . R . seconand Black Pawnat K. Kt. second sq. ; thenif your Q.

at K. R . fifth, and you lay her backwards and forwardsfrom this square to adv.K. checking, the onl means theKinhas of escaping check is b playi the isho backwar 8 and forwards from K. . seconsquare to Kt.square.

A drawngame is that which is wonbyneither party,and as a general rule a game is drawnwhenone player hasnot themeans of checkmating the other.

There arealsoseveraldescriptionsofmates. 1 TheFoet’sMars

,which canbe givenintwo moves. The board

{icing prepared for play we suppose you to openthe gameus :

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1 60 LESSON III.

WHITE . BLACK.

1 . Kt. toK. B . 7thsquare, checking . l . K . to K . square.

2 . Kt. to Q . sixth, checking and 2 . K . to Q. square.

discovering check.

3 . Q . toadvcrsary’

sK . square,check 3 . Kt. takes Q .

mg.

4 . Kt. toK.B . seventh,checkmating.

You may probably agine that b playing for our first

moveQ. to adversar ’sK . square ; themate conl be given

intwomoves inste of four, and so it could if he were to

take(your Q. with his Kt. He would not do this, but

woul take with his K. ,inwhich case the terms of the

problem couldnot be com lied withA fourth description0 mate is that which you must

beware of giving, viz . Sunsuars . This occurs whentheK. not being . actuall incheck, cannot move without

moving into check, anyou haveno other iccc orPawntomove. For exam

ple : inthis situationw its by playing

his K. to K. B . 7t deprives his adversary of all power to

STALE-MATE . 1 6 1

move : the black King isnot incheck, and cannot movew ithout getting into check : the further progress of the twoblack Pawns is revcnted by the two white Pawns: therefore black is cmated and the game is drawn.Our lessonhasnew extended to somelength. It

a good deal with which you ought to be well acquainted ;but youneednot attempt to commit it all to memory : theconstant use which will hereafter be made of manof thetechnical terms willfix them inyour memory . onfindyourself awkward at first inthe use of the board and men,and especially in

tplacing the menonthe exact squares

indicated. A lit c more practice, (patience onhavealready,)willmake your chess exercises easy anl llespecially after the next lessonor two, whenwebeginto pliy

a gamc ; but wemust first finish ournoticc ofthe tcchni terms and the laws of the game.

LESSON IV .

C astling—Some peculiarities ofPawn-Play— P. takesP. enpeasant—C entrea Pawnto Queen— Problem illustrative of queening a Pawn—Port ingwith PawnorKnight—The exchange.

Atm oncnthemove of the King isat a time, yet, by a peculiar privilege, which, under certainconditions,may be exercised once during the game, a compound move is allowed, whereby the moves over twosquares. This com cund move is made y laying K. R .

or Q. R . up to the and thenplacing the onthe otherside of the R. thus moved. This is called Cm u xc, or to

C asrns rs s KING, and its object is generally to secure tothe royal piece a lace of greater safety, as also to bringaRook mto play. Sometimes, however, a player castles inorder to esca c from anattack, and, insuch case

,he will

castle onhis ing’

s side,i.e. ,withK . R ; or, onhisQueen’s

side, i.e., with Q. R . , as may best suit his p ose.

The conditions under which castling is owed are as

follow — 1 . The Kingmustnot be incheck . 2. TheKingmustnot hays beenmoved . 3 . The Rook mustnot havebeenmoved . 4 . There must beno piece, either of yourownor ofyour adversary, betweenthe King and the Rook .

5. The king must not pass over, or to any square, attackedby one of your adversary’

s pieces or pawns.

I62 LESSON IV.

The followindiagram will serve to illustrate the important operation0 castling .

InthisRositionyou are at liberty to castle either with

our K . or with your Q. R . To castle withflour

R . , or, onyour Kings side,you first pla your K . to

K . B . square, and thenplace your K. onK. Kt. square ;this completes the o crationof castling. To castle onyourQueen’s side, or wi Q. R . , you first piece toQueens

q;and thenplace our K . on Observe

that, alt w

ill

flnr Q. is under of your

adversary’s and although your Q. Kt . sq. is com

mended by his Q. B . , yet you canstill castle

Queen’s side, because the law which forbids thecastling, to pass over any square attackedadversary

’s pieces or pawns, is limited to

and doesnot apply to the Rook .

You will observe that your adversary cannot castle onhisKing‘

s side, because the K . B . sq. , over which his Kingmust pass, is commanded by your Q. B . and the K. Kt.

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I64 LESSON IV.

andQ. fourth squares ; but, against good play,muchskill is required inmaintaining them inthis position.Whenone Pawnstands before another onthe same file,

and both belong to the same player, it is called “a doubled

Pawn. ” Inthe foregoing diagram you haveadoubled Pawnat your Q. Kt. ’s 4th, and your adversary has one at his Q .

R . fourth square.

A passed Pawnis one which hasno adverse Pawninfront of it, either onthe same file

,or advancing towards it

oneither of the adjoining files. Snpose you have a Pawnonyour K. B .

’s file, and your vcrsary has no Pawn,

either onhis King’

s file or K. Kt . ’a file, your Pawnisthensaid to be passed . Such a Pawnis v valuable,because, inorder to prevent it from being a venced to

Queen, your adversary must 0 or capture it with a

piece ; inwhich case, if your awnbe properly defended,you wina piece for a Pawn.Whena Pawnis entirely separated from other Pawns it

is said to be isolated.

”You must be careful how you

allow your Pawns to become isolated, because wheninthisconditionthey canbe defended only by pieces ; and theseought to be used rather as active warriors thanas passivesentinels. A skilful player, however, will oftenbe willingto isolate a Pawn, if, at the same time, he “passes” it . Inthe diagrams which accompany this lesson, you will findexamples of isolated Pawns.Whena Pawnis advanced to the eighth square of the

file it is said to be queened,” inwhich case you remove itfrom the square, and place thereona piece inits stead .

The following problem will illustrate the advantage of

the passed Pawn,andserve to remind you of a fact of which

amateurs are frequent] ignorant, i.e. , that inqueening a

Pawn, such Pawnnee not ncccssaril be exchanged for aQueen. You may claim a Rook, or a ishop, or a Knight .And this privilege is allowed eventhough all the piecesremainonthe board. It follows

,therefore, that you may

have two or more Queens, and three or more Rooks,Bishops, orKnights. Remember that the promotionof thePawnis the immediate consequence of

eighth square. A mo’

vc cannot be playedtionis made.

Inthis problem,if black have themove, he cancheck

mate you immediately, or,“onthe move,” as it is called.

Endeavour to find out how he cando this. But, whitehaving tomove, you canforce themate inthreemoves.

QUEENING A FAWN. 1 65

You first sacrifice your Bishop inorder to get the adverseKing into sucha positionthat the mate canbe effected inthe shortest way. Therefore, by checking with the B . at

Q. Kt. sixth, the King has the choice of moving to hisQ. R . sq. or of capturinyour B . If he move to his

Q. R . sq. ,our advanced awnmoves toQueen, becomes

Queen, angives checkmate. His best move (whenactingonthe defensive, that which will prolong the game is generally called the best move), is to take the B .,whichhe doesaccordingly. Now, althou

gh a Queenis themost valuable

piece to get inexchange or a Pawn, yet it isnot alwaysthemost advan us. Inthe

tperescnt case, if you claim a

Queenfor your awn, she will ofno use to you, becauseshe doesnot give check, and our adve canmate youif you cease to check him. 0 check him, y pltiy

ing yourRook to Q. B . sixth is ofnonsc, bccause the canbecaptured by K. or by Q. You

, therefore, queenyourPawn, and, instead of claiming a Queen. you takeaKnight,which thus gives check . He cannot capture the Knight,

I66 LESSON IV.

and has only one vacant square to which his King canmove, because

nyou will observe that your ncwlmeated

Knight not 0 y checks the K . at his Q. Kt . t bu t

also commands his Q. R . second. His K . must, therefore,move to Q. R . fourth sq. ,

whenyou canmate him immediately by a move which you will readily discover.

The following diagram illustrates a power which belongsto the Pawnand the Knight, of attackm twomenat once :this is called forking them . For exam c, by pla yourKnight to K. seventh, you fork your versary

’

s and R .

Hemust movehisKing out of check, and you capture theRook : should he retake with his B . , you are thensaid towinthe exchange, a term which is used whenyou gaina

Rock, inexchange for a Knight or a Bishop .

The power of forking3also applies to the Pawn. Inthis

aying Q. P. two sq. you fork his Kt . andsave both, and must either lose his Kt . b

away his B or, by taking the Pawn, lose his

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1 68 LESSON V.

sary, after fourmoves have beenplayed oneach side, hasthe choice of proceeding with, or recommencing the e.

V. Whenno odds are given, the players must tafizmthe

first move of each game alternately, drawing lots to determine who shall beginthe first game. If a game be drawn,the player who beganit has thefirst move of the followingone.

VI. The player who gives odds, has the right of movingfirst ineach game, unless otherwise agreed . Whenever a

awnis '

ven, it is understood to be always the King'sisho

’s awn.

VI A piece or pawntouched must be played, unless, atthe moment of touching it, the player say “TM ,

”or

words to that efl'

ect ; but if a piece or pawnbe dis lacedor overturned by accident, it may be restored to its place.

VIII. While a player holds the piece or pawnhe hastouched,hemay play it to any other thanthesquarehe tookit from, but having quitted it, he cannot recall the move.

IX. Should a player touch one ofhis adversary’s pieces or

awns, without saying “TM ,

”or words to that efl

'

ect,his adversary may compelhim to take it ; but if it cannotbe legally taken, he may oblige him to move theneshould his King, however, be so posted that he cannotls y moved,no penalty canbe inflicted .

Should aplayer move one of his adversary’

smen, hisantagonist has t e Optionof compelling him— lat, to replacethe piece or pawnandmove hisKi 2nd, to replace thepiece or pawnand take it ; 3rd, to et the piece or pawnremainonthe square to which it had beenplayed, as If themove were correct .XI. Ifa layer take one of his adversary’

smenwith oneofhis ownt at cannot take it without making a falsemove

,

his antagonist has the 0 tionof com elling him to take it

with a piece or pawn at canlo y take it, or to movehis owniece orpawnwhich he touched .

XII. bould . a player take one of his ownmenwithanother, his adqersary has the optionof obliging him to

move either .

XIII. If a playermake a falsemove, i.a.,lay a piece or

awnto any square to which it cannot l y be moved,his adversa has the choice of three penalties ; viz., lst, of

compelling im to let the piece or pawnremainonthesquare to which he played It ; 2nd, to move it correctly toanisot

Kher square; 3rd, to replace the piece or pawnand movemg.

XIV . Should a player move out ofhisturn,hisadversary

THE LAWS OF THE GAME . 1 69

may choosewhether bothmoves shall remain,'

or the secondbe retracted.XV . Whena pawnis first moved ina game, it may be

played one or two squares ; but inthe latter case the opponent has the rivilege of taking it anpanda: withany pawnwhich could ve takenit had it beenplayed one squareonlih

A wncannot be takenon at by a piece.player cannot castle in e followmg

1 . If thenor Rook have beenmoved .

2 . If theKing be incheck .

3 . If there be any piece betweentheKing and Rock .

4. If the King pass over any space attacked by one ofthe adversary’

s pieces or pawns.

Should a pla er castle inany of the above cases, hisadversary has e choice of three ties, viz.

- 1 st, ofinsisting that themove remain; 2nof compelling him to

move theKing ; 3rd, of compelling him to move the Book .

XVII. If a player touch a piece or pawnthat cannot bemoved without leavintheKing incheck, hemust re lacethe piece or pawnanmove his King ; but if the ingcannot be moved,no penalty canbe inflicted.

XVIII. If a player attack the adverse King withouta ying

“Check,

”his adversary isnot obliged toattend to it

but, the former,inplaying hisnext move, were to say

“C heck,”each player must retract his last move, and he

that is under check must obviate it .XIX. If theKing has beenincheck for several moves,

and it cannot be ascertained how it occurred, the playerwhoseKing is incheck must retract his last move, and freehisnfrom the check but if themovesmade subsequentto the c eck be known, t ey must be retracted.

XX. Should a player say“C heck

”without giving it, and

his adversary inconsequence move his King, or touch a

piece or pawnto interpose, he may retract such move, pro

vided his adversary havenot completed hisnext move.

XXI. E very Pawnwhich has reached the eight or last

square of the chess- board,must be immediately exchanged

for a Queenor any other piece the player may think fit,eventhough all the piecesremainonthe board . It follows

therefore that he may have two or more Queens, three or

more Rooks, Bishops, or Knights.XXII. Ifa player remainat the end of the me

,with a

B ook and Bisho against a Rook ; with both ishopsonly ;with Knight anBishop only, &c.

,hemust check-matehis

adversary infifty moves oneach side at most,or the game

will be considered as drawn; the fifty movesMcommence

cums.

LESSON VI.

from the time the adversary givesnotice that he will countthem. This law holds good for all other check-mates of

iec

is

gtnly,

8s

z

ucli as Queenor Rook only,Queenagainst ac., c.

XXIII. If a player agree to check-mate with a particular iece or pawn, or ona particular uare, or eng e to

force is adversary to stale-mate or chec -mate him,e is

not restricted to anynumber of moves.

XXIV. A stale-mate is a drawngame.

XXV. If a layer make a falsemove, castle impro rly,&c.,

&c., the versarymust takenotice of such irregulzrity

before he touches a piece or pawn, or he willnot be allowedto inflict any penalty.

XXVI. Should any questionarise, respecting w

there isno law, or incase of a dispute respectinthe players must refer the int to the most 8disinterested b standers, antheir decisionmust be considered as conc usive.

LESSON VI.

Opening the game— Powers of the pieces at the commencement—K P.

two squares, why a good opening move— Losing moves and gainingmoves— Theregular Openings clasdfled— ThsKing’

sB ishop’

sGame.

WE comenow to the most important feature inthe gameof chess— the art of opening the game— anart which it isnecessary to acquire for the management either of a suc

cessfulattack, or ofa skilful defence. You must endeavourto play out your pieces insuch a way as to oppose those ofyour adversary andnot obstruct your own.Onexamining the powers of the pieces at the commence

ment of the game, we are struck with the fact, that, withthe exceptionof the Knights, they are absolutelynothing .

Your K. Kt. commands two white squares, andyour Q. Kt .two black squares, but the other pieces are incapable ofmoving]

. Your first obflect, therefore, is to play your Pawns

insuc

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172 LESSON W.

the better enabled to follow out theconsequences ofanerrorwhichat first view may appear slight.Our attentionwill now be directed to four openings

which are respectively called1 . THE KING’

s B isnor’s Guns— which is commenced

by both playersmoving the KinsPawntwo squares, andthenthe first player moves his s Bishop to Queen’s

een’sPawntwo sgares,

his Queen’s Bishop’s awn'two squares.

Kma’

s Brsnor’s GAME .

WHITE . BLACK.

1 . K . P. two squares. l . K . P. two squares.2. K. B . to Q . B . fourthsquare. 2. K. B . to Q . B . fourth

The game is thus rOperly opened onboth sides. Youlay the Bishop to CKIS square inpreference to any other,ecause here it attacks your adversary’

sK. B . P. which isthe weakest of his game, that pawnbeingthe King 0 y. The same remarks apply tosary

’s second move.

3 . Q . B . P. one square. 8 . Q . to K . second square.

Your Object inmoving Q. B . P. is to be enabled to playQ. P. two squares at your fourth move ; this intention1 8

foreseenby your adversary, and frustrated by his thirdmove. You cannot now play Q. P. two squares withoutloss ; as for example4 . Q . P. two squares. 4 . P. takesP.

6 . P. takes P. 6 . Q . takesP. checking.

6 . Q. tOK. second squ 6 . Q . takes Q .

7 . Kt. takes Q . 7 . K . B . to Q . Kt . third square.

You have thus lost one pawnand isolated another— disadvantages which ought to lose you the game.

Let usnow retrace the last four moves,and instead of

moving Q P. two squares at your fourthmove you play4 . K. Kt. to B . third square. 4 Q P. 01 10 square.

Your fourth move is now a very good one, it places

KING’S BISHOP’

S GAME . 1 73

your K . Kt. inthe bes t positionhe canoccupy at the commencement of the game, and ves onliberty to castle.

Black’s fourthmove is also good

,

it liberates his Q. B .,andgives additional support

‘

to K. P. and K. B .

6 . C astles . 5. K . Kt. to B third square.

time to the best position, and

6. Q . P. two squares. 6. K . B . to Q . Kt . third square.

P. two,not only with

retreat, and thus leaving youina capital position.

7 . Q. B . toK. Kt. fifth square. 7 . The same.

The object of this move isnot only to bring’a valuable

piece into play, but also to defend your K. from the

attack of the t . ; for you will observe that Black cannotmove his Kt. without exposinhis Q. to the attack of

your Q. B . Besides, whent e K. Kt. is thus advantageously placed, it is oftengood play to exchange it foryour Q. B . Inthe present instance he cannot prevent onfrom doing so onaccount of the posi of hisQ. B kmakes a similarmove to your owninorder to get hisQ. B .

into play and change offyour Kt.8 . Q. KL tO Q. second square.

Inorder to maintaina Kt . at your K . B . third uare,

onbring out Q. Kt . Ifhenow take you K. Kt. wi the

B. , you mustnot retake withK . Kt. P. becauseyou wouldthereby expose your K. You would retake wrth Q. Kt.and thus have the advantage of a much better position.

and with the two—fold objhect of winning

your centre pawns, e plays8 . K . P. takes Q . P.

9 . P. takesP. 9 . K. B . takesP.

You retakeP. withP. because you cannot move K . Kt.without losingyourQ. For thesame reasonhe takes P. at

1 74 LESSON VI.

your Q. fourth, and does wina pawn. But the move is a

bad one,as you will presently see. He ought to have

castled or moved hisQ. Kt. to Q. second .

1 0. Q . to Q . Kt . third square. 1 0. K . B . to Q . Kt third square .

You attack his Q. Kt. P. which if he allows you to

capture, you winalso his Q. R . ; he therefore covers the

Kt . P. b moving back hisK . B . You also bring anotherpiece to ear uponhisK . B . P.

1 1 . K . P. one square. 1 1 . P. takes P.

1 2 . K . Kt . takes P.

By advancing your K. P. you attack his K . Kt. whichcannot be moved onaccount of the ositionof your Q. B .

and hisQ. he gets rid of the attac for the moment btaking your P. with hisQ. P. You thenretake P. wi

K . Kt .—He darenot take Kt. with his Q., because

‘

you

would immediately pla one of your Rooks to K. square,attacking bothQ. and and it would be useless for himto interpose Q. B . at K . seventh uare, because onwill

ure the B . with the R ., and st '

winhisQ. e there

1 2 . Q . B . to K . third square.

1 3 . Q . R. to K . square. 1 3 . C astles.

You thus bring a powerful piece to assist inthe attack

whichhe hopes to escape from b castlingz— a privilegeofwhichhe ought to have availed gimseIf earlier.1 4 . Q. Kt. to K. fourth square.

‘

1 4. K. R . to K. square.

By this move onstill further strengthenyourBlack moves his { took inorder to strengthenthe King’

s

file,where he thinks the attack is likely to b in. Observethe difl

'

erence betweenyour game and hi your piecesare usefully em loyed— his Q. R . and Q. Kt contributenothing to the efence of his game, and evenhis K. Kt .cannot bemoved onaccount of your Bishop.

1 5. K . Kt. takes K . B . P. 1 6. K. to B . square.

This is very fine play. WhenBlack moved away hisR .

from the defence of this pawnhe didnot foresee thismove. Black had three other modes of playing which wewill consider presently . You havenow awongame beforeyou.

1 6. Q. Kt. takes Kt. 1 6. P. takes Kt.1 7 . R . takes B . 1 7 . Q . takes Kt.1 8 . Q . B . to K. R . sixth, checking . 1 8 . K . toKt . square.

1 9 . R . takesR . and checkmates.

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1 76 LESSON vn.Inorder to understand and rofit by this

careful attentionwill be required)

onthe part 0We have preferred to analyse a whole game, (as conductedby skilful players,)rather thanthe few Openinmoves ofmany games. Inthe one case the interest of 0 studentiskept alive and his progress ensured ; inthe other case hisattentionis likely to be distracted b fragments of gamesaccompanied by variations. We shad, therefore, refer to

present him With whole ga'

mes illustrative of the our principal openings, untilwe think he ought to have acquiredinsome degree the discriminating art ofpmoreat theproper time.

LESSON VII.

KING’S m usar

’

s GAME .

’

IN our last lessonwe played through a game illustrative of

the King’s Bishop’

s opening. his method of play is

sound, butnot capable of much variety, and therefore seldom attempted . Onthe present occasionwe propose toconduct the student through a game illustrative of the

King's Knight’s opening, a method which is highly anddeservedly esteemed among chess-players. It is a perfectlysound opening, and leads to greater variety thanany othermethod of lay.

The follhwing me is by Greco, whose merits as a

player and writer ve beennoticed inthe first part, p. 71 .nthis game the attack is very brilliant, and nits m the

style of this master. It is, however, a ne complaintagainst Greco’

s es that the brilliant y is onone side

only. We are isposed to think that suc mustnecessarilybe the case,not only with Greco’

s, but with the games of

all brilliant players, because such

lgames if properly op

posed must cease to be brilliant. he feeble play of theadversary serves as the foil whereby such games becomebrilliant . The more equally players are matched, the lessbecomes the opportunity for

,the exhibitionof and

brilliant stratagems — they are seenthrough and dc satedlongbefore the arematured .

heyoung c ese-student will therefore bear inmind thatGreco

’s games, as specimens of brilliant and innious

attack, are admirable and worthy of attentive st y, be

cause they revealmany of themost refined resources of the

KING’S KNIGHT’

S GAME . 1 77

game, the study of which willbe of great practical advantage ; but he must not e to find a model forlay onboth sides: with a

'

ttle attention, however,£01 1 7 0 benefit from thefaults committed onone side aswellas from the skill displayed onthe other.

KING’S KNIGu'

r’s Gum.

WHITE .

K.

name to

1 . Q. P. one square, but this is objectionable because itconfines the range of that most usefulpa

rses, theK . B . 2.

Q. to K . second square defends theK . but themove isthe same objectionof confining the K. B . 3 . K.

B . to Q. third square is very objectionable, because it confines the Q. P. ,

and co uently the Q. B . , and otherwiseobstructs his 4. B P. one square appears todefend the P., but does not really do so, as, for

K. B . P. OneK . Kt. takes K . P. K. B . P. takes t.

Q . to K . R . 5th, checking. K. Kt. P. one square.

O. to K. second square.Q. takes K . B .

One method of defending the K. P. from the attack of

2 . Q . Kt. to Q . B . thirdsquare .

This is Black’s best move. TheQ. Kt.not only defends

the K. P. but is inmany other respects most usefullyplaced.8 . fourth square. 3 . K. B . tOQ. B . burth square.

If Black had played any other move thanQ. Kt . tosquare at his second move you would have pro

ceeded differentlyaccording to circumstances ; butnow yourproper third move is to get out theK . B . to his best and

L Q B . P. one square. 4 . Q. toK. sscond square.

very generally played inorder tothe moving out of Q. P. two squares at the filth move.Black moves out hisQ. inorder to prevent the advance of

1 78 LESSON VII.

your Q. P. It has beendiscovered, however, that thismove doesnot prevent the advance of your Q. P. tw o

Black’s fourth move may, therefore, be either

9 but we

;et

gin, int e present instance, the move of Q. to K.

n6 . C astles. 6 . Q . P. one square.

3 . Q . P. two squares. 6 . K . B . to Q . Kt . third.

Black’s sixthmove is much to be . censured. He ought

to have takenthe pawnwith his K . P., and thenhaveretreated withhis Bishop.

7 . Q . B . to K . Kt. fifthsquare. 7 . K . B . P. one square.

It is seldom good play to moyeK . B . P. one square, andinthe present instance Black ought to have covered the

onhis Q. by playing K. Kt. toK. B . third square.

8 . Q . B . to K. R . fourth square. 8 K . Kt. P. two squares.

Younow get your Q. B . to strengthenyour King’s side,while it acts as a useful attacking piece . Black '

s advanceoftheKt . Pawnis injudicious, because by the skilful sacrifice of your K. Kt. you get a powerfulattack .

9 . K . Kt. takesK. Kt. P. 9 . P. takes K . Kt.1 0. Q. to K. R . fifth square,chg. 1 0. K to Q. second square.

1 1 . Q . B . takesP.

This discovery was made a few years ago whenthe Queen's PawnTwo Game,

"was so great a favourite. The circumstance which led to it

is curious, and willbe understood by comparing the following opening of

theQueen’s PawnTwo Game with first of the King'

s Knight's Game.BLACK.

1 . K . P. two squares. 1 . K . P two squares.

2 . K . Kt. to K. B . third square. 2 . Q . Kt to Q. B . third square

3 . Q . P. two squares. 3 . PawntakesPawn.

6 . Q . B . P. one square. 6 Q . to K. second.

6 . C astles.

Instead of beginning the game thus, if you openthe King’

s Knight’

s

Game inthe following order, the positionwill be precisely the same in

l . K . P. two squares. l K P two squares .

2 . K . Kt . to K . B . third square. 2 . Q . Kt. to Q . B . third square.

3 . K. B . to Q . B . fourth square. 3 . K . B . to Q . B . fourthsquare.

4. Q. B . P. one square. 4 . Q. to K . secondsquare.

3.

8. P. two squares. 6 K P. takesP.

as es.

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1 80 LESSON vn.are givenintheAppendix. He must

,endeavour to efl’

ect

themate inthe prescribed number of moves, and instrict

accordance with the laws of the game; It is very desalsonot to touch the pieces until the student has formedthe solutioninhisOwnmind ; and, indeed, it isa very usefulexercise to effect the solutionwithout the use of the board

and men, by simpl studying the d’

m itself. We

earnestly recommenhim not to consult the Appendix ;assuring him, that if he solve them without our aid hewill be amply compensated for his trouble.

PROBLEM1 1 . ”Write to morefirst, and togive d ecimateintwomom .

WHITE .

LESSON VIII.

m o’sm om ’

s can, (continued )so much variety, and isscience of chem, that the

BLACK

1 . K. P. two squares. l . The same.

2 .

8 . K. B . to Q. B . fourth square. 8 . The same.

4 . Q. B . P. one square.

Thus far the moves are the same onboth sides as inthelast lesson. Black

’s fourth move was Q. to K. second

square. Inthe present game his fourthmove is

L K . Kt. to B . third square.

He might also have pla ed Q. P. one square, a movewhich

, acco to some chess authorities, is Black’

s bestfourthmove. y moving out his K. Kt .,however, he is ina conditionto castle at the first favourable opportunitybut the immediate advance of your Q. P. two uares,

exposes him to anattack which requires much andcautionto resist successfully.

5. Q. P. two squares.

The best move for Black is to take your Q. P. withhisK. P. If instead of doing this he remove the K . B . either

to Q. Kt. third square, or to Q. third square, hemust losethe game. For exam

5. K . B . to Q . Kt. third square.

6 . Q . P. takes K . P. 6 . K . Kt. takes K . P.

7 . Q . mQ . fif .h square. 7 . K . B . takes K . B . P., checfing.

8 . K. to K . B . square.

B lack must lose a piece, because inorder to avoid checke or to playhis Q. to K. second

square. take‘

his K. Kt . Wlth your Q.

Black also loses, if at his fifihmove he play6 . K. B . k) Q. third.

Thismove is evidently bad, because it obstructshis owngame and enables you to combat his pieces with

Pa very unequal warfare, and much to be avoids by theplayer of the pieces.

1 82 hESSON VIII.

6. Q. P. tak 6 Q Kt . takesP‘

7 . K . Kt. takes Q . Kt . 7 . K . B . takesKt.8 . K . B . P. two squares. 8 . K . B . to Q . third square.

9 . K. P. one square. 9 . Q . to K. second square1 0. Q . toK. second square.

It wouldnot be good lay for you to castle at

move, because he would ve checked with hisK . B . andthenhave removed hisK. Kt. whereas,now he must losea iece for a Pawn.

t usnow set up our pieces again, and returnto theoriginalgame.

1 . K. P. two squares. l . The same.

2. K . Kt. to B . third square. 2 . Q . Kt. to B . third square.

8 . K . B . to Q . B . fourthsquare. 3 . The same.4 . Q . B . P. onesquare. 4. K . Kt . to B . third square.

6 . Q . P. two squares. 6 K . P. takesQ . P.

6 . Q . B . P. takesP. 6 . K . B . to Q . Kt . third square.

Black loses the game by this move ; he ought to have

played the Bishop to his Q. Kt . fifth square checking .

is will be illustrated inanother game.

7. K . P. one square. 7 . K. Kt. to K . fifth square.

Your seventh move shows how much better it wouldhave beenfor Black to havemoved Q. P. one square at hisfourth move instead of K. Kt . to B . third. Black mightalso at his seventh move have played Q. P. two s

quares.

By playing hisKnight to any other square he woul haveaninferior game.

8 . K. B . to Q. fifihsquare. 8 . K. B . P. two squares.

If, instead of defending theKnight, he had checked withB . at hisQ. R . fourth square

, your best move would havebeenK . to hisK . B . square. Ifyounow takehis K . B . P.

enpassant he will retake with the K . Kt . and thus greatlyimProve his game.

9 . K . B . takes K . Kt that is, the 9 . K . B . P. takes K. B .

Kt. at K. filth square.

1 0. Q . B . to K. Kt. fifth square. 1 0. Q . Kt. toK. second square.

If instead of thismove Black take thePawnwith hisBishop you get sfine opengame by playing thus z

6. K. B . takesP.

7. K. Kt toK. Kt. fifthsquarethreatening totake hisK. B . P. , forkingQ. and K. R . ; to prevent whichBlack 7. Castles.

8 . K. B . P. two squares. 8. K. B . toQ. third square.

9. K. P. one square winning a piece.

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1 84 LESSON VIII.

to chess problems aswell as to moreimportant matters. Whentherefore the student cannotsolve a problem except inhis ownway, hemay be tolerablycertainthat the error, if there be one, is inhimselfandnotinthe problem.

Paoamm III. Mite tomovefirst, and togive checkmategetwomoves. If B lacbm vefirst lte cangive checl’mate onmove.

BLACK.

WHITE .

CHESS PROBLEMS. 1 85

Paonm IV . White to movefirat andfirst gives mate onthemove.

WHITE .

LESSON IX.

KING’S KNIGHTS GAME , (continued )

IN the present lessonwe will invite your attentionto another KING'

SKnIGn'r’s GAME , adopting a different style of

lay, and giving to Black the first move. You will there

?ore have to conduct the defence, the attack being generallyat the discretionofhim who has the first move.

l86 LESSON IX.

BLACK. WHITE .

1 . K . P. two squares. l . The same.

2. K . Kt. to K . B . third square. 2 . Q . Kt. to Qe B . third square.

3 . K . B . to Q . B . fourth square. 8 . The same.

4 . Q . B . P. one square. 4 . K . Kt. to B . third square .

Thus far themoves onboth sides are the same as inthelast lesson. The variationcommences with the fifthmove

of the first player, when, instead of playing Q. P. two

squares, he movesQ. P. one square.

This move produces anentirely different game, andrequiresmuch skill inmanoeuvring the pawns. The firstpart of the contest isnot carried onas inthe last game, inthe centre of the board, but by bold advances of the pawnsonthe Queen’s side, which leave behind them a range forthe pieces. There isno immediatenecessity oneither sidefor castling : you therefore remove your K. B . to a veryadvantageous positionwhile you have time.

5. K . B . to Q . Kt . third square .

6 . Q. Kt . P. two squares. 6. Q . R . P. one square.

The advance of the pawns onhis Queen’s sidenot onlyprevents you from playing Q. Kt . to Q. R . fourth square

,

Inorder to change off hisK . B .

,which it would be desir

able for you to do, but also requires you to providea retreatfor your Bishop, and you do so thus early, reserving severalother important moves which might bemade untilyou see

more clearly your adversary’s planof attack .

7 . C astles. 7 . Q . P. one square .

It isnearly always good lay to move the Q. P. as soonas your adversary has castle It releases the Q. B . and inthis case gives anadditional support to your K. P.

8 . Q . R . P. two squares. 8 . C astles.

9 . Q . B . to K . third square. 9 . The same.

It is enerally desirable early inthe me to changeyour Q. for your adversary’

s K. B . T t iece movesonthe same colour as that onwhich your g stands ;and after you have castled it frequently prevents yourK. B . P. from being moved. But inthe present case it isnecessary to be very cautious how you adopt this axiom .

There are several things to be done 1 . If he plaK . B . takes Q. B . he improves your game,— for you wiretake B . with your K . B . P and inthe present andsimilar positions 9. doubled pawnat K . third square is bno means badly placed, for among other advantages it stan

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1 88 LESSON IX.

his ower of stepping u oneither colour, while a Bishop isconned to one. Unor the guidance of skilful play a

Knight frequently decides the fate ofa game. if

1 3 . Q. takes B .

threatening hisQ. P.

1 4 . Q . Kt . to K . fourth square. 1 4. K . R. to Q. square,

againthreatening his Q. P. If he advance the Q. P. he

loses Q. Kt. He may defend it by playing K. Kt. to K .

square, but this retrogrademovement is b no means desirable ia the present state of the game. e therefore doeswell to abandonthe Q. P. and advance the K . Kt . (i. c.,

the

standing at K. B . third square), toK . Kt . fifth, for

ifyou take the Q. P. he is able to form a strong attack .

1 5. K . Kt . to K . Kt . fifth square. 1 5. Q . takes Q . P.

1 6 . Q . to K . R . fifth square.

He thus abandons the central pawns for the sake of a

ositioninyour camp which threatens to be danrous.

gou must now act onthe defensive, for if you e hisK. P. checking, he moves K. to the comer and ratherimproveshis game ; therefore you play,

1 6. K. R . P. one square.

1 7. Kt. takes B . 1 7 . K. B . P. takes Kt.

He does not retreat with the Kt . but ca tures

Bishop, threatening your R . ; ou must re s

K . B . P. , and what before wou d have beenanisnow the reverse : two isolated pawns at yourand fourth squares are byno means desirable.

1 8 . Q . to K . Kt . sixth square.

A much bettermove thanchecking at K. B . seventh, forhenow defends his Q. Kt . , brings his Q. into a strongposition, and his object should be to bring up other piecesto her assistance. Besides, by this move he threatens towinyour Q: by checking with Kt . at your K . B . thirdsquare, to prevent which you play,

1 8 . K. to K . R .

1 9 . K . R . to K . B . seventh square.

If you take his K. P. checking, he will move K. to

K. R .

20. Q. R . toK. B .

fil

It is very desirable thus to unite the Rooks onthe samea.

1 9 . K. R . toK. Kt. square.

20. Q . R. to Q . B .

KING’

S KNIGIIr‘

S GAME . 1 89

Your object is to defend theQ. B . P. as you donotantici

2 1 . B . takes It Kt. P.

This sacrifice is premature, and will cost him the gamebecause by yournext move you prevent him from follow

ing up the attack which the sacrifice seemed to promise.

Before a sacrifice ismade, it is alwaysnecessary to observewhether the adversary has a check at command - the

power to check frequentlyneutralizes anattack .

2 1 . Q . takes K . P. checking,by whichmoveyou defend the pawnat K . R . third square,which Black seems to have calculated ontaking .

22. R . takes R .

23 . Q. takes K. P.

If you take his Kt. he captures your Q. R,therefore,

23 . Q. R . to K. Kt. square.

which is amuch better move, because it unites your Rooksonthemne file, and you threatento take his K. Kt. P.

Therefore, to displace this Q. R . he plays,24. KL toK. B . sixth square. 24. Q. to K. seventh square,

25.

Your obvious move now a

ppears to be to take the

K. Kt . P. with the Rook . Sho d you do so you lose the

game intwomoves Therefore,

25. Kt. to Q. square.

26 . Q. to K . R. third.

After being worsted inthe skirmish and thus compelledgame may be considered as lost. It isneces

sary, however, for you to defend the K. R. P. ,otherwise

mated intwo moves; but you caneasily do this by26. Kt. to K. B . second,

and canafl'

ord to give up your R. for hisKt.

27 . Kt. takes R. 27 . R . takesKt.

Weneednot pursue this game further. You have the

25. R . takes K . Kt. P.

checking. 26. R .Meat).26 . Q . takes R .

27 . R . takesR. checkmate.

l90 LESSON IX.

advan e of a Kni ht and must winz— that is, supposingon eno blunders : for these of course cannever beoreseenor calculated by a third party, although they constitute one of the most essential differences betweena badand a ood player, and ought always to form part of everyindivi ualgame inwhich they occur.

The difi culty of solvinchess problems erally increases with thenumber 0 moves Inwhich t e mate is tobe effected . Those inwhich the mate is to be givenonthesecond move are among the easiest, and scarcely admit ofthat disple of brilliant i enuity which characterizes

problems w are the mate is e ected ina largernumber Ofmoves. Some difiicult problems intwo moves will, however, be givenhereafter.

PROBLEMV . White to movefirst, and give checkmate in

B LACK.

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1 92 LESSON X.

Black’s fourthmove wasnot good. Inseek '

to drive

away your Kt. , he probably overlooked the chec at yourfifth move, whereby you not only wina pawn, but also

defend your Kt. from the attack of his K. B . You

not, it is true, be able to maintaintheKt. inthis positionbut, inexpelling or winning this piece, Black getsinferior game.

6 . Q. takes K. P. 6 . Q. to K. second square,7 . Q. P. two squares. 7 . K. B . P. one square.

By this last move Black wins your Kt . , because if youIemove it you lose your Q. : but inexchange for the Kt .you get two pawns and a fine position.8 . K . B . P. two squares.

Thismove is better thanplaying Q. B . to K . B . fourthsquare, because you thus unite two pawns inthe centre.

A second defence isnecessary to the Kt., because if youmove away your Q. you lose a pawn.

8 . K. B . P. takesKt.9 .

1 0. K . B . to Q . third square.

This move is a verygood one, but difiicult for you to

understand without expanation. It prevents himlaying K. Kt. to B . third square — a very desirable move

'

or him at the present juncture. Examine this moveattentively, andnotice its effect inpreventing him fromplaying out the Kt. to K . B . third square. If you hadlayedQ. Kt . to Q. second square, the effect onhim wouldliava beenthe same; but the Objectionto thismove is, thatyour Q. B . ,now so usefully employed incommanding five

squares, would have beenrendered powerless.1 0. Q . B . to K. third square.

The object of Black is to support his K . Bishop’s file,

which would be commanded entIrely by your K. R. onplaying him to K. B . square.

1 1 . Q . B . P. one square. 1 1 . Q . to K . B . second square.

By thismove you still further limit the range of youradversary’

s ieces, and tend to preserve your owncentrepawns, whio would be liable to be brokenby the advanceof the pawns onhisQueen’s side. Black

’s positionis very

much constrained ; he therefore moves his Q. inorder togive her sOme scope.1 2 square. 1 2.

Inthepresent positionit isnot legal for you to castle on

QUEEN'

S BISHOP’

S PAWN'

S GAME . 1 93

you .

1 3 . Q. to K. B . thirdsquare.

Threatening to play Q. to K . B . eighth square checkmg

’

or should he exchange Queens, to retake with’

K. Kt .one of pawns, which onyour1 3 . Q . to K . R . fifth chkg.

1 4 . K. Kt . P. one square.

sq

Black darenot take either your Q. P. or K . R . P. withhis Q, onaccount of the

lpositionof your Q. and K . R.

er.

“

1 4 Q. toK. second squsrs.

1 5. Q .

moving a pacealready inthe field.

1 5. Q . Kt. to Q . second square.

1 6. K. R . P. two squares. 1 6. C astles withQ. R.

1 7 . Q. B . to K KL fifth sqnare.

from the

1 7 . Q . to Q . Kt. fifth square.

Black does quite right to abandonhis Q. R . to yourQ. B . Henow threatens your Q. Kt. P. , the capture of

which will give him a momentary advantage, worthlem,however, onaccount ofnot being able to follow it up. A

Queeninthe adversary’s field canseldom do much unlea

1 94 LESSON XI.

ible ; andmost especially so, whenhis incautious or inexperienced antagonist wastes his strength inskirmishes, andwhile gammg temporary advantagesneglects todefence or counter attack .

1 8 . Q . B . takes Q . R. 1 8 . Q . takes Q . Kt. P.

1 9 . Q . B . takes K . B . 1 9 . Q . takes Q . R . , checking .

20. K . to Q . second square. 20. Q . to Q . Kt. 7thsq. , checkin2 1 . K . B . to Q . B . second square. 2 1 . K . takes Q . B .

22. R . to Q . Kt . square. 22 . Q . to Q . R . sixth square.

23 . Ki. to Q. Kt. fifth sq . , checking. 23 . Q . B . P. takesKt .24. Q . takes Q .

Themanner inwhich your adversary’s Queenis wonis

skilful: it is anecessary con uence of a successionof

moves foreseenby White, and p yed with bolducs andprecision. White has a won e, and weneednot m e

the game further. Observe t t Black’sK . R . and Kt.

are still at home, and throughout the game they have contributednothing whatever to its defence. You must avoidleaving your pieces at home unemployed. You would

probably smile if a betterplay

er thanyourselfpap

osed

that you should give him the da of a Rook and a Ight ;that Is, that these pieces should be removed from the boardbefore you beganyour game. You would despair of beingable to stand against him during a dozenmoves, and at,by kee ing these pieces shut up and unemployed, whileyour versary brings allthe effect onyour game 1 3the pieces which you donot use.

LESSON XI.

QUE EN’S BIsnor’

s rAwn’s GAIIE .

warm . BLACK.

1 . K. P. two squares. 1 . The same.

2 . Q. B . P. one square. 2 . K. Kt . to K. B . third square .

IN our last lessonBlack played as his best second move,Q. P. two squares: some players, however, prefer to bringout the K. Kt . ; a move which, for the reasons alreadystated, seems to be inferior. It willbe instructive to illustrate this mode of play inthe present lesson, inorder toshowthe young student how to take advantage ofamove,t ch the most eminent authorities now condemn. A

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1 96 LESSON KI.

capture K. R. P., and afterwards K. B ., you therefore

8 . Q . B . to K . third square.

thusnot only defending your K . B ., but bringing a useful

piece to strengthenyour positiononyour K. si s.

8 . C astles.

The pro rietyofcastling, inthe resent crowded position,may be fairly questioned ; Q. B . P

I.

)

one square, or Q. Kt .to Q. B . third square

,would probabl have been

~better .

Black has sevenpawns unmoved, and e very Operationofcastling prevents his K . B . P. from being moved ; whilethe two pieces already‘ inthe field are ina precarioussituation. Your game onthe contrary is openand freefrom danger, inconsequence of the facility which anopengame nearly always gives, viz. , that of formingnew combinations, varying your planof attack or of

defence almost at will; whereas, ina crowded game, theplayer has but little choice, and is soonat themercy of his

antagonist. Inthe following moves B lack makes the bestof his two pieces, and keeps up a smart attack ,

whichhowever, bemg defended with ordinary care, does notendanger your game. There is seldom much to be donewith two pieces against five. You will observe that

.

yourK. , Q.

, K . R ., K. and two Bs. are engaged with his Q.

andK . Kt .

9 . K . Kt . P. one square. 9 . Q . takes K . R . P. checking .

1 0. K . R . toK. Kt . second square. 1 0. K . Kt. takes K . Kt. P. checkg.

1 1 . K. toK. B . second square. 1 1 . Q. to K. R . eighth square.

If

qpcapture hisKt . with your K.

,he takes your K. B

with Q. If you take the Kt . with your R. you loseyour Q. ; therefore,1 2. Q . Kt. to Q . second square.

You thus defend our K . B . ; bring twomorepplay, and are actu y contending with sevenagamst two.

1 2 . K. Kt. takesK. B .

1 8 . Q . It. takes K . Kt. 1 3 . Q . mK . R . fifih square, chkg .

1 4. K. toK. second square. 1 4. Q. to K. R . fourth sq. ,checking.

1 5. K . to K . B . second square.

It ismuch better for your K . to keep under the shelterof the two Rooks, thanattem t to escape to the Queen’sside, which would only pro ong the strug ls uselessl

Should Black check you must move to K . t.

and he hasno further elicek uponyou. Black declines thischeck : the skirmishis at anend, and he attem ts to

opena path for his pieces. Weneed scarcely remia the

young student that, although Black comes out of the

QUEEN’

S BISHOP’

S PAWN'

S GAME . 1 97

game Ina very1 5. Q . P. one square.

1 6 . Q . R . to K . Kt. square . 1 6 . Q . takes Q . P.

fallacy.

1 7 . R . takes K. Kt . P. checking 1 7 . K . to R . sq .uare

1 9 . R. toK. Kt . eighth sqnare, ehechnats.

PEOBLEMVI. Whitemovisg jirst is to give ckech ate inBLACK.

1 98 LESSON XII.

PROBLEMVII. to movefirst, cmd to checkmate is

BLACK.

WHITE .

LESSON XII.

THE KING’S GAMB IT.

WE about to introduce the young student to a

favourite and brilliant style of play, altogetherfrom the specimens givenint he previous lessons. TheKing’

sGambit offers greater variety thanis to be found inthe other openings,and therefore requires greaterknowledgeand practice to conduct it with success: hence, anexpe

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200 LESSON XII.

board to hisadversary ; disadvantageswhichtakesomethingfrom the value of the pawnthus gained .

Perhaps themost generalopinionis, that the gambit whenproperly defended is unsound. Insuch a case the first

player may hope to draw the game. Indeed, inall the

commonOpenings at chess, if the moves of both parties bestrictly correct, the result o

ught to be a drawn

age.

This however is a hei ht of eetionwhich willpro lynever be attained, anthere ore the sacrifice of a pawnmaybe hazarded onaccount of the many favourable sources of

attack thereby Opened to thefirst player ; while the positionof the second layer is frequently one of considerablerestraint and em arrassment.The following remarks ontheKing’

sGambit by Ponziani willbe read with interest by the amateur, and alsothe young student, whenhe has fairly entered uponbrilliant and ingenious strokes of gambit play

The uality of this opening demonstrates that the iaventor,whoever he might be, considered t inei ally thatthe removal of the adverseKing’

sPawn In51 s fourthsquare, caused agood order of ti

l

i

a

e

lgame, because therehe is of

greatest importance ; and espec'

y prevents theKing’s andQueen’sPawns being osted e ually at the fourth squares.To attack the said a verse

'ng’s Pawn

,he found the

King’s Bishop’

s Pawnmost convenient ; since this Oftenserves onl to prevent or retard the attacks whichmight bemade wit theKing’

sRook placed inthe Bishop’s square ;

and thereforehe '

udged it good play, at the second move,topush t

he said isho’sPawnto its extent, putting it en

press of the adverse ing’s Pawnwith the confidence

either of recovering it, or of becoming compensated inanother shape with a. superior situation. As; then, theadversary, after having takenthe said Bishop’

s Pawn,threatens a pernicious check with theQueenat the first

player’s King’

s Rook’s fourth ; thus, he who plays the

bit ought,for his best, at the thirdmove, to play out theing’

s Knight to the Bishop’s third ; whence succeeds a

most animated conflict, full of dangers and vicissitudes,which, at every move, change the aspect of the battle, andpromotea thousand artful stratagems ontheonepart, to preserve the awninadvantage and, onthe other, to recoverit with a etter position.

“AlthoughPhilidor declares the King’sGambit to be an

indifferent game which by itsnature producesneither rofinor injury, yet Stamma and Salvio, with the best emicians ofItaly, and recently the most accurateAnonymous

rm; KING’S GAMBIT. 201

Modenese’

, think difi’

erentl hol it apernicious e

for him who attempts it ysincehl

zgnecesmrily remain”;naPawninferior, without compensation. Itnotwithstandingproduces many moves of supreme skill and subtlety, whichdemand still greater study and circumspectionthaninthePiano Games .

”

It may probably occur to the reader, that if the secondplayer refuse, at the second move, to take the rofi

'

ered

pawn, the e doesnot become a gambit . Su is thecase : for though it is to the advantage of the secondplayer to accept the gambit, yet hemay if he please evadeit . The following are short, but brilliant specimens of the

it accepted .

Tm: Gnmrr xvmnn.BLACK.

1 . K. P. two squares. l . The same.

2 . K. B . P. two aquarea. 2 . Q . P. two squarea.

Thismove is uently played bythose who desire to

evade the gambit. t may be good w enodds are '

ventothe second player, but inevengames it is much tter to

8 . K. P. takes Q . P.

It ismuch better to take this pawnthanto defend yourK. P. by playing Q, P. one square, which would onlyobstruct your game.

3 . Q. takes P.

He would have played quite as well intaking Q, homehe would have lost a move, it is true, since you pla ed outyour Q, Kt. inorder to drive away his Q, e have

already stated how dangerous it is to play out theearly rnthe game ; she may be attacked by several minor

and lnescaping therefrom many moves are lost

K. Kt. toK. B . third square. 6 . P. takes P. chkg. by discover-v .

K. tn B .

E rcole dd RiopubMed atModc inlm, his pracfiml obssr-vafions

m tbe p rne of chem. As thework didnot bear the author'sname, it was

a title by which that writer isnow more freqnsntly knownthnby his real

name. Ponziani is also sometimes referred to as the Second AnonymomMadam e, hunthe circumstance that the first editionof his celebrated

Analysis of fl m m published anonymously atModena (l7®)O

202 LESSON XII.

This move is well played . It is oftenmuch better tomove the K. whenattacked, thaninterpose a piece. It is

true that bymoving theK. youareprevented from castling ;but, whenever your adversary’

s K. and Q. are onthe samefile, ou should endeavour to get a R . into play, so as to

attac both and winthe Q. Minor ad

quently be sacrificed for one great gain:be regarded is, to pla so as to command as large a portionof the field as possib e: you thus acquire the most valuablefacilities either for attack or defence.

6. K. B . to Q . B . fourth sq . ,chkg.

7 . Q . P. two squares.

Young players canseldom resist the temptationtowherever anopportunity occurs : it is a very bad habit andshould be avoided . The present is anexample of a uselesscheck, for by the advance of your Q. P. the B . is drivenaway, and our owngame improved. He ought to haveplayed the to K. second square, orQ. B . P. one square.

7 . K . B . to Q . m square.

8 . K . B . to Q . Kt. fifth eg. , ebekg . 8 . K . to K . B . square.

Ifhe had interposed Q. B . P. you would have played theK. R . to K. square, winning hisQ.

9 . K . R . to K . square. 9 . Q . to K . B . fourth square.

This attempt to save the Q. involves animmediate checkmate.

1 0. K . R . to K . eighth square,checkmate.

2 . Tm: Gumrrw om an.WHITE . BLACK.

1 . K . P. two squares. l . The same.

2 . K . B . P. two squares. 2. P. takesP.

Black now plays best. The success of his defence willeatly depend onhis being able to preserve the Gambitawn.3 . K . Kt . to K . B . third square.

The object of thismove is to prevent him checking withhisQ. at his K. R . fifth square.

8 . K. Kt . P. two squares.

This is the best method of defending the Gambit Pawn.4 . K. B . to Q. B . fourthsquare. 4 . K. B . P. one square.

Black loses the

agimme by thismove. It may be takenas

a general rule in gambits that it is bad play tomove theK. B . P. one square.

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204 LESSON XIII.

IX. White to morefirst, and to checkmate in“feemoves.

LESSON XIII.

'rrm Kw e’a oairnrr, (contitmcd).

WHITE . BLACK.

1 . K . P. twosquares. l . K. P. two aqu2 . K . B . P. two squares. 2 . P, takesP.

8 . K . Kt . to K . B . third square. 8 K Kt P. two squares4 . K. B . toQ . B . fourth square.

IN our last lessonwe gave you a glimmof this brilliantspecies of opening, andmade a few ex tory remarks one first threemoves. You saw how atal it was to Black

’s

THE KING’S sw am 205

game tomove out theK . B . P. onthe fourthmove. Inthepresent

4 . K . Kt. P. one square.

If at this K. Kt . is sacrificed, the game isbe illustrated

5. K. Kt. mK. am. square.

Younow threatenhisK. B . P.,K . R .

,&c.

,but he sus

5. Q. to K. R . filth square chckg .

advanceK. Kt . P. one square you lose the gametherefore

to prevent the attack threatened at your fiflh move.

7 . Q . P. two squares . 7. Q. P. one square.

8 . K. Kt. to Q . third square. 8 . Gambit P. one square .

Not being able to defend the Gambit Pawnfrom the

of your Q B . andK. Kt. , Black doeswell to advanceit . You would play badly by taking it ; therefore,9 . K. Kt. P. one square. 9 . Q. toK. R . sixth square chckg.

of this move Black ought to have played Q. to

K second square ; but the check with theQ. was tempting,as there seems a chance of followrn

gllup the

Kt . seven square.

If you play as your best move1 0. King home,Black loses theQ. K. R . ; for if he

K. Kt . to

206 LESSON XIII.

the advance of theGambit Pawn; and onafterwardswinhis Q. by playing K . B . home. But instead of fallinginto this tra or allowing you to winthe Q. by playingyour Kt . to B . fourth square, Black play

1 0. Q. to K. R . fourth square,

the loss is not so immediate, or apparent to the yoplayer, who is apt to estimate the state of the gamenumerical superiorit without due regard to positron;it will be seenthat lack has by his useless check lost time,and hampered his game, whileyoof improvement.1 1 . K. Kt. to K. B . fourth square. 1 1 . Q. toQ. B . fourthsquarechckg .

It would rhaps have beenbetter for Black to have

Kt . fourth uare, since he hasnothing todiscovered cheZhu nhisQ. She isnow inbe hunted about y your pieces, whichu ht out, while his remainidle spectators of

he following moves are quite inthe style of

1 2 . Q. B . to Q . second square. 1 2 . Q . to Q . KL third square.

1 3 . K . Kt . toQ . fifth square.

If he ca ure your Q. Kt . P. you will winhis Q.

playing Q. to its third square. If hethird square, you will also winthe Q. K . B . i»

Q. Kt . fifth uare, because if he takeK . and Q. wit your Kt. He

1 8 . Q . takes Q . P.

1 4. K . B . to Q . third square . 1 4. Q. to Q . B . fourth square.

1 6. Q . B . to K. third square. 1 6 . Q . to‘

Q. R. fourth sq . , checkg .

1 6 . Q . Kt. P. two squares. 1 6. Q . to Q . R. fifth square.

I7 . K . B . toQ. Kt fifihsq. ,checkg. 1 7. Q. takesK. B .

1 8 . K . Kt. takes Q . B . P. checkingand winning Q .

The following affords a brilliant specimenof successful defence of t eKing’

sGambit. The ingeniousmannerinwhich the second player ts the attack into his ownhands, and the bold and sk

'

ul sacrifices by which he

maintains it are all worth of attentive study . Theto this game is byM. de lhBourdonnais, and may serve to

the style of play of that great master .

BLACK. WHITE .

1 . K . P. two squares. l . K. P. two squares.

P.Mb squares. 2. P. takes P.

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208 LESSON XIII.

sight with which D e la Bourdonnais played would haveensured him the victory ina less favourable position.

1 3 . P. takes K. Kt.1 4 . K . takes P. 1 4. Q. B . to K . R . sixthsq. , ch g.

1 6 . K. to K . Kt. square. 1 6 . Q . Kt. takesQ. P.

White allows his adversa the move which he has so

londesired, but it isnow 0 no use to him,for whatever

he oesWhitemust win; for example,1 6. Q . takes K . Kt. , chg. 1 6. Q . takes Q .

1 7 . K . B . takes Q . 1 7 . Q . Kt. gives checkmate.

But if at the l6th move he play Q. B . P. takes Q. Kt .the gamemay be prolonged a fewmoves,but cannot be savedOr if he play at the 1 6th moveK . R . P. takes Kt . P. you

give themate with theQ. Kt . immediately.

Pnonrmr X. White movingfirst is to give checkmate onthe thirdmove.

PROBLEMS XI. AND XII. 209

Panama! XI. White to checkmate inthree stoves.

Pnoam XII. Inthe following positionWhite movingfirst, is tomate intwomoves.

WHITE . BLACK.

K. at K. Kt. fifih sqQ. at Q . B . seventh square.

Kt..at K. second square.

LESSON XIV .

rm; KrNe’s om en, (continued )

WHITE . BLACK.

1 . K. P. two sq. l . K . P. two sq.

2 . K. B . P. two sq. 2. P. takes P.

3 . K Kt. P. two sq4 . K. B . to Q . B . fourth sq.

IN the last lessonit was stated that Black’s fourth

move may be either K . Kt P. one sq . , or K . B . toK . Kt.second square, and that chess authoritiesdiffer as to whichis the bettermove. We have already layed two games inwhich Black pushed ontheKt . P. at t e fourthmove

the present occasionhe will adopt the more commonandprobably the safer expedient ofmoving hisK . B .

4 . K . B . to K. Kt . second sq.

6 , K, R, P, two sq, 6 . K. R». P. one sq.

This is Black’

s best move. It’

is common, however forthe young student to y K . B . P. one square, inwhichcase yourKt . takes his

PK. Kt . P.

, and onhrs retaking,get a winning game by checking with Q. at K . R .

square.

6 . Q. P. two sq. 6 .

7 .7 . Q . B . P. one sq .

8 . Q. to K . second sq .

You might also have played y0ur Q. to herKt . thirdsquare.

8 . Q. B . to K. third sq.

is desirable, inthe defence of the gambit,K . B . onaccount of its greatreadiness with which it 00

isnecessary to be cautious howanexchange is offered . Inthe present case Black loses thegame by his anxiety to change off your K . B .

9 . K. B . takes B . 9 . K. B . P. takes B .

1 0. K. P. one sq 1 0. Q . P. takes P.

1 1 . Q . P. takes P.

This pawnisnow well situated, and its effect is greatlyto prevent the rangeofyour adversary’

s pieces.

1 1 . Q . Kt . to Q . second sq.

1 2 . K. Kt. P. one sq.

The object inmoving thispawnis to break up his pawns

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2 1 2 LESSON XIV.

This game, which is selected from Philidor, is admirablyplayed throughout, and will repayanattentive study onthepart of the student .

PROBLEMXIII. White tomove, andmate onthe third move.BLACK.

WHITE .

If the oung student has taken to solve the fore

going pro lemshewill, by this timeable facility inanswering problems inwhich the mate is

uired to be'

veninnot more thantwo or three moves.

e arenow a ut to introduce problems infour movesthe following is a very easy example, and the student oughtto solve it without much difficulty . InfutureLessons wewill introduce '

some problems requiring anexertionof

greater skill.

PROBLEMXIV. 21 3

Pnonm Wha wm and togiw cbm ats onthefourthmosc.

BLACK.

LESSON XV.

KING’S em u , (continued).

WHITE . BLACK.

1 . K-P. two squares. l .

2 . P. tskes P.

third squsre.

4 .

Inthe specimens of the Gambit ahead givenintheselem ons, you were directed to

which“ e fourth move,is inK. B . to Q BHourth squal

-e, a more attacking

style thanthemovenow recommended . This movg how

2 1 4 LESSON XV.

ever, leads to some very beautiful varieties of play, a few

l

itpecimens ofwhichwill be giveninthis, and thesucceedingesson.Black mustnot take the

lplawnwith his pawn, because it

is of great importance to'

m to keep the pawns onhisKing's side united : indeed, the successful defence of the

Gambit generally de ends uponhis being able to do so.

Nor canhe play K . P. one uare, because, were he todo so, you answer withP. takes and he cannot retakewithout losing his Rook. K . B . P. one square isnatural move, but inthe present case, as inthegiveninLessonXIII.

, the result is fatal.

4. K. B . P. one square.

5. K. Kt. takes K. Kt. P.

ove you openapa

s

th for your Q. to the B .

where she chec and as Black canonle check by movinhis King into a positionwhiohis game, your may do him much mischief

If he donot take theKt . hemust lose the game speedily .

6 . P. takes Kt .6. Q . to K . R . fifth square, chkg. 6. K . to K . second square.

7 . Q . takes K. Kt. P. chkg .

Ifhe inte ose K . Kt . at K . B . third square,you advancetheK . P. anwinthe piece; therefore,

7 . K. home.

8 . Q . to K . R. fitth square, chkg.

The ob'

ect of repeating the check at this square insteadof atK. th, is to prevent him from bringing out hisQ.

8 . K . to K . second square.

9 . Q . to K . fifth square, chkg. 9 . K. to K. B . second square.

1 0. Q . takes K. R .

You willnow, of course, haveno difficulty inwinningthe game.

Inthe followinspecimenof this form of Gambit, theearly moves of B k are sounder thaninthe foregoinggame.

1 . K. P. two squares. l. K. P. two squares.

2 . K . B . P. two squares. 2. P. takes P.

3 . K . Kt. to K. B . third square. 8 . K . Kt. P. two squam .

4 K . R . P. two squares. 4 . K . Kt. P. one square.

Blacknow playshis best move, forcing our Kt . forwardto one of two positions. If you move e Kt . to K . Kt.fifth square the game will thenbe resolved into theAllgaier

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LESSON XV.

The last move of Black is a useless one. He would havedone much better to have got his R . into play .

1 9 . K. to K. B . second square. 1 9. Kt. toK KLfifihsquare, chkg.

20. K . to K. B . third square.

By these uselessmoves Black'

improves your game : youget yourKing up to the

arm” ,

where he acts as a useful

mid . Indeed, when Queens are ofi’

the board, theg may oftenbe employed to advantage. Weneednot

ursue the present game further ; you willKt . and R . as quickly as possible,

much difficulty, winthe game.

PROBLEMXV. and to g m

BLACK.

WHITE .

PROBLEMXVI.

PROBLEMXVI. is to give

infour moves.

BLACK.

WHITE .

LESSON XVI.

m s nmo’s oausrr

, (continued).

last lesson, inorder toplayed, as his sixth move, K .

cnxss.

21 7

we5a

s

s

e

ss

a

IS K. B . P.,Black

. to R . third square his

P

2l8 LESSON XVI.

present move is the one preferred by Philidor, Ponziani,and other authorities.

7 . Q . P. two squares. 7 . Q . P. one square.

8 . K. Kt. to Q . third square. 8 . Gambit Pawnone square, z. e.,

P. to K . B . sixth square.

If you take thisP. with your K . Kt. P. Black will playK . B . toK . second,winning your K. R . P.

, and having thebest of the game. You therefore play,9 . K. Kt. P. one square.

Black hasnow, onhis King’s side,

strongly placed, and one of them is a passed pawnwithintwo s

‘quares of being queened . The first chess authorities

have eclared thatWhite has a game“lost by itsnature.

”

RecentIy,however,M. Kieseritzkij, ayoungLivonianchessplayer resident inParis, by anattentive study of the posi

tion, arrived at anopposite conclusion; and challewd anyfour players inEurope to la

yout four games at 0 same

time, theytaking the b pieces and he the white.

Accordiny,four first-rate players,MM. Laroche Lecrivain,C hemo

?et, andpfi

vinek,entered

12t“I?“withth

e1bold

youn ivomau. e eswere p corresponence,underg agreement that

gfilparties 313;q ymake one movetwice a week. The match lasted six months. M.

Kieseritzkij wonagainstMM. Laroche and Lecrivain, andlost against the other two antagonists.

Mr. GeorgeWalker, who has re orted these es, is of

opinionthat Kieseritzki’

decide yovertasked powers,and injured the force of is reasoning onthe point at issue,by playing the four games all at once. Instead of fightinghis adversaries one 'nst four, he ought to have takenthem insuccession. Walker, therefore,

“

thinks that theresent gambit offers a problem yet to be solved, and thator the present the argumentsof theLivonianare tenable.

Of these four es we select two. IntheM. Kieseritzkij p yathewhite pieces

'nstMWhite has playedninemoves, and Blac eight.

already given, and as the’

tionstands u nthe board,Black has to move.

P081 P0

sq1 0. Q . Kt . to Q . B . third square. 1 0. Q . B . to K . third square.

1 1 . Q . P. one square. 1 1 . Q. B . home.

The tenthmove of Black is very artful. B exahmgms’

B ishops,White would have weakened his ow}; forces, anstrengthened his adversar ’

s array of pawns. To preventwhichyoumoveontheQ. thereby closing uptheattack of

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220 LESSON XVI.

At this pointM. Lecrivain vs 1 1 the e.

“It ma seem, saysMr. “Walker ‘I:as iffi lfivonian

flagged a'

ttle inhis pace during the latter stage of this

game, but it must be borne inmind that cautionisnecessaryto the last .

”

For our second illustrationof this remarkable position,the successfuldefence ofM. D evinck . The student

play the game as givenat the head of this lesson, upto theninthmove of theWhite. M. D evinck’

sninthmovedifi

'

ers from that of the other three defenders, all of whomplayed K. Kt. to K. B . third square.

9 . Q . to K . B . third square.

1 0. Q . B . P. one square. 1 0. K . B . to K . R . third square.

1 1 . K . Kt. to K. B . fourth square. 1 1 . B . takes K . Kt .1 2 . Q . B . takes K . B . 1 2 . K. Kt . to K. second square.

1 3 . K. toK. B . second square. 1 3 . Q . Kt . to Q . B . third square.

1 4 . Q . Kt . P. two uares. 1 4 . K . Kt . toK . Kt . third square.

B . to K . square. 1 6 . Q . to K . second square .

1 6 . Q . Kt. to Q . second square. 1 6 . Q . Kt. to Q . square.

1 7 . Q . to Q . B . second square. 1 7 . K . R . home .

1 8 . Q . B . to K. Kt. fifih square. 1 8 . K . B . P. one square.

1 9 . K . P. one square.

A bold and skilfulmove, involving however some risk, ofwhichM. D evinck wellavails himself.

1 9 . K . Kt. takes K . P.

20. P. takesKt. 20. P. takes B .

21 . Q . to K . Kt . sixth square, chg. 21 . K . to K . B . square .

22 . K . R . P. takes P. 22. Q . to K. Kt . second square .

23 . Q . to K . B . six square, chg. 23 . Q . takes Q .

24 . K . P. takes Q . 24. Q . B . to K . B . fourth square.

26 . K . R . to K . R . fourth square. 26 . Q . Kt. to K . B . second square.

26 . Q . R . to K . R 26 . B . to K . Kt . tlnrd square.

27 . Kt. takes P. 27 . P. takesKt.28 . B . takes Kt. 28 . B . takes B .

29 . K . takes P 29 . K . R . to K . Kt . square.

The efforts ofWhite, during the last five or six moves,

have beendirected to the safety of the advanced pawns; forthis purpose he doubled his castles, sacrificed a knight, andexcha a piece. This turned the game somuch infavourof Blac thatM. Kieseritzkij at this point resigned.

we conclude this lesson, it may be interesting tonotice a defence of this gambit founded onanentirelydifferent principle to the preceding.

1 . K. P. two squares. l . K . P. two squares.

2 . K . B . P. two squares. 2 . P. takes P.

3 . K . Kt. to K. B . third sq. 3 . K. Kt. P. two squares.4 . K . R . P. two s uares. 4 . K. Kt. P. one.

6 . K . K. to K. square.

THE ALLGAIER GAMBIT. 221

Thus far themoves are the same as before . Blacknowabandons his K. Kt:P., and plays.

6 . Q. toK. second square.

6 .

It would not be good play for Black to take theK. P.

because you would inte se Q , and anexchangewould leave you with e better game.

6 . K. B . P. two squares.

7 . 7 . P. takes P.

You couldnot of course take the wn, and were thereKt . our positionisnow

9 . Q. toK. B fourth square. 9 . K. P one square, attackingP. takes P. checking

K, talres P Q . P. one square.

Q. tak at K. B . fi)urth sqK. B . to K. R- third square

K. to Q. K. Kt. mits fifth square.

Kt. takesKt. Q . B . takesKt. checking.

K B to K. second square. K. B . takesQ B .

K. B takes Q B . K. B . takes Q Kt P. and wms

LESSON XVII.

rm: ALLGAIE R GAMBIT.

Tux present lessonwill introduce the student tothe Ant enna

of this om“ we select two games, the first of'

tewhich is wonby and the second by Black .

WHITE . BLACK.

1 . K . P. two squares. 1 . K . P. two squares.

2 . 2. P. taku P.

3 . K. Kt. P two squares.

222 LESSON XVII.

Thus far themoves are the same as inthe last two Lessons: the variationcommences at your fifthmove : insteadof playing the K. Kt. to K . fifth square as before, you nowpla

yhim to K. Kt . fifth square, inwhich positionhe canwonby Black ongiving up two pawns. These two

pawns are thought to be anequivalent for the Knight, inconsequence of the attacking positionwhichyou acquire bythis preliminary skirmish.

5. K. Kt. to K. Kt. fifth square. 6 . K. R. P. one square.

For Black’s fifth move some players prefer Q P. two

squares,l?

which his K. Kt. P. is defended, threatening towinthe Kt. at thenext move without loeinK . Kt . P.

We donot pretend to decide uponthemeritsof t esemoves,either ofwhich leads to a good game. By movinK . R . P.

one, your Kt . is at once forced, and provided lack canmaintainhis ground and b out hisp ieces, his force willbe superior to yours. Were e tomove K . B . P. instead of

the R . P. you would take his K . Kt . P. withsoonacquire a winning position, as has been illus

trated inrevious Lessons where Black at a

movesK. P. o

6 . Kt. takes K . B . P. 6. K. takes Kt.

By taking this pawnyou force his K . to move into anexposed position.7 . Q. takesK. Kt . P. 7 . K. Kt. to K. B . third square.

8 . Q. takes Gambit P.

You thus get three awns inexchange for your Kt. It

isnot uncommonfor lack to lay at his seventh move theQ instead of the Kt . to K. third square, inorder to

protect the Gambit Pawn; but this positionof his Q is

rather hazardous, on K. R. which comesinto play presently.

8 . Q . P. one square.

The ob’

ect being to prevent the advance of your K. P.

uponhis t. as also to hberate Q B .

9 . Q . P. two squares. 9 . K. to K. Kt. second square.

By advancingPyour Q. P. ou are able to attack hisKt.

with your K . he there ore moves his K . inorder toliberate theKt .

1 0. K . B . to Q . B . fourth square. 1 0. Q . to K . square .

1 1 . C astles.

You leaveK. P. onprise: because if he take it withhis

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224 LESSON XVII.

Although he has wonthe pawnet he has gainedadvantage, you have a dangerous c eck by discovery instore, and candecide the game ina very fewmoves.

26. R . to K . R . sixth sq. , chg. 26. K. to K . B second square.

27. Q . R . to . K . B . sq.,chg. 27 . K . to K . Kt. second square.

28 . R . takes R . 28 . K. takesR .

29. Q . B . to K. B . sixth sq., chg. 29 . K . to K. Kt. square.

30. R . to K . square.

By thismoveyou wineither theKt. or the R ., and then

with the advantage of a piece and two pawns you must

1 . K. P. two squares. 1 . K. P. h msquares2 . K . B . P. two squares. 2 . P. takesP.

3 . K . Kt. to K. B . third square. 3 . K. Kt. P. two squares

4 . K. R . P. two squares. 4 . K . Kt. P. one square6 . K . Kt. to K. Kt. fifth square 6 . K . R . P. one square6. K . Kt . takesK. B . P. 6. K . takes Kt7 Q takesK Kt P 7 . K. Kt. toK B . thild square

Thus far themoves are the same as before: thepeculiardefence above referred to commences with

8 . K. B . to Q. third squars.

Having wonaalthough it does,it liberatesK. R . andBlack loses time,the Queen’s sidethe obviousmove one square,youo

lr

l

rh

asretaking withQ . Phy K. R w K. square winning

t e

9 . K . B . to Q. B . fourth sq. , chg. 9 . K . to K. Kt. second square.

Inthis positionofyourK. Black hasno further check, andtheQnomove ontheK . Kt.’efile.1 0. Q. toK . B . third square. 1 0. Q . Kt. to Q . B . third square.

By this moveyou his K. P.

one square, or hisQ. now muchthe better game ; the im to you,and you have gained a piece inexchange for two pawns.

PROBLEMS. 225

chhe handles this department of Chess

PBoBm XVII. White to store,and to gin

onthefourthmore.

226 LESSON XVIII.

PROBLEMXIX. White tomove, and tomateontbafourth

BLACK .

WHITE .

LESSON XVIII.

THE MUZIO GAMBIT.

THEMuzio Gambit is a branch Of theKinsGambit, inwhich the first player sacrifices a Knight ont e fifthmove,inexchange for a strong attacking

(position. It was long

su

pposed that the attack thus acquire was without defence

,

anthe opinionstill prevails that couldWhite castle, as inItaly, by moving hisKing at once to K. R . square

, insteadof toK. Kt . square, (as hemust do, according to the C hesslaws of this country,)the game couldnot be defended.

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228 LESSON xvm.

hisK. B . P. He ought also to seek to

havingweaken

6. Q . to K. B . third square.

He thus defends thebut Black

also prevents youthreatens to check at Q square,maynow play K . P. one square, as will be wninthenext game

, or

7 . Q. B . P. one square.

This prevents him from playing Q» to her fifth, andprepares you forQ. P. two squares at thenextmove.

7.

inorder to strengthenthe defence Of theGambit Pawn.8 . Q. P. two squares. 8 . Q. Kt. to Q. B . third square.

HisObject is to get hisQueen’s pieces to theKing’s side,

where support iswanted .

9 . K. P, one square. 9 . Q . to K. Kt. second square.

Not able to defend theGambit P. and the K . B . P.,

the former.

1 0. Q . B . takes GambitP. 1 0. B . takes B .

1 1 . Q . takes B .

Blacknow requiresanadditionalsupport to his K . B . P.

,

1 1 . K . Kt. toK. R . third square .

1 2 . Q . Kt. to Q . second square.

Before Black has time to get out his pieces, or disturbyour advanced pawns, ou brinup another piece to theattack, andhaveboth ks y to assist.

1 2. Q. Kt. to K. second square.

1 3 . Q . Kt. to K. fourth square. 1 3 . Q. Kt. toK . Kt. thirdsquare .

1 4 . Q . to K. Kt fitth square.

THE MUZIO GAMBIT. 229

fore he plays

1 5. Kt. to x. B . sixth sq. , chg . 1 5. K:a;Q. square.

1 7 . P. takes P. 1 7 . Q . to K. B . square.

1 8 . P. advances, discovering chk . 1 8 . Q. Kt. to K . second square.

1 9 . Q. toK. B . sixthsquare.

the Rook, for his ieces areattac to any

1 9 . K. Kt. to K Kt fifthsquare .

20. Q. takes R . 20. Qu taka Q2 1 . P. moves to K. B . eighth sq. , 21 . Q . takes Q .

becoming aQ checking.

22 . R . takesQ. , checking. 22 . K. toQ. second square.

Having gained this decided advantage, you willnow beable to winthe game easily.

l . K. P. two squares l . K. P. two squares.

2 . K. B . P two squares. 2 . P. takes P.

3 . K. Kt. to K. B . third square 3 . K. Kt. P. two squares.

4 . K. Kt. P. One s6 . C astles . 6 . P. takes K. Kt.6 . Q. takes P

Thus far the moves are the same as inthe last me.

ur K. P. inorder to expwe his . Still

and unlem he play cautiously he may

7 . K. P. one square . 7 . Q . takesP.

Ifhe refuse to take this P., you im

two squares and haveobviously

lyK. R . to K. square ;

la

your B and also to opena path for Q B .

, you

P Y8 . Q . P. one square . 8 .

9 . Q. B . to Q. second square.

This move enables you to lay R . to K . square, threatening to winhisQ , but m or er to be able to remove herhe plays

9 . K. Kt. to K. second square.

It would not have beengood play for Black to have

230 LESSON XVIII.

takenyour Q Kt . P., for by doing so his Q. would havebeenremoved from that part of the field where her servicesarenow most wanted .

1 0. Q . Kt. to Q . B . third square. 1 0. Q . B . P. one square.

His Object is to prevent the further advance Of your QKt. as also to play hisQ P. two squares.

1 1 . Q . R . to K . square.

You havenow got allyour pieces into lay with a goodposition, while his game is greatly confined

)

.

1 1 . Q . toQ. B . fourth square chg.

Being forced to move his Q. be thus gains time, but healso immoves your game by placing your K . ina safe

position.1 2 . K. t K. R . 1 2. Q. P. tw

1 3 . Q . tgK. R .

0 squares

This is well played ; he cannot take your K . B . without

losing his Q. therefore

1 3 . Q . to her third square.

1 4 . K . B . takes Q . P.

Black having thus far preserved the Gambit Pawn, andopened his game by playing Q. P. two squares, your attack

is somewhat enfeebled ; you therefore offer to make anothersacrifice inorder to maintainthe attack . If Black take the

B . you retake with Kt .

, and with skilful pla are almost

sure to win. Some good authorities advise lack not totake the B .

,therefore he

1 4. C astles.

1 6 . K . B . to Q .Kt. third square. 1 6. Q . to K . Kt. third square.

Black proposes to exchangeQueens; ifyou accede he islikely to retrievehis game.

1 6 . Q . to Q . B . filth square. 1 6 . K. Kt. to K . B . fourth square.

1 7 . Q . B . takes Gambit P. 1 7 . K. B . takes Q . B .

1 8 . K . R . takes B . 1 8 . K. Kt. to K . Kt. second square.

1 9 . Kt. to K . fourth square. 1 9 . K . Kt. to K . third square.

He thus forces you to exchane your K . B . , which isalways a troublesome pi inthe efence Of the Gambit .

20. K . B . takesK. Kt. 20. Q . B . takesK . B .

2 1 . Kt. to K. B . sixth square, chg. 21 . K . to Kt . second square.

He darenot gointo the corner onaccount ofhisK . R .

22 . Q . R . takes Q. B .

This is a clever sacrifice and decides the game.

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LESSON XIX.

'rB E rmzro GAMBIT, (continued).TE E Muzio Gambit was introduced to the oung studentinthe last lesson. The varieties of this bri t openingare sonumerous that we cannot pretend to give more thanthree or four Of them ; wemust therefore refer the studentto established works onC hess for the further developmentOf the Opening.

The followingme was played inthe celebrated conts t

betweenMr. Iti‘ onnell andM. de la Bourdonnais. Mr .

M‘D onnell opened the game, and at the fifth move introduced anew method of attack, for whichhis antagonist wasgot prepared, or he would, doubtless, have made a strongerefence.

WHITE . BLACK.

1 . K . P. two squares. l . K . P. two squares

2 . K. B . P. two squares. 2 . P. takesP.

3 . K . Kt. to K. B . third square. 3 . K. Kt. P. two squares.

4 . K. B . to Q . B . fourth square. 4 . K. Kt. P. one square .

Thus far the moves are the same as inthe last lesson.At the fifth move it is usual to C astle; instead of which

Mr.M‘D onnell played6 . Q . Kt. to Q . B . third square,

the Object being to play this Kt. to Q fifth uare, thuspreventing the usual defence of Q. to K . B . third square

,

and also, onhismovinthe Q ,threatening to takeQ B . P.

lilac;for fifth move cannot do bettert.

6. Q. takesP.

Instead of thismove you might have also C astled at thispoint, and onhis taking your K. Kt . P. with his P. youwould have takenthe Gambit P. with R . , thus having theelements of a very good attack . The Black P. at yourK. Kt . second, would serve to shield your K . quite as wellas one of your ownpawns. The good chess-player oftenconverts his adversary’

s pawns into defences for himself.But to return. You have takenthe P. with your Q , andhavenot Castled . If

,inorder to defend the gambit pawn,

Black move Q. to K. B . third (the usualmove),you attackher with Q. Kt . His best move is probably Q P. twosquares ; but inthe present game themove was

6 . K. B . to K . R . third square .

7 . Q . P. two squares. 7 . Q . Kt. to Q . B . third square.

6 . P. takes K . Kt.

THE MUZIO GAMBIT. 233

The object of Black is to attack your Q P. whichcannot defend without losintims ; or should you pone square, he would proba ly move Kt . to his Q fiftl).square, attacking your Q , and threatenin

gto capture

Q B . P.

, checking, wherehey

ou would also ose time, andalso the attack. M‘D onnell, however, allowed

adversary to capture Q P. and thencarried ontheattack m a very masterly style.

8 . C astles. 8 . Q. Kt. takesQ. P.

9 . K. B . .q

takesK B P chg. 9 . K. takes B .

1 1 . Q. B . takes Gambit P. 1 1 . B . takes B .

1 2 . K. Kt wK B u third square

Havingnow t an0 u field for his pieces, the ob ectof White is to

3:1“ t

Pfhs adversary from playingJout

Q R, Q B . , &c. It is, of course, of no advantage to

B lack to have wontwo pieces, if he cannot avail himself ofhis ownforces. TheMuzio Gambit beautifuflythe axiom

, that force by position,not bynumber of pieces,is the source of victory at C hess.

1 3 . Q . to K Kt fifih square, chg. 1 3 .

1 4 . 1 4. K home.

1 5. K. R . takesKt. 1 5. Q . to K. second square.

1 6 . Q . Kt. to Q . fifth square. 1 6 . Q . to Q . B . fourth square,

to prevent whichyour simple remedy is1 7 . K. toto . e.K. q uar 1 7. Kt. toK. third square.

1 8 . B . talres Kt. , chg. 1 8 . P. takes R .

1 9 . Kt . 1 9 . K. to Q. square.

20. .Q takes Q . and checkmates inthree moves‘ .

WHITE . BLACK

Thisnew and forcible method of continuing the attack

was invented byMr. Staunton. The present game illustraThis gams furnished the subject for anamusing poem by the late B ev

A. D’arblay, entitled Catua Radium .

mu

s

W

w

.

m

mm.

mm

u

“

m

m

mm

.

mo

mnt

o

o

o

m

mP

R

MB

P

Ko

a

mk

mmn

ummmMmms

s

KR

KKR

QQK

Q

234 LESSON XXI.

tive of its efl'

ects is copied from the Chm PIaya’sChronicle,

a valuable publication, ofwhich five volumes arenow com

pleted, presenting, inone work, the fullest collectionof

problems, games, and chessmiscellanies extant .

1 0. Q . to Q . fifth square, chg.

Thismove was quitenecessary to the safet of the Black

Q , for b moving your R . to Q square at snext move,you wou d otherwise have1 1 . K . to K . R . square. ll . B . takes B .

1 2 . Q . R. to K. square, chg. 1 2 . K . Kt. to K. wound square.

1 3 . Q . R . to K . fourth square. 1 3 . Q . to K . Kt. second square.

1 4 . Q . takes B . 1 4 . Q . P. two squares.

1 6 . B . takes Q P. 1 6 . P. takes B .

1 6 . o. R . takes K . m. chg.

This move is wellmade, and decides the game infavour1 6. K . takes R .

1 7 . Kt. takes P. chg. 1 7 . K . to K . third square.

IfBlack had moved his K . home, you would haveplayedQ to her sixth, winning immediately.

1 8 . Q. to K . fourth square, chg. 1 8 . K . to Q . second squareIf he had interposed Q you would have checked with

R . at K . B . sixth square, winning Q1 9 . Q . to Q . seventh square, chg. 1 9 . K . to Q . B . third square.

20. Q. to Q B . seventh square, chg. 20. K . takesKt .21 . Q . B . P. two squares, chg. 21 . K . to Q . fifih square.

22. Q . tnQ . sixth square, chg. 22. K . to K. sixth square.

23. Q . to K . B . fourth square, chg. 23 . K. takes Q . P.

24. R . to Q . square, chg. 24. K . moves.

26 . Q . g1ves checkmate.

Inthe defence of theMuzio Gambit, it . is important todefend the Gambit Pawnas long as it canbe donewithsafety ; and to make equal exchanges with the attackingplayer. Ineach of the two following games the defence issuccessful ; but as every successful defence must be framedaccording to thenature of the attack, it is obviously impotsible to give a generalmode of play.

BLACK.

1 . K . P. two squares. I K . P. two squares

2 . K. B . P. two squares. 2 P. takes P.

3 . K . Kt. to K . B . third square. 3 . K. Kt . P. two squares.

4 . K . B . to Q . B . fourth square. 4 . K . Kt. P. one square6 . C astles. 6 . P. takes Kt.6. Q. takes P. 6 Q to K. B . third square.

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236 LESSON XIX.

theP. If he take our Q. you retake with the K . R .

, inorder to prevent a ork from theKt . ; and you afterwards

winone of the two piecesnow onprise to theP. So thatwhichever way we look at the game, onmust wineasr

ld.

If,at his fourteenth move, he had yed K. B . to Q

third square, you would have play Q B. to K. Kt. fifth,and have remained with the better e. You would thenhave pla ed out Q Kt . , and castl as

We conclude thisnotice of the

one other form of defence

KKK.

g. B . to Q. B . fourth square.

Q. takes

The positionof his Q Kt. renders it unsafe for you toplay Q toK. B . third square If youp

lay K. B . to K. R .

third square,headvancesQ P two,and mestherefore, to openyour game and to prevent the advance of

l

2

3 .

4 .

6

6

his pieces, you sacrifice a Pawn.6. Q. P. two squares.

7 . K . B . takes P. 7 . Q . B . P. one square.8 .

-d square9 . B . takes B . 9 . K . B . P. takes B .

1 0. Q . to K. R . filth square, chg. 1 0. K . to Q . second square1 1 . Q . P. two squares. 1 1 . Q . to K. B . third square .

1 2 . K . P. one square. 1 2 . Q . to K. B . fourth square.

1 3 . Q . to K . B . third square. 1 3 . K . B . to Q . Kt. fifth square.

1 4. Q . B . takes Gambit P. 1 4. K. Kt . to K. second square.

1 6 . C astles wrth K . R . 1 6 . B . takesKt.By making equal exchanges, you, of course, weaken

your adversar more and more, considering that hesacrificeda Knight at t 0 beginning of the game.

He hasnow lost the attack, and you ought to winwithout difiiculty. At your next move you will bring out

Q. Kt ., and thenget your Rooks into play .

PROBLEMXXII. White tomate intwomom .

wnrra. BLACK.

K . at K . Kt . fourth square. K . at K . R . second square.

Q . at Q. R . eighth square. B . at K. Kt. eighth square.

R . at Q. R. sixth square. P. at Q . B . second square.P. at K. Kt. fiflh square.

PROBLEMXXIII. 23 7

PROBLEMXXIII. is to givestate infour moves.

BLACK.

wm 'rB .

LESSON XX.

THE LOPE Z GAMBIT.

Lopez Gambit, so called inhonour of Ruy Lopez‘

,

the celebrated chess l

ayer and writer, was first described

inhis treatise pub in1 66 1 . Some writers regard itmere] as a venationof the ordinary King’

sBisho’sgame ;

it is, owever, a true bit, a Pawnbeing sac esd early

inthe game by the t player, for the sake of position.

it Beeaute,p. 61 .

23 8 LESSON XX.

It is a safe opening for the first player, because, unlikemost of the gambits hitherto considered, the second playercannot capture the Gambit Pawnwithout getting aninferior game, nor canhe conduct the defence after the

manner of anordinary gambit, as will be proved by thefirst example givenof this opening .

WHITE . BLACK.

K . P. two squares l . K . P. two squares.l .

2. K . B . to Q . B . fourthsquare. 2 . K. B . to Q . B . fourth square.

3 . Q. to K . second square.

If Black 1 yQ B . P. one square, you take hisK. B . P.

w ith your B . checking, and thenla Q to Q B .

fourth square, recovering the B . Blac‘l)

: has a choice of

severalmoves,but suppose he play

3. Q . P. one square.4 . K . B . P. two squares.

You thus resolve the game into the Lopez Gambit.Black has several moves, but inthe present game heproceeds as inthe defence of anordinary gambit, whichgives him a yery inferior position, because by phyin

fiazut

the K. B . at the second move he is a move behind d,compared with his positioninthe ordinary King’

sGambit.4 . P. takesP.

6 . K . Kt. to K . B . third square. 6 . K . Kt. P. two squares .

6. Q . P. two squares. 6 . B . to Q . Kt . third square.

7 . K . R . P. two squares.

He cannot of course advance K. R. P. one aqu a;if hemove K. B . P. one square, ontake K. Kt . P. with

your Kt . and thenplay Q. to K. fifth square, winningeasily : therefore he plays

7. K . Kt. P one square.

8 . K. Kt. ta Kt. fifth square. 8 . K. Kt. to K . R third square.

You have a very fine position, and . with ordinary care

ou

ght to be able to wineasily.

he following game from Greco is well calculated toillustrate the owerful and peculiar attack a uired by thefirst player, whenthe defence is weak or inju

'

cious. The

moves of the second la

yer are very likely to be made by

tone unacquainted wi is form of gambit .l . K . P. two squares. 1 . K . P. two s

qpares.

2 . K . B . to Q . B . fourth square. 2 . K . B . to Q . fourth square.

3 . Q . to K . second square. 3 . Q . to K . second square .

4 . K . B . P. two squares. 4 . K . B . takes K . Kt.6 . K . R . takes K. B . 6 . K . P. takes P.

It is verynatural inthe second player to take thisPawn.but the

Opresent game will furnish another instance of its

impropnety . Q. P. one square would have beena muchbetter move.

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240 LESSON XX.

Ifyou advance K . B . P. one square, Black by advancingQ. P. two squares,will remainwitha good game; therefore,6. K . Kt. to B . third square.

If you move K. R .

advancmgK. Kt . P. two

to K . R . fourth square,you therefore play,6 . Q. Kt . to B . third square. 6. Q. B . P. one square,

inorder to prevent the advance ofyour Q Kt .7 . Q . P. one uare. 7 . Q. B . to K. Kt. fifth square.

8 . K. B . P. ohqesquare.

You cannow advance this pawnwith safety.

8 . Q . Kt. to Q . second square.

9 . Q . B . to K. Kt. fifth square. 9 . K . R . P. one square.

You donot take off his K. Kt ., because the Q. Kt. isready to occupy its place ; and if headvance his K. Kt. P.

uponthe B ., you cantakeit onpassant .1 0. Q . B . to K . R . fourth square. 1 0. K. Kt. P. two squares1 1 . P0 takes Po 8”pu sant. lls B . P. takes P.

1 2. K. R . P. one square. 1 2 . B . takesKt.1 8 . Q . takes B . 1 8 . C astleswith Q . R .

Mr. C ochrane says, the situationof the Black is fullasgood as that of theWhite.

”

Inthe following game anapproved mode of defence isgiven, which, after the firstnine or tenmoves, leaves toeach party the choice of castling with anevengame.

I. K . P. two squares. I. K. P. two squares.

2 . K . B . to Q . B . fourth square. 2 . K. B . to Q . B . fourth

3 . Q . to K. second square. 3 . Q . P. one uare.

4 . K. B . P. two squares. 4 . K . Kt. toKBBlacknow plays his best move.

6. Q . P. one square. 6

6. K . Kt. to K . B . third square. 6.

7 . P. takes K . P. 7.

8 . Q . B . toK . third square. 8 . t. to Q. second.

He thusnot only gets out a pieceand defends his K. B

but also liberates Q B ., and gives liberty to his K.

castle oneither side.

9 . Q . Kt. to Q . second square.

Having pla ed out your Q. B . you also get out yourQ. Kt .

, whichynow does not obstruct Q B while it will

s

1?sto replace K. Kt . should Black capture it with

.3

8

THE LOPEZ GAMBIT. 24 1

9 . K . castles withK.

. R .

1 0. K . castles withK. R .

Mr. Lewis says that the game isnow about equal. Inhisnew fi eatise onthe Game of Chess, he gives a variationof the above defence, which also leads to anevengame. Itis very similar to that givenbyMr. C ochrane.

l . K. P. two squares. l . K . P. two squares.2 . K. B . to Q . B . fourthsquare. 2. K . B . to K. B . burth square.

3 . Q . to K. second square. 3 . Q . P. one square.

4 . K . B . P. two squares. 4. K . Kt. to K. B . third square6 . K. Kt. to K . B . third square. 6 . Q . to K . second square.

6 . Q . P. one square . 6 . Q . B . to K Kt. fifth square7 . K . B . P. takesP. 7 . Q . P. takes P.

8 . Q. B . to K KtJitth square. 8 . Q. Kt toQ. secoud square9 . Q. Kt. to Q . second uare. 9 . K . castlm withQ . R .

1 0. K. castles with Q . R

PB OBLBrI XXIV . White tomovefirst, and to give checkmate infour mores.

BLACK.

WHITE .

LESSON XXI.

ranBrsnor’s GArIBnr.

TanBishop’s Gambit is so called from the third move

of the first player, at which he brings out the King’

s

Bishop, instead of King’snhéi This 0 ening is per

haps the most elaborate and cult of the Gambitopenings ; we cannot therefore pretend to do more thangivea specimenof it intwo games ; Illustrating first a successfulattack ; and secondly, a successfuldefence.

The Bishop’s Gambit has long beena favourite with

first-rate players. Philidor conducted it with great skill;C ozio improved its theory ; and M‘D onnell added to it

severalnewmodes of attack and defence. Inthe celebratedmatch betweenhim and D e la Bourdonnais, many fineexamples of this opening occur. The princig

alamong thelastwritersonthesubject isMajor Janisch,w 0 has enteredinto anelaborate analysis of this celebrated opening . Thereader will find it givennearly infull, inthe fourth andfifth volumes of the ObesePlayer

’s Chrmicle. Its leading

are also incorporated inMr. Lewis’s analysis of this

opening, as giveninhisWHITE . BLACK.

1 . K . P. two squares. l . K . P. two squares.

2 . K. B . P. two squares. 2 . P. takesP.

3 . K. B . to Q . B . fourth square.

Thismove constitutes theBisho ’sGambit . Black

’s best

move isnow to check with hisQat K . R . fifth square,thus forcing your K . to move, and depriving you of the

privilege of castling . It is difficult,

saysMajor Jfinisch,“not merely for anovice, but evenfor any rson,notperfectl familiar with the d principle 0 pawns, tocompre end what advantage t e assailant canhave inthisOpening, by giving u from the first the power of castling,and by exposmg his ing to the very blows of the enemy,ona line constantly battered by the Queen, the pieces, andthe pawns of the adversary ; ona s uare, too, where it

restricts the operations of its ownRoo Not only are the

pzwns onthis side

, thenec guards of theKing, nahedldly forward inthis, as int eKnight’sGambit, ut the

King itself, from the commencement,enters into play, and

takes anactive part inthe attack .

”

The princi ls of this Gambit is thus stated Thecentre pawns ing firmly established by the acceptance of

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244 LESSON XXI.

6 . Q . to K . R . fourth square.

This is really a good move, for it confinesprotects the weak of Black

’s game, and

Q onthe same diagonal as that which yourhemay have a chanceofexchan

dging Queens,whichis gene

rally of advantage to the seconplayertheGambit .6 . K . R . P. two squares.

He cannot, of course, ca ture this P. If he advanceK . Kt . P. you lay Kt . to Kt . fifth square, and get agood attack ; erefore, he plays, as his best move,

6. K . B . to K. Kt. second square .

7 . Q . Kt. to Q. B . third square .

It would be bad play inBlack to capture thisKt. withhis B .

,for hewould thereby change of one ofhismost use

ful pieces, and opena path for your,Q. and Q. B . His bestmove is,

7 . K. R . P. one square.

8 . Q. P. two squares. 8 . Q. P. one square.

9 . K. P. one square.

Ifhenow advanceK . Kt . P. uponyour Kt. , you playKt . to K . square, and will easily recover the Pawn. Pro.

bably his best move is,

1 0. Q . Kt. to Q . fifth square.

This ismuch better thantaki the P. for onre- takingBlack would rotect withhis K . the ointnow attacked

p!your Q. t ., and to defend which B k must move his

9 . Q . P. takes K . P.

1 0. K . to Q . square.

Inthe defence of this Gambit, Black generallyhe lose amove for the purpose of preventing thehis adversa

l

r

ysQ. Kt . ; that is, it is better for himnow to

move his ing to defend Q B . P. and Q. R . , thanat anearlier stage to havep

layed Q B . P. one uare, to prevent

theWhiteKt . from sing played to Q. fift

1 1 . Q . P. takes P.

If he retake this P. he will lose his Q inconsequenceof the check by discovery, to prevent whichhe plays,

If he capture the B . with his K. you fork K . and Q. with your Kt.therefore 6 . K. to K. second square.7 K. R . P. one square. 7. Q. to K . Kt . sixth square.

8 . Q. Kt . toQ . B . third square.

Whatever Black does youwinQ. by playing Q. Kt. toK . woond square.

THE BISHOP’S C AMBI'r. 245

I] . Q. B . to Q . second square.

1 2 . K. to K . Kt . square.

This is to enable you to capturehis K. Kt. P., and attack

his Q. , &c. ; he therefore, inorder to be able to retake the

P. , moves,

1 2 . Q. to K. Kt. third square.

1 3 . K. B . P. takes P. 1 3 . P. takes P.

Younow ive oneK. B . to K. t . second square.

theP. andnot fear the exchange1 4. R . takes R . I4. K. B . tak .

Your object is to play Q to Q Kt. fourth square.B lack

’s best move is K . B . to K . Kt. second square, but he

may verynaturally Play,1 5. Q. Kt. to Q. B . third square.

1 6. Q. B . takes Gambit P. 1 6 . P. takes Q. B .

1 7 . Q. to K. B . fourth sq. checkg. 1 7 . K. to Q . B .

1 8 . Q takes K. B .

that of the Black, but theresides.

Mr. M‘D onnell. TheBlack pieces were played by the latter of the two combatants. Ina letter writtenby Mr. M‘D onnell toMr.

Walker, at the time thematch

practice of a supenorplayer.

”

BLACK WHITE .

1 . K . P. two squares . l . K . P. two squares.

2. K . B . P. two squares. 2. P. takes P.

3 .

4. Q. P one square.

6 . Q . P. two squares. 6 . Q . B to K . Kt. fifth square6. Q. to Q . third square. 6 . Q . Kt. to Q . B . third square7 . K: B . takes K . B . P. checkmg

This is aningeniousmove,butnot a sound one, because,

inorder to recover anequivalent for the B ., Black puts his

246 LESSON XXI.

Q out of the me. It would, perhaps, have beenbetterto have takent e Gambit P. withQ B .

7. K . takes K . B .

8 . Q . to Q . Kt . third square, chg. 8 . K . to K . Kt. third square.

9 . Q . takes Q . Kt . P. 9 . Q . Kt. takesQ . P.

This last move of White is masterly. Many layerswould have saved Q R . at the expense of the Kt . , ut byadvancing theKt.not only is a valuable P. gained, but anadditionis made to the attacking forces already intheadversary’

s camp .

1 0. Q. takesQ. B . 1 0. K . Kt . to K . B . third square.

This move isnecessary to prevent Black from checkingwithhis Q. atWhite’

sK. square.

ll . Q . Kt. to Q . R . third square. 1 1 . K . B . P. one square .

1 2 . K . Kt. P. one square. 1 2. Q . B . toK. R . sixth square, chg.

1 3 . K . to K . square. 1 3 . Q . to K . Kt. fifth square.

1 4. Q . B . to K . third square. 1 4 . Q . P. one square.

This move is also admirable ; White threatens to wintheBlack Q. by checking withK . B .

1 6. Q . takes Q . R . P. 1 6 . Q . Kt. to Q . B . third square .

This move prevents the Black Q. from rejoining herforces inthe centre of the board.

1 6. Q . takes Q . B . P. 1 6 . Q . P. one square.

1 7 . Q. B . to Q . second square 1 7 . Q . takesK . P. checking.

1 8 . K. to Q . square. 1 8 . K . B . P. one square.

1 9 . K . Kt. takes B . 1 9 . Q . to K . B . sixth square, chg .

White terminates the game much more quickly by thismove thenifhe had at once takenthe Black R .

20. K . to Q . B . square. 20. Q takes R . checking.

21 . B . covers. 2 1 . Q . takes B . Mars .

PROBLEMXXV . White tomate infour mom .

WHITE . BLACK.

K . at K . B . K . at his sixth.

Q . at Q . Kt . fourth square.

Pawns at K. , K . Kt . , and Q . B .

squares.

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248 LESSON XXII.

lbirpzohrrespondence betweenthe clubs of Londonand E din

Thismethod of opening enerally leads to aninterestinggame, and it is perfectly sa e for the second

(pla

yer cannot

preserve thePawnwhich he wins at the thir move, with

out loss. After the first few moves the game ma branchout into somany ramifications, that we cannot int short

notice pretend to givemore thana few specimenswarm .

I. K . P. two sq. l . K . P. two sq .

2 . 2 . Q .

3 . Q . P. two sq.

Thismove constitutes the opening inquestion. Its effect

is to give a range to your pieces, especially the Bishops, soto enable onto form anattack before your adversary is

provided withthemeans of defence.3 . P. takesP.

Black ma also take theP. withhisQ Kt. , uponyou play Kt. takes Q Kt.

, and thentake his K. P.

with your Q This course of pla was recommended bythe AnonymousModenese ; but hl

'

r. C ochrane, (who hasgreatly improved this 0 ening, and recorded some beautifulgames illustrative of it, remarks IObject to thismove,

bi, c., 3 . Black Q Kt . takes not because it canactuallyproved to entail defeat, but because theWhite, by taking

the adverse Knight withhisKing’8 Knight, and afterwards

placing hisQueenat her fourth uare, will (if the situationof the game be considered, remainwith a muchbetter ositionthanhis adversary. Inthe first place, theWhite as the Queenand hisKing’sPawninthemiddle ofthe board, the former of which cannot be displaced unlessthe second player make a feeble move, viz .

, Queen’s‘Bisho

’sPawntwo squares. Secondly, the power of action,

i.a., t enumber of squares which the pieces of theWhitecommand

,is infavour of the first player ; and lastly, the

White cancastle hisKing,and secure his game sooner thanhis adversary. There is nothing inC hess so extremelydifiicult as the proving from any weak move of yourOpponent, the absolute lossof a game, more especially whenone or two minor pieces have beenexchanged, the greatforce Of the Queenfrequent] renderinany determmatscalculationnext to impossib e ; the 0 y method we canhave of approachin

gdemonstration

,is to show that the one

player has apparent y amore confined game thanhis adver

sary.

THE QUEEN’S-PAWN-TWO OPENING. 249

4 . x B . to Q . B . burth sq. 4 . K . B . to Q . Kt.msq. , chg.

5. Q . B . P. one sq. 5. P. takes P.

6 . C astles. 6 . P. takes P.

Black’s check at the fourth mOve doesnot seem to be

had,indeed, it isnow sanctioned by some of our best

players ;nor did he play badly at the fifth move, but his

sixth move is fatal. He ought to have played Q. P. oneuare, and onyour capturing the P. with Q Kt. , haveenit withK . B . , or have retired with the B . to Q R .

7 . Q . B . takes P.

Black’

s positionis exceedingly cramped, while you havea great command of the board. Hemustnow prevent you

P. , and winning R ., for which purpose'

K . to K. B . or K . B . home, or K. B . P. onewhichmoves have beencareful] analysed by

the bes t chess writers, and it is shownthat hitemay w ininall ; but perhaps themostnaturalmove is

7 . K . Kt. to K . B . third square.

8 . K . Kt. to K . Kt . fifth square. 8 . C astles .

9 . K . P. one square. 9 . K . Kt. to K. square.

1 0. Q . to K . R . fifth square . 1 0. Q . R . P. one square.

1 1 . Kt. takesK . B . P.

You will havenow no difficulty inwinning the gamealmost immediately.

The following very beautiful game was layed somecars ago betweenMr. C ochrane, andM. des C apelles, thei» '

te menbeing under the command of the former.

I. K . P. two squares. l . K. P. two squares .

2 . K. Kt . to K . B . third square. 2 . Q . Kt . to Q . B . third square.

3 . Q . P. two squares. 3 . P. takes P.

4 . K. B . to Q . B . fourth square. 4 . K . B . toQ . B . fourthsquare.

6 . K . Kt . to K . Kt. fifth square . 6 . Q . Kt. to K . fourth square.

The Object of Black is to defend the K. B . P.

, and toattack K. B but the move is a bad one

,as the result will

prove.6 . K . B . takes K . B . P. ,checking. 6 . Q . Kt. takes B .

7 . K . Kt. takes Kt.If the Black K . capture your Kt. , you will play Q. to

K. R . fifth square, checking ; thus securing his K. B . inreturn; if he plag

B . home or to Q Kt. third square, youcapture hisQ ; t erefore,

7 . K. B . to Q. Kt. fifth sq . , chg.

8 . Q . B . P. one square 8 . P. takes P.

If you capture hisQ. he takesyourQ Kt. P. with theP.,

canes. R

250 LESSON XXII.

discovering check, capturing Q. R ., and making a Q nextmove ; therefore,

9 . P. takesP. 9 . K . B . takes P. checking .

1 0. Q . Kt . takes B . 1 0. K . takes K . Kt .1 1 . Q . to Q . fifth square, checking.

White pla swith great skill, so as to prevent his adver

sary, asmuc as possible,from getting out of his cramped

position.1 1 . K. to K. B . square.

1 2 . Q. B . to Q. R . third sq. , chg. 1 2 . Q. P. one square.

1 3 . K . P. one square. 1 3 . Q . to K . Kt. fourth square.

1 4 . K . P. takesP. 1 4 . Q . takes Q .

1 5. K . P. takes Q . B . P. , discover

ing check .

Instead of taking the Q. immediately,Whiteimportant advantage by first capturing the P.

useful lessonfor the young student .1 5. K. to K . B . second square.

1 6. Q . Kt. takes Q . 1 6 . Q . B . to Q . second square.

1 7 . C astles with K . R .

White seizes withprecisionthe exact time for castling.

While there was anImmediate advantage to be gained, herefrained from castling, but now that he requires a safe

retreat from his adversary’s Q R .

, and the assistance of hisownK . R . , he castles with advantage.

1 7 . Q . R . to Q . B .

The remainder Of the game is a maste

zl

dy contest for the

advanced Pawn, and is, indeed, quite am el of chess skill.

1 8 . Q . B . to Q . sixth square. 1 8 . K.

'

to K . third square.

1 9 . Q . B . to K. Kt. third square.

He darenot capture theKt . with his K . for with theassistance of your Rooks and Q. B . you would speedily

1 9 . K. B . to Q . B . third square.

20. Q . R . to Q . square. 20. B . takesKt2 1 . K . R . to K . square, chg. 21 . K . to K . B . third square.

22 . Q . R . takes B .

White thus recovershis piece, and cuts off the BlackK.

from assisting at the attack onthe P.

22. K . Kt. to K . R . third square.23 . Q . R . to Q . R . fifth square. 23 . Kt. to K . B . fourth square.

24 . Q . R . to Q . B . fifth square. 24. Kt. takes B .

26. K . R . P. takes Kt. 25. K. to K . B . second square.

26 . K . R . to Q . square. 26. K . R . to K. square.

27 . K. R to Q sixth square 27 . K . R . to K . second square.

28 . Q. R to K B fifth square, chg. 28 .K home

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252 LESSON XXII.

inconse uence of his ha themove. You are repared

to castleqoneither side. Th? faults of your pod tiorl

)

,which

belong ingreat measure to thenature of the

the exposed situationOf your Q ,— the loss of your centre

Pawns,— and iecea standing out infront Of the Pawns,instead Of shelltering behind them.

1 2 . K. R . to K. square. 1 2 . C astles withK. R .

1 3 . Q . B . to Q . R . third square. 1 3 . Q. to K . B . third square.

1 4 . Q. Kt . to Q . second square. 1 4. K. R . to K. square.

1 5. Q . Kt. to K . fourth square. 1 5. Q . to K . Kt. third square.

Much care and skill are required onyour part to preservethe Q. She is peculiarly 1 these attacks whenstandinout infront of unmoved Pawns. If you hadnotmoved to K. square, at the fourteenthmove, you wouldhave lost a piece.

1 6. Q . R . to Q . square. 1 6. Q . R . to Q . square.

Q

It is generally good play to Oppose Rooks to Rooks, and

whenViolently attacked, to cxc ange onequal terms, asmuch as possible.

1 7 . Q . Kt . to K . Kt. fifth square. 1 7 . R . takesR .

1 8 . R . takes R . 1 8 . K . Kt . to K . B . fourth square.

1 9 . R . to Q . seventh square. 1 9 . K . Kt. to K R . third square.

You thus sup ly anadditional defence to K. B . P., andthreatento chec ifnecessary, at Q. Kt . eighth; thereforehemoves,

20. K . R . P. one square. 20. B . to Q . Kt. third square.

21 . Q . to Q . filth square. 21 . Q . to K. B . third square.

The object of \Vhite is to get Q. to act with B . uponhis adversary’

sK . B . P.

22 . Q . B . P. one square.

Black thinks to masque the attack of your K. B . withhisQ. B . P. ,

but the following admirable move determinesthe game inyour favour.

22. Q. Kt . to K. fourth squne.

You will do well to study all the consequences of thisbold and decisivemove. We should be disposed toanswer to it Q. B . to K . seventh square, but Black23 . Kt . takes Kt.

AndWhite wins the game by force, insixmoves.

PROBLEMS XXVII. AND XXVIII.

The following problem is founded uponone byM. Pcb

trofl'

, the celebrated Russianchess player, inwhichWhitemoving first is to check-mate his adversary inInthe modified form inwhich we submit this problem to

ourseaders, it will be found highly ingenious, and likely tooccasionsome trouble to our young chem friends.

PBOBLnXXVII. W e moving first, is to give check

uate inthreem m .

BLACK.

PBOBLBIIXXVIII. White to mate infour mom .

WHITE .

K. at K. R . K. at Q. R . eighth.

Kt. at Q. fourth.

LESSON XXIII.

THE EVANS GAMBIT .

TIIIs highly ingenious variationof then’

s Knight’sGame was introduced to the chess world about the year1 833 , by C aptainW. D .

rE vans of Milford, and soonbecame celebrated for thenovelty Of its situations, andthe opportunities afforded for bold and brilliant pig

.

This game was conducted with remarkable skill byM‘D onnell, inwhose contests withM. de la Bourdonnaismany beautifulexamples occur. Whenthe Frenchchampionarrived inEngland, this game, bavin beenbutrecently introduced, was unknownto him . t was introduced at the commencement of the second match byMr .

M‘D onnell,who, of course, wonthe game; whereupon

the Frenchman, as he afterwards admitted toMr. Walker,

purposely declined playing ainfor two or three

during which time he sedulous y analysed thenoveland made up his mind uponits merits, both as to its

strength and weakness.

”

WHITE . BLACK.

1 . K. P. two squares. l. K . P. two squares.

2 . K . t . to K. B . third square. 2 . Q . Kt. to Q . B . third square.

3 . K . B . to Q . B . fourth square. 3 . K . B . to Q . B . fourth square.

4 . Q . Kt. P. two squares.

This move constitutes C aptainE vans’sGame, as it is

familiw called .

By the sacrifice Of thisPawn, which. is a less valuableonethanthe K . B . P. sacrificed inthe King’

s Gambits,muacquiremuch scope for attack . You are enabled to t

your Q. B . onQ. Kt. second, or Q. R . third square, th

very attacking moves, and you are also enabled to advanceK . B . P. two squares much sooner, inconsequence of the

Black K . B . being drawnout of the diagonal, which heso advan eously occupies at the third move.

Black’s t move is to capture the ‘P. with the B . If

he take it with theKt . it would be bad play to capture hisK . P. withyour Kt . ,

because by moving his Q. to K . B .

third,he game animmediate advantage.

Whether he take the P. with the Kt . or the B . youmust advance Q. B . P. one square.

B . takes Q. Kt. P.4. K .

6. Q . B . P. one square. 6 . B . to Q . R . fourth square .

6. C astles. 6 . B . to Q . Kt . third square.

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256 LESSON XXIII.

1 1 . Kt. takes K. B . P. 1 1 . R . takes Kt.1 2. B . takes R . , checking . 1 2 . K . takes B .

1 3 . Q . to Q . Kt. third,checkingn 1 3 . Q . P. one.

The capture of the K . B . P. by Black at the eleventhmove was premature. Your advance of the Q P. one at

the last move, is inthe best style of chess pla ou gainMe by it to form a counter attack, and to up the

formidable breast of pawns inthe centre.

1 4 . K. P. one. 1 4. Q. Kt . takes Q. P.

This isalso a good move, and is, indeed, a consequence ofthe thirteenth. Inchess

, as inlife, wenearly always findthat one goodmove leads toanother. ,

1 6 . Q . to Q . R . fourth. 1 6 . K . Kt. to K . fifth.

If Black captureQ Kt . he loseshis Q ; therefore,1 6. Q . takes K . B . 1 6. Q . Kt . to K . seventh, checkingl7 . K . to R . 1 7 . Q. to K . R . fifth,

threatening tomate withK . Kt . at K. Kt. sixth.

1 8 . Q . takes Q . B . P. checking. 1 8 . IL to K . B .

1 9 . K . Kt. P. one,tomakeanopening for his K.

1 9 . Q . Kt. takes K . Kt . P. chg .

20. K. to K. Kt . 20. Kt . takes R .

21 . K. takesKt. 21 . Q. naras.

The following games, which occurred inthe matchbetweenD e la Bourdonnais andM‘D onnell, are selected forthe purpose of illustrating the great variety and beauty ofthis opening. The first game was Opened by the Frenchchampion.

WHITE . BLACK.

1 . K . P. two. I. K . P. two.

2 . K . Kt. to K. B . third 2.

3 . K. B . to Q . B . fourth 3 . K . B . toQ . B . fourth.

4 . Q . Kt .’

P. two. 4. B . takes Kt. P.

6 . Q . B . P. one. 6 . B . to Q . B . fourth.

6 . C astles. 6 . Q . P. one.

7 . Q . P. two. 7 . P. takes P.

8 . P.-takesP. 8 . K . B . to Q . Kt . third.

9 . Q . P. one 9 . Kt. to Q R fourth

It isnot unusual at this oint to play the Kt. to K.

second, with the intentionO transferring him afteto K . Kt . third . It would be bad play to move him tofourth

, because you would exchange Knights, and

rm; EVANS om en. 257

drawing the Q P. onto the“8 file prevent Black fromcastling, and get a powerful at onyour Q side. Inthepresent positionthe Black Kt . is as it were put out of the

game ; it is true that he forces our K. B . to move, but asyour Q. P. masques the at onBlack’

s K. B . P. , youvary the attack so asnot to lose the services of theK. B .,

so important inmost gambit attacks.

1 1 . Q . Kt. to Q . B . third. 1 1 . C astles.

1 2. K. R . P. one. 1 2 . K. R . P. one.

The object onboth sides is to prevent the Q. B . frombeing posted at K. Kt. fifih.

1 3 . K. toR. second.

Your object is to be prepared to advance K. B . P. two,and to place your K. ina safe retreat, which is frequentlyfurnished by the obstructed Pawns of your adversary ;such for example as hisQ P. inthe present instance.

1 3 . Q . B . P. two.

His object is to get room for hispieces, and to ret

you from taking up a stro attac ing position; ut byour next move you not 0 y revent the advance of hisQ B . P. but liberate your own B . P.

1 4 . K. Kt. to Q. second. 1 4 . Q . B . inQ . sound.

1 5. Q . to K. square.

Your intentionis to pla Q toK. Kt. third, or to R .

fourth, afler having moved B . P. two.

1 6 . K. Kt. P. two .

move doesnot by anmeans improveBlack’s game,

for it presently exposes his to anattack, which is conceived and conducted with the ingenuity and spirit whichso eminently marked the play of D e la Bourdonnais. It isdifi cult, however, inthe present loose as well as confined

gisitionof Black to point out amove which would retrievegame.

1 6. K . B . P. two. 1 6. P. takes P.

1 7 . K. R . takes P. 1 7 . Q . B . P. one.

The advance of this P. is favourable to theWhite, bysheltering his forces onthe Queen’s side.

1 8 .

1 9 . K. Kt. to K. B . third. 1 9 . K. B . takes Q . Kt .20. Q . takes B . 20. Kt. to K. R . fourth.

21 . K. R. to R . fourth. 2 1 . K . Kt . to Kt. second.

22 . Q . B . takes K. R . P. 22 . K . B . P. one.

258 LESSON XXII.

23 . Q . B . takesKt. 23 . K. takes B .

25. K . R . to R . seventh, checking. 26 . K . to Kt. square.

26. K . Kt. takes P.

If he take theKt ., Q mates ; therefore

26. Q . B . to K. B . fourth.

27 . Kt. to K . B . seventh. 27 . B . takes R .

28 . Kt . ca scxusrss.

If at the twenty-seventh move, Black had played Q to

K. B . third, themate would have beenequally forced ; forexample

,

27 . Q. to K. B .:third.

28 . Q. takes Q. 28 . KM29 . B . takes B .

, checking. 29 . K . to Kt. square .

30. Kt. cancxm rss.

Thenext gamewas opened byM‘D onnell.l . K . P. two. 1 . K . P. two

2 . K . Kt. toK. B . third. 2. Q . Kt. to Q . B . third.

3 . K. B . to Q . B . fourth 3 . K . B . to Q . B . fourth.

4 . Q . Kt. P. two. 4. B . takes P.

6 . Q . B . P. one. 6 . K . B . to Q . R . fourth

6 . C astles. 6 . K . B . to Q . Kt . third7 . Q . P. two 7 . P. takes P.

8 . P. takes P. 8 . Q. P. one.

9 . K. R . P. one 9 . K . R . P. one.

1 0. Q . B . to Q . Kt . second. 1 0. Q . to K . secondBlack seems to have lost the game by thismove. K . Kt.

to .K B . third would have beenbetter.

K . P. one. 1 1 . P. takes P.

1 2 . Q . P. one. 1 2 . Q . Kt. to Q . R . fourth.

IS

E

. K . Kt . takes K. P.

this move

yo

.

u defend K . B . ; and he cannot capturethi

]

!

3

t . without osing hisQ.

1 3 . K. Kt. to B . third.

1 4 . Q . P. one. 1 4. P. takes P.

1 6 . K . B . takesK. B . P. checking .

Having got anattack, it is quitenecessary to maintainit.Had Black beenallowedto castle he would have retrievehis game.

l6.

’

K. to Q . square.

1 6 . K . R . to K . 1 6. K . to Q . B . second.

1 7 . Q . Kt . to Q . R . third. 1 7 . Q . R . P. one.

1 8 . Q. R . to Q. B . , checking . 1 8 . K . B . interposes.

1 9 . Q . R . takes B . , checking . 1 9 . P. takes R .

20. K. Kt. to Q . B . fourth.

By this methodWhite gains time, exposes the Black Q

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LESSON XXIV .

runounan’s sm art .

Tm; Queen’sGambit is so called because theQueen’sPawnis moved two squares onthe first move, and the Queen’sBishop

’s Pawnsacrificed on second . This

game is

sometimes called theAleppo Gam it, inhonour of tamma,

anative of Aleppo‘,w 0 made the e,a favourite in

E urope. Philidor, inhismasterly yaia of this opening,also calls it the Aleppo Gambit. Hence it has beenanposed to have originated withStamma, but such isnot e

case ; for the game occurs inthe works of some of the

TheQueen’sGambit is a safer openingfor the first player

thanthe King’s, because, if the seconpla er attempt to

defend the Gambit Pawn, he is likely to ose the game ;whereas, intheKing’

sGambi it isnecessary to defend theGambit Pawnto the utmost. This peculiarit intheQueen’sGambit,has led to a generalopinionthat esecondplay

er ought to refuse the proffered pawn; if he do so, he

a choice of several moves, among which,Q B . P. oneor two uares, is a favouritemove.

This5

éiambit is byno means equal invariety and interestto thenumerous branches of the King’sGambit. It has,however, beenmuch played of late years, together withwhat is called the KING’

SPawnONE opening, to which it isclosely allied. D e la Bourdonnais played bothgames withsurpassing skill, and seemed to rely uponthem in]the majority of games inhis contest withM‘D onntEI.

l

Infact, he wielded this game like a two-edged sword

,— for

whenhe had the move, he could openwith the Queen’sGambit ; and whenhis antagonist had the move, he couldreply with K. P. one square. Whenthe student isacquaintedwiththe ordinarymodes of handling theQueen’sGambit, he will do well to study the examfles whichoccurred inthat celebrated contest.Inour first example the Gambit is refused.

WHITE . BLACK.

1 . Q . P. two. I. Q . P. two.

2 . Q . B . P. two. 2 . K . P. one.

Major Janisch, inhis recent analysis, says, that it is disadvantageous to acCe t theGambit,and that this is thpropermethod of re g it.

“If,

”asMr. Lewis

Bee ante, p. 74.

THE QUEEN’S GAMBIT. 26!

“thes e assertions were correct, it would, of course, do awawith the Ope of the Queen’s Gambit ; but asMr.

himself aflervgfi s shows that the pawnm y be takemandthe

'

tionafter a few moves be quite equal, the Queen’sGangs

]

may still continue to be accepted without danger.

”

8, Q . Kt . to Q. B . third.

You donot of course defend Q B . P. , because, ifhe takeit, you push K. P. two squares, thus occupying the centre,while you are sure to recover the pawn.

8 .

the centre,

6 . K. Kt. P. two . 6 . C astles.

7 . K. P. takes P

8 . K . . one.

andK. B . to bear uponh1s8 . Q . B . toK. third.

1 0. K . Kt toK B . third. 1 0. Q. toQ. third .

ll . Q . B . P. one. 1 1 . O. toQ. second.

1 2 . 1 2. K. Kt to K. filth.

1 3 . K. Kt to K fifih. ls. B . t kesKt . , checking .

1 4. P. takes B . 1 4. Q tO Q B

1 6 . K . B . taltes Q. Kt

You leave Q B . anpn'sc, because, unless Black take theK. B .

,he will be immediately exw d to considerable 10m.

1 6. Q . Kt. P. takes K. B .

1 6 . Kt. takesP.

Thismove is unwise ; it is true that you threatento forkK. and Q , but Black at hisnext move puts another isos

onprice, and you havenot themeans of defending bo1 6 . Q . toK.

1 7 . Kt . to K. seventh, checking. 1 7 . K. to R .

1 8 . B . to K . R . fourth. 1 8 . K . Kt . P. two.

1 9 . K. B . P. one. 1 9 . P. takes B .

20. P. takesKt. 20. Q . takes Kt.21 . P. takes Q . P. 21 . Q . R . to Q . Kt .

cleverly gains time, and brings a Rook to

command the openfile ; he sacrifices the B . inorder to gettheWhiteQ out of the way, and thenforces the game ina few moves.

22 . 22 . B . takes P. ut Q. fifth.

23 . Q. takes B . 23 . Q . takes K. P. , checking.

262 LESSON XXIV.

24 . K . toK. B . 24. Q . to Q . sixth, checking26 . K . to K . B . second. 26. Q. R . to Q . Kt . seventh, chkg.

And wins immediately.

We willnow give a few examples of theQueen’s Gambitaccepted, the first of which will show the danger of ado ting the line of defence which is generally successful int e

King’

s Gambits.

1 . Q . P. two. I. Q . P. two .

2 . Q . B . P. two. 2 . P. takesP.

You maynow play K . P. one or two squares, but whichis the better, is stillamatter of dispute among chess authorities. If your anta

ggnist is inthe habit of defending the

Gat Pawn, it is tter to moveK. P. one square only ;butno sensiblepla orwould continue a line of defence afterhe had proved its efects, and found it condemned by chemauthorities; besides, it is always dangerous to calculate onthe bad pla of your opponent ; it not only leads to a

slovenly, rec ess style of play onyour part, but ma oftencause you much annoyance and disappointment. e bestrule is always to play your best,and to calculate your gameas if your adversary were quite as skilfulas yourself.3 . K. P. one. 3 . Q . Kt . P. two.

4 . Q . R. P. two.

Whenhe defends the Gambit Pawn, you are thus enabled to advance the Q. R . P. with advantage, recoveringthe P. , and perhapsmaking animportant capture.

4 . P. takes P.

6 . K . B . takesP. 6 . Q . B . to Q . second.

6 . Q . to K. B . third.

You now threatento checkmate, or to winhis Q. R.

These are among the advantages of moving K. P. one at

the third move, anposing the Gambit P. to be afte

defended. If youhad moved K . P. two,Black could have

ot out of his immediate difficulty by moving K . P. one.f henow attem

pt to save Q. R. , you mate him

ately : for examp e,6 . Q . B . to its third.

7 . Q . takesK . B . P. , checking. 7 . K . to Q . second.

8 . Q . to K . B . fifth, checking. 8 . Q . P. one.

9 . Q . takes Q . P. checkmating.

The defence of the Gambit Pawndoesnotnecessarilyentail such as a rapid defeat as the above ; but it leads to

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264 LESSON XXIV .

1 8 . K . R . to Q . Kt.1 9 . Kt. to K . second. 1 9 . K . to K . third.

20. K . R . to Q . R . 20. K.Kt . to Q . Kt. second .

21 . Q . R . to R . sixth, checking. 2 1 . Kt . to Q . Kt. third.

22 . K . R . to R . fifth.

Thismove enables you towina pawnby playing Kt.22. K. Kt . P. one.

23 . Kt. to Q . B . third. 23 . Q . R . toQ .

24. R . takes R.

25. R . takes R .

The game is here dismissed with the remark, thatWhitemust win

, havingl

a pawnsuperiority ; and moreover a

passed pawn, whio amounts to a piece.

beautiful specimenof the Queen’s Gamby M. de la Bourdonnais against Mr.

BLACK. WHITE .

1 . Q . P. two. 1 . Q . P. two .

2 . Q . B . P. two. 2 . P. takes P.

3 . K . P. one. 3 . K . P. two.

Black’s third move is considered to be the best . Ifyounow capture his K. P. , he will exchangeQueens.

4 . K . B . takes Gambit P. 4 . P. takes P.

6 . P. takesP. 6 .

6 K B . to K. second.

7 . K . Kt. to K. B . third. 7 . C astles.

8 . K . R . P. one. 8 . Q . Kt. to Q . second.

9 . Q . B . to K . third . 9 . Q . Kt. toQ. Kt third1 0. K . B . to Q . Kt. third. 1 0. Q. B . P. one.

1 1 . C astles . ll. K. |Kt. to Q . fourth.

1 2 . Q to K. second. 1 2 . K. B . P. two.

It would have beenvery unwise of Black to have captared either the Kt . or the B . becauseWhite, by re-takingwith a Pawn, would unite a P. to his Q P.

1 3 . K . Kt to K fifth. 1 3 . K . B . P. one.

1 4 . Q . B . to Q . second. 1 4 . K . Kt: P. two.

1 6 . Q . R . to K . 1 6 . K . to K . Kt. second.

Black wishes to liberate theKt. at Q. fourth.

1 6 . Q . Kt. takesKt. 1 6. Kt. takesKt.1 7. Kt. takesQ. B . P.

Thismove is ingeniously played.

1 7 . Q . Kt. P. takes Kt .1 8 . B . takes Kt . 1 8 . Q . takes B .

THE QUEEN’S GAMBIT. 265

1 9 . Q . takes B . , checking . 1 9 . R . interposes.

2 1 . R . toK. fifth. 2 1 . Q . to Q . second.

22 . Q . P. one.

This rs a skilful sacrifice, exposing the adverse K . more

completely to the actionofWhite’

s pieces.22. P. takes P.

23 . Q. tO Q. fourth,

23 . K . to R . third.

24 .

to enable Q , or Q B . , to attack K .

24. Q . B . inK. third.

25. Q. B . to K96 . R. takes K . Kt. P.

It would seem, at first view, better to take this P. withK. R. P.

,checking; but a little considerationwill Show

how much better it was to take it with the R. The K.

hasnowno move, and is compelled to remaindefencelessfor the fatal check .

26 . Q. R. to K. B .

2 7 . Q to K. !ifih. 27.

28 . R . to K . R . fifth, checking. 28 . B . takes R .

29 . Q. mates.

Our space willnot allow ofmore thanone examwe of a

successful defenceWHITE .

1 . Q . P. two. 1 . Q . P. two.

2 . Q. B . P. two 2 . P. takes P.

8 . K. P. two. 3 . K . P. two.

4 . P. takesP 4 . Q . takes

6 . .K. takesQ second .

This rs

tflour best move, for if he take theGambit P.

you take eP at hisK. fifth, and threatenhis B . , thus

gaining time. He therefore plays well by moving,6 . K. .B P. two .

attacking the otherPawn,7 . Q. Kt. to Q. B . third. 7 . Q. B . P. one,

to prevent hisKt. from entering into your game,8 . K. B . takes Gambit P. 8 . Q. Kt . P. two.

9 . K. B . to Q. Kt . third 9 . Q. Kt. P. one.

1 0. Kt. to K. second. 1 0. Kt . takes K. P. ,

threatening to fork K . and R .

Your game isnow quite equal to his.

Gauss.

266 LESSON XXIV.

The following stratagem is by that greatmaster of chErcole del Rio, whose works were published under thetitle of theAnonymousMadame.

PROBLEMXXX. I'Vhitemoving first, is togive checkmateinfour moves.

BLACK.

WHITE .

PROBLEMXXXI. White tomate intwomom .

Warm . K . at K. R . square. B u cx. K . at Q. B . fourth.

R . at Q . Kt.Kt. at K. Kt firth squKt . at Q. R . fifth square.

B . at Q . Kt . eighth square.

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268 LESSON XXV.

the two Kings ontheir respective s uares: if you have tomove, you take up the 0 positiony playing K . to K.

second, inwhich case, the ings are onthe same colour,with anoddnumber of squares betweenthem : and it isimportant to remember, that he who is the last to obtainthese two conditions onany file or diagonal, canmaintainthe op osition. B lack now moves to his K. second, andyou w observe that the Kings arenot onthe same colour

and havenot anoddnumber of squares betweenthem ; butby playing your K . to his third you second the favourableconditions onbehalf of your K. Black moves to his K.

third, and you againtake up the oppositionby laying toK . fourth. The Kings arenow asnear to eac other as

the laws of the game permit ; they are onthe same colourwith only one square betweenthem, and you had the lastmove ; it is obvious, therefore, that the Black King, hav

’

to move, must retreat or go to one side or to the other, anthat you canalways opposeyourK . to his onthe conditions

uired.r

lace your K . onQ. R . square, and the Black K . onhisR . uare. The Kings are, it is true, onthe same colour

,

but t enumber of squares betweenthem is even; whichever moves first gains the opposition, as may be easilyverified.

The nature and im ortance of the oppositionma befurther best illustrated y a few examples of actual eningsof games. Having studied these, you will do well to forma few examples for yourself, so as to be uite sure that you

have a practical as well as theoretical owledge of the

Opposition. You willalso bear inmind that casesmayanddo arise where it is desirablenot to have the opposition;these you must learnby experience, taking it as a generalrule, that to gainthe oppositionis to your advantage.

Inthe case of King against Kinand Pawn, the fate of

the me depends uponposition. P ace the two Kings andthe awnthusWarm . K . at K . B . fourth B LAC K. K . at K . B . third.

Pawnat K . B . fifth.

l. K to K. fourth. l . K. to K . B . second.

Black does uite rightfto retire infront of the Pawninorder to gaint e opposition.2 . K . to K . fifth. 2.

K.

8 . P. C hecks. 8 . K . to B . second .

4 K

ON PAWN-PLAY. 269

If Black had moved to his K . or K . Kt. square, youwould have gained the opposition, and have queened the

Pawn.

m W his K . to yours : if, ongainthe opposition, you winthe

game.

7 . K. to K. B .

By retiring infront of your Pawn, Black decides the

s.

9 . P. checks. 9 . K. to K. B .

You mustnow abandonthe Pawn, or give Black stale

mate, so that ineither case the e is drawn.If at the fourthmove Black played

4 . K. home,

or to K . Kt. square, you would have gained the opposition

and queened theP. For examfle,

5. K. to K. sixth,

6 . K. to K. B .

E nhances.x. tox. seventh, and wins easily.

If the P. be ona Rook’s file, Black canalways draw ,

provided he get his K. onone of theRook’s squares infront

of the P.

1 1 . KING AND TWO PAWNS, AGAINST KING AND PAWN.

The the

to

he captures the

6 .

7 .

Wa rt s . K . at his fourth. B u cx. K .

P. at K. B . hurth. PP. at K . Kt. fifth.

270 LESSON xxv.

l . K . to Q . fourth. l . K . to Q . third .

If he had played K. to K . B . fourth, you would havetakenup the opposition

,and wonthe game. (See Varia

tionI.)2. K . to Q . third. 2 . K . to Q . second.

If he had

gayed K . to Q. fourth, he would have lost the

game. (See ariationII. )3 . K. to K. third. 3 . K. to K. second.

Black maintains the opgpsition, inorder to prevent yourth, orKing from occupying K. Q. fifth.

4 . K . to Q . fourth. 4 . K . to Q . third.

5. K . to K . fourth. 6 . K . to K . third.

Black skilfuuy maintains the oppodtion, and draws thegame.

Vam rmnI.

l. K . to Q . fourth. l . K . to K . B . fourth.

2 . K . to K . third. 2 . K. to K . third.

Ifhehad played toKt. fifth, he would equallyhave lost.3 . K. toK. fourth,

gaming'

the o osition.PP3 . K . to Q . third.

If he had moved to K. or Q. second, you would, byopposing hisK.

,have also wontheP.

4 . P. advances. 4 . P. takes P. , chkg .

He oughtnot to have takentheP. (See VariationII. )6 . K. takes P. 6 . K. toK. second.

6. K . to K . Kt. sixth,

to prevent him fi°

om getting before theP.

6 . K. to K. B .

7 . K . to K . R . seventh, winningeasily .

When, as inthe present case, your K . leads instead of

your P. the adverse K. cannot prevent you from

mg a Q.

Vaau 'rrox II.

1 . K. to Q. fourth. l. K. to Q. third.

2 . K . to Q . third. 2 . K . to Q . fourth.

3 . K . to K . third.

Younow gainthe opposition.8 . K . to K .

4. K . to K . fourth. 4 . K . to Q . third.

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272 LE SSON xxv.

Black hasnow placed his K . inthe desired position, andou cannot take up the oppositiononaccount of your ownawn.

4.

and the game is drawn.III. KING AND TWO UNITE D PAWNS AGAINST KING AND TWO

ISOLATE D PAWNS.

e s . K . at Q . third. Bu cx. K. at Q . fourth.

P. at Q. Kt. fourth. P. at K. Kt. fourth.

P. at Q . B . fifth. P. at Q . Kt. fourth.

.

Inthis position, ifBlack had to move first,White wouldmu.

1 . K. to K. third. I. K . toK . fourth.

2. K. to K . B . third. 2. K . to K. B . fourth.

If Black had played K . toK . B . third, you would havewonby advancing yourK . uponhisP.

4. K to K. Kt. fourth. 4 . K. to K. B . third.

5. K. to Kt. third. 6 . K. to K. fourth.

If he had played to K . B . fourth, you would have

gained the opposition,6. K. to B . third. 6 . K. to B . fourth.

If he doesnot advance his P. nor suffer you take upthe op odtion, the gamemust beSucfiare a few examples ofPawn-play. Want of space,

and the elementarynature of this little volume, prevent a

further selecti

qlr

l

t. Besides, the subject is s

ic vast that the

itions and e variations s ringing out o eve ositionfiy be said to be endless. This boundlessnessis amongmany reasons why it is so difficult to play Pawns well ;there isno department of C hess which demands greaterskill ; and the student will do welloccasionally to examinethe recorded games of Philidor with especial reference toPawn-play.

TKB suns OB GAKBS.

Ir frequently ha pens with yo layers, that at the endof a game, wheneKing is attzzgegby a sin

gle piece, they

are at a loss how to proceed, but vex themse ves and theirantagonists by a continued series of checks and random

The following examples will probably enable such

to act upona regular system of attack, and to inmto the end aswellas the beginning of their

game.

I. rm: 1m mumnoox AGAINST m a m s .

The K. and R canalways winagainst the adv . K.

alone. Themate is very easy, and is '

venby forcing theadv . K . to one of the sides of the c ces-board . Intheful-tha t possible positionof the pieme the mate canbeefl

’ected inseventeenor eighteenmoves.

Warn. K. at his fourth. B u cx. K. athis third.

R . at K. IL

1 . ana th ema ;

Insuch positions you should reserve check untilthe two Kings are opposite thenforces the adv . K .nearer to one of the sides of the board .

1 . K. to K. second.

2. K. to Q. second .

8 .

You lose amove inorder to see how Black plays. Ifhe

play to his second you check from Kt . seventh, and at

once forcehim to the sideof the board.

8 .

K. toQ. filth.

6 .

6. K. to Q. Kt. secondB . to K. Kt seventhmhg 7. K . to Q. B .

8 . K. to Q.

K mQ. R . aeventh. 9 . K. to K.

K. toQ . sixth. 1 0. K. to K. B .

K. to K. sixth.

K. to Kt. sixth.

Mus

n. m m e am: quasar rem ar m a m a.

This is also a very easy mata-similar inprinciple to that

274 LE SSON xxvr.

givenwith the Rook, but speedier 1nactiononaccount ofthe superior power of the piece.

Wart s . K . at K. R . eighth. B LACK. K. at his fourth.

Q . at Q . Kt. square.

1 . Q . to Q . third. I. K. to K . third.

2 . K . to K. Kt . seventh. 2 . K. to K. second.

3 . Q. to Q . filth. 3 . K . home.

4. K. tO K. B

6 . Q . to her eighth or to K. B .

seventh. MAr s .

hy

The superior power of theQ. over the R . will appear

By i

v

inang the mate at K . B . seventh. Inthis example

lac, at his first move

, play K . to his B . third or

fifth,whio will protract themate a move or two.

THE KING AND TWO BISHOPS AGAINST THE KING .

This mate is more difficult thanthe preceding, but is,nevertheless,certain.WHITE . K . at his sixth. B LAC K. K . at K . Kt. second.

B . at K. B . second.

B . at Q . B . second.

Kt . sixth. second.

KKK .

K . R . sixth. chg.

K . Kt . sixth.

B

Q

Q . B . fourth, chg .

PN

F

F

F

KPF’

FP

ANOTHER POSITION.

Wart s . K. at his R . sq. B LAC K. K. at his R . sq .

K . B . at Q . R. eighth.

Q . B . at home.

Q . Kt . second, chg .

Q . fifth, chg .

K . B . sixth.

K. sixth.

The Black K . isnow confined to two squares,have timeto bring up your K6 . K . to Kt . second.

6. K . to B . third.

7 . K . toKt . fourth.

8 . K . to Kt . fifth.

l . . .B to

2 . . .B to

3 .

.

B . to

4 . . .B to

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LESSON XXVI.

If he play to R . third, you move B . to K . second, andthenadvance your Kt .

7 . Kt. to Q . sixth.

8 . Kt. to K . B . seventh.

Insuch a positionas you havenow acquired, themate isforced ineighteenor twenty moves.

8 . K . to K . Kt.B . to Q . third. 9 . K . to K . B .

B . to K . R . seventh. 1 0. K . to K .

Kt . to K. fifih. 1 1 . K . to K . B .

Kt . to Q . seventh. chg. 1 2 . K . to K .

K. to K . sixth. 1 3 . K . to Q .

K . to Q . sixth. 1 4 . K . to K.

B . to K . Kt. sixth, chg. 1 6 . K . to Q .

B . to B . seventh. 1 6 . K . to Q . B .

Kt . to Q . B . fifth. 1 7 . K . to Q .

Kt. to Q . Kt. seventh, chg. 1 8 . K . to Q . B .

K . to Q . B . sixth. 1 9 . K . to Q . Kt.K . to Q. Kt. sixth. 20. K . to Q . B .

B . to K . sixth, chg. 2 1 . K . to Q . Kt.B . to Q . seventh. 22 . K . to Q . R .

Kt. to Q . B . firth. 23 . K . to Q . Kt.Kt. to Q . R . sixth, chg 24 . K . to R .

B . ca scq rss.

THE KING,B OOK, AND BISHOP AGAINST KING

AND BOOK.

Chess authorities arenot agreed as to the possibility of

giving this mate inall positions of the pieces. Intheollonposition, so admirably worked out by Philidor,themate is forced .

Wart s . K . at his sixth. B LAC K. K . at home.

R . at Q . B . R . at Q . second.B . at K . filth.

l . R . to Q . B . eighth, chg.

2 . R . to Q . B . seventh. 2 . R . to Q . seventh .

Inorder to give the mate, you must forcehim to playhis R . to your Q. square or your Q. third ineither mtuationthe game is forced ina few moves. Black endeavoursto prevent this.

3 . R . to Q . Kt . seventh.

‘Heis compelled to play to one of the twosquareshewishestoavo1d,m order to be able to interpose should you check .

3 . R . to Q . eighth.

4 . R . to K . Kt. seventh

THE ENDS or GAMES. 277

By your third move you compelled Black to take up alosing positionbut inorder to effect mate, your R . mustnot be further from

your K . thana Knight’s move.

g your Kt. to t e right, he must, toavoidmate,to your K . B ., which is as disadvantageous to him as

theQ. sq.

6 . B . to K. Kt. third,

to prevent a check .

4 . R . tOK. B . eighth . (SeeVar. I.)

6 . K . to K . B . (See Var. II. )6 . R . to K. Kt . fourth. 6. K . home.

He moves his K . inorder to be able to cover the checkwith his R .

7 . R . to Q. B . fourth 7 . R. to Q. eighth. (SeeVar. IlI.)8 . B . to K . R . fourth. 8 . K . to B .

9 . B . to K . B . sixth. 9 . R. to K . eighth, chg.

1 0. B . interposes. 1 0. K . to Kt .1 1 . R . to K . R . fourth, Winning easily.

VARIATION I.,beginning at the fourthmore.

4 . R . to K. Kt’

. seventh. 4 . K. to K. B .

6 . R . to K. R . seventh.

You thus forcehim toplay hisR. to yourK. Kt ., inorder

to avoid themate, by whichmove you Winhis R. ina few

6. R . to K . Kt . eighth.

6 . R . to Q . B . seventh.

Should he check withhis R . you cover with the B ., andremainwith the same attack .

6 K to Kt .7 . R . to Q . B . eighth, chltg. 7 . K . to R . second .

8 . R . to K . R . eighth, chkg. 8 K. to Kt . third.

9 . R . to K . Kt . eighth, chlrg. 9 K moves.

1 0. R . takes R . ,winning easily.

VARIATION II. , beginning at thefiflhmore.

5. B . to K. Kt . third. 5. R . to K. B . sixth.

o. B . to Q. sixth. o. R. to K. sixth. chlrg.

7 . B . interposes. 7 . R . to K. B . sixth.

Had he moved theK. to K . B . , you would haveR . to K. R . seventh, inorder tomatenext move.

8 . R . to K . seventh, chltg. 8 . K . to K . B .

If he had gone to Q. square, you would haveR. to Q. Kt . seventh.

278 LESSON xxvr.

9 . R . to Q . B . seventh. 9 . K. to Kt.1 0. R . toK. Kt . seventh, chkg. 1 0. K. to B .

If he had played to R . square, you would have wonhisR . by a discovered check .

l l . R . to K . Kt. fourth. 1 1 . K . home.

If he had played R . to K. sixth, to prevent your B . from

checking, you would have played R . to K . R . fourth, andmatednext move.

1 2. B . mK. B . fourth,winning easily.

VsmarronIII., beginning at the seventhmove.

7 . R . toQ. B . fourth. 7 . K. to K. B .

8 . B . to K. fifth. 8 . K. toK. Kt.9 . R . to K. R . fourth, winning easily.

F rom the foregoing examples the student will be able to

form some idea 0 the great variety and beauty of th

islay

at the ends of games inwhich the Kings are attend byone or two pieces only. If, inadditionto these, one ormore

pawns be added, a new feature is thus introduced whichadds reatly to the variety. Our space willnot allow us to

inf

tr use more examples,but the following table may be

0 use.

K . and Q. against K . win.K . and R . against K. win.K . and two Bs. against K . win.K . and B . andKt . against K . canwin, but the mate isdifficult .

K . and two Kts. against K . usual] make a drawn e.

K . and two Rs. against K . and Illwin. White orces

Black to change R . for R ., and the mate is then

reduced to the see mate ofK. and R . against K .

K. and Q. against 13,

and R . usually win, but the gamesometimes terminates ina stale.

K . and Q. against K . and twoKta. usually win.K . and Q. against K. and two Bs. usually winK . and Q. against K . Kt . and B . usual] win.K . and Q. ag ainst K . R . andKt . usu y win.K . and Q. against K . R . and B . usually win.K two Bs.

, andKt . against K . and R . win.

K . and R . againstK . andB . usual] make a draK . and R . against K. and Kt tile Kt . cannot easily .

K. , R . , and B . against K . and R .,doubtful. Inthis, as

some of the above cases, it depends uponpositionas towhetherWhite canforce the game.

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280 LESSON XXVII.

but unluckily it is likeNebuchadnezzar’sdream,which he

had forgotten, and wanted his safes to tell him the dream

aswell as the interpretation.ago with a gentlemanwho was aanother, of perhaps equal skill,table ; (we werenone of usgreat pla ers, but pretty goodas ordinar

ymen.) I was, after a struggle,nearly

beaten, anbeyond all reasonable hopes of giving a check

mate ; but from the very curious situationof the men, (Ihad two or three

'

eces left, and some pawns,)Iwas intheway to get a eta mate; my adversary remarked it, and sodid Iand the lookers-on, and he played severalmoves withgreat cautionto avoid it ; but at last he did give stale-mate.

A shout of exultationfrom the b -standers having called

the attentionof my other friend, ewas told what caumdit, and treated the whole matter with contem t, sayingthat it was a mere accident, a stale-matenever p ningbut throughmereoversight ; weall assured him that ough

it was usually so, this was a ver

yremarkable case indeed ;

but as he was still incredulous, told him he should try,and replaced the men. Now,

’said I, the

problem is, to

give me check-mate,and avoid stale-mate, 0 which there

1 8 a danger ; play.

’ He did so, and, forewarned as he was,he veme the stale-mate the third move ; thenthere wasa s Ihave oftenregretted since, that Ididnot immediately take anote of the positions ; Ihave tried to do so

since, but havenot succeeded. C anany of your contributors ? All that is re uired is to

place the menso as to

make it difficult to avoi stale-mate.

The very curious point referred to inthe above communicationsometimes occurs at chess. Indeed, it may bedesirable to court a stale-mate

,and this is done by the

skilful player whenthe conditionof his game is such that,not beinable to winit he seeks to draw it,either by a

perpetu check, or by playing for a stale-mate. We knowone player who is so very skilful ingetting hisgive stale-mate, that he oftenprefers to degameinthismanner to winning it, andsome ofare highly ingenious. At one time, whenthe party whoreceived the stale-mate wonthe e, this course mighthave beendesirable, but now t t a stale-mate alwamakes a drawngame, such a system of play cannotdefended except for the sake of its ingenuity .

Inthe. annexed exam les will be shown: 1 . That in

some positions it is cult to avoid giving stale-mate;2. That m some positions the first player cancompelhis

THE STALE-MATE . 28 1

liositions

the second player must either give stale-mate, or ose thee.ga

l

-

hthe following positionWhite is to check-mate hisadversary inthree moves. There appears at first view to

be some difficulty inavoiding stale-mate, for ifWhite'

layeither of the obvious moves of B . to K. uare, orK

lt

’

to

K. B . fifth uare, Black is stalemated .

ehm positionisnot strictly

e

illustrative of the stale-mate, but we give theproblem, inorder to show how easily a game,which appearsto be decidedly won,may be drawnby anincautious move.

Moreover, the problem is one of great ingenuity.

Pnoaunr I. Whitenoving fintfi s to gioechech—mate in

BLACK .

Inthenext to have

282 LESSON XXVII.

PaonmmII. Whitehaving tomove,fi rm Black to dale

WnrrE . K . at K . B . B LAC K. K at Q . R . secondQ . at Q. Kt. second. R . at K . Kt. fourthP. at K. B . second. R . at K . Kt. fifth

B . at Q. R . fourth.

P at K. B . sixth

Inthenext problemWhite gives Black the alternative Ofdrawing the game by a stale-mate, or of losing it . Aschess problems ar

:1 (for themost part ill

f

ustrations of

pla a player we inevery case re or drawing a game,whihhhehad lost allh0pes of winhihg, to losing it.PROBLEMIII. White moving first, forces B lack to

the game, or togivestale-mate intwomoves.

BLACK.

WHITE .

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284 LKSSON xxvn.onthe great diag

onal.Hf Black should capturetheWhiteB .

withhis Q. B . he willstillbe unable to winthe game.

For examfle

takes QfB . P.

If the Black K .now captures the B . theWhite K. will

be stale-mated, and if Black donot take the B .

,White bykeeping the B . onthe great diagonahtobviously draws thegame.

PROBLEu VI. The following remarkable positionis

givenby Sarratt,with the remark, that though theWhitea

pfifears to have lost the game irretrievably, hemay, by a

8 ulmane uvre, draw iBLACK.

THE STALE -MATE . 285

BLACK.

1 .

2. K. takes R .

£ Q. takes Q.

5. Is Su nnis-ran.If, at the fourthmove, Black move his K. toQ. R , you

moving his K., you draw b a perpetual check .

not of w umg mpture hisQonaccount of thehis R . If he cover check with Pswnyou capture his

Q . B . P., and draw by a perpetual check.

ANorm SOLUTION .

unlesshe consent to give stale

1 - R . tO K. B 69 mm2. Q. tO Q. B fifth, chkg. 2. Q. takes Q.

L R . takes P. ,

6 . 1 3 8rsunu rxnIf, at the third move, Black capture the R .

, the Objectina fewernumber ofmoves than

It sometimeshappens'

that inqueening ais giveninconsequence of the pawnbeing promoted to therank o instead of that of B . , R . , Ot . It will be seenfrom the following positions that it is possible to have toomuch mating power ; for the Q.

,combining the moves of

the B . ,and R . , leavesno move to the adverse K.

, and consequently he is stale-mated.

Pnoam VII. White tomate intwomom .

Wa rt s . K. at Q . R . B u cx. K . at K . R . second.

R. at Q . B . sixth.

B . at Q. filth.

P. at K. B . seventh.

White first advances P. to K . B . eighth;he claim take a B . he

cancheckmatenext move.

286 LESSON XXVII.

PROBLEMVIII. White tomate intwomoves.War m. K . at Q . B . sixth. B LAcx. K. at Q . R . second .

P. at Q . B . seventh.

IfWhite take aQ. for theP. he gives stale-mate; but

he take a R . he checkmatesnext move.

PROBLEMIX. White moves B lack to

stale-mate him innine moves.

BLACK .

WHITE .

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SECOND POSITION”.

BYM. C ALVI, OF PARIS.

BLACK.

WHITE .

Whitemoving first, is to checkmate intwo moves .

From LePalaméde.

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FIFTHPOSITION’.

BYHERE BREDE , OF ALTONA.

From the Almanachfiir PM : rem Schaehspiel. Altous , 1 844 .

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EIGHTHPOSITION.

BYHERB. BRE DE .

BLACK.

WHITE .

White to move first, and checkmate inthreemoves.

TENTHPOSITION.

BYHERB BREDE .

White tomove first, and checkmate inthreemoves.

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TWELFTHPOSITION.

BYHE RR BRE DE .

BLACK.

White tomove first, and to checkmate inthreemoves.

THIRTE ENTHPOSITION.

C hess problems illustrate the power which a good playerhas over aninferior antagonist, inforcing him to makemoves which lead to a checkmate. There is, however, a

curious class of problems inwhich the first player exertsthis power to com

pel the second player to checkmate him

w ithina prescribe nirmber ofmoves. The following is anexample of this species of suicidal checkmate.

BLACK.

WHITE .

White to move first, and to compel Black to checkmate

him with the Bishop inthreemoves.

FOURTE ENTHPOSITION.

BYHERR BREDE .

BLACK.

WHITE .

White tomove first, and checkmate inthreemoves.

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SEVENTE ENTHPOSITION.

BY LOLLI.

The following is a singular situation, and well illustratesthe value of “the move”

at C hess ; for if White has themove he cancheckmate infour moves ; and if Black hmthe move he also cangive checkmate infour moves. It isalso a curious feature inthis problem that both the Kingsare checkmated onthe same square.

We would advise theiyoung student to

tionas two separate pro lems, inthe firstmoves first, and givesmate infour moves ; and having discovered this, he is againto set up the pieces as inthediagram, and roceed to the solutionof the second problem,

inwhich Blaclcmoving first, gives mate infourmoves.

WHITE .

1 . Whitemoving first is to givecheckmate infourmoves.

1 1 . Black movingfirst is to give checkmate infourmoves.

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TWENTIETHPOSITION.

BYM. CALVI.

The following problem was first introduced to the ChessC lub of Paris as one of more thanordinary difficulty . M.

Alexandre, author of the Enqwq edia of Chess, was thefirst to discover the solution, but this was not until themorning after the meeting of the club . That gentlemanfirst introduced the problem into chess society inEngland,where it excited considerable interest and amusement inconsequence of the many fruitless attempts made evenbygood players to solve it. It was first published inthrscountry byMr.Huttmann.

BLACK.

WHITE .

Whitemoving first is to give checkmate infourmoves.

TWENTY-FIRST POSITION.

The followingingenious roblem is a variation, ina

simpler form, 0 a problem y D amiano, inwhichWhiteis required to checkmate his adversary insix moves, without being allowed to mwe the Rook more thanonce. Inthe following positionno such conditionis to be observed .

White to move first, and to give checkmate infour moves.

TWENTY-SE C OND POSITION.

BY DAMIANO.

BLACK.

WHITE .

W'

hite moving first, is to checkmate infourmoves, without being allowed to move his King.

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TWENTY-FIFTHPOSITION.

DOUBLE CHE C K.

BLAC K.

WHITE .

Whitemoving first is to checkmate infourmoves, '

vingcheck every move, and compelling his adversary to O the

same.

TWENTY-SIXTHPOSITIONBYHERR BRE DE .

BLACK.

WHITE .

White tomove first, and to compel Black to checkmatehim infourmoves.

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TWENTY-EIGHTHPOSITION.

The following problem is the inventionof SnAemtn, thecelebratedHindoo Chess layer. Ina letter to the Editorof the Chess Player

’s Chronicle, (inserted inthe number

for February, he says that“it has hitherto bafiled

the sagacity of eve player inIndia to whom it has beenshown and the drtor also remarks ;

“We consider thisproblem to be the finest, because the most difficult, Of any0 -move problem extant. It has foiled several of the bestEnglish players, to whom we have submitted it .

BLACK.

WHITE .

White tomove, andmate infourmoves.

TWENTY-NINTHPOSITION

BLACK.

White to move, and win.

FromMr. WALKLR'

S New Treatise onC hess. 1 841 .

THIRTIETHPOSITION.

The following remarkable positionwas, we believe, first

venby Salvio ; but a similar one occurs inthe works ofreco and Stamma. It is a good illustrationof the value

of positionat C hess,for inmost situations the King and

Knight arenot able of themselves to givemate ; but inadvanta

ge is takenof the adversary

’s pawns. The

good player requently enlistshis adversary’smeninto his

ownregiment.,BLAOK.

WHITE .

Whitemoving first, is tomate infourmoves.Black moving first,White is tomate infivemoves.

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THIRTY-SE C OND POSITION.

THE C APPED PAWN .

Among the curious conditions to which a skilful chessplayer has sometimes submitted whenopposed to a

of inferior strength, is the following — at the beginning of

the game a little paper cap or a ring is put over a certainpawn, and the first player undertakes to preserve this pawnthroughout thegame, and finally to give checkmatewithit.As this pawnisnot allowed to queen, the player is cautioushow he advances it towards the adversary’

s royal line. If

it is ca tured, the first player of course loses the game.The fo owing is the terminationof such a game

,inwhich

White moving first is to give checkmate with the pawninfour moves.

BLACK.

WHITE .

White to move first, and to checkmate with the Pawninfourmoves.

THIRTY-THIRD POSITION.

The following remarkable examyil

i

e

A

Of the PION C OIPEE,or Capped Pawn, is byMICHELE D I URO of C alabria, whois celebrated b Salvio as anexcellent player, worthy of

all praise. e flourished about the end of the sixteenthcentury.

It may be of use to the oung student to be remindedthat, inall such cases as the present, where the mate isrequired to be givenby a particular piece or pawn, the lastmove being known, thenumber of moves required to be

discovered is,inefi

'

ect, reduced by one ; for example, thepres ent problem requires for its solutionfive moves, but asthe last move is known, the student has to discover onlyfour moves

,whereb he brings the pieces into such a peer

tionthat he is enab ed, at the fifthmove, to give checkmate

with the Pawn.BLACK.

WHITE .

White tomovefirst, and togivecheckmatewith thePawnwhichnow occupies the King’

s fifth square, infivemoves.

THIRTY-EIGHTHPOSITION.

BY M. D'

OE VILLE .

BLACK.

WHITE .

White tomove first, and to checkmate infivemoves.

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FORTIE '

I‘HPOSITION.

SE LBSTMAT.

BLACK.

WHITE .

White is to move first,and to compel Black to give

checkmate infive moves.

FORTY-FIRST POSITION.

BYMENDHE IM.

BLACK

moving first, two pieces everymove, and to checkmate infivemoves.

FORTY-SE COND POSITION.

THE SERPENT.

BYHE RR BREDE .

BLACK.

White tomove first, andcheckmate insixmoves.

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FORTY-FOURTHPOSITION.

BY DAMIANO .

PION OOIPEE.

WHITE .

White to move first,’

and to givePawninSixmoves.

with the

FORTY-FIFTHPOSITION‘

BLACK.

WHITE .

White tomove first, and to checkmate with either the. insix moves.

C ontributed byMr. Laurie to The C hess Player'

s C hronicle.

FORTY-SIXTHPOSITION.

BYMENDHE IM.

WHITE .

Whitemoving first is to checkmate insevenmoves,without being allowed tomove an iece or pawnexcept the

Knight.y P

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FORTY-EIGHTHPOSITION.

THE SE NTINE L.

BYHERR BREDE .

BLACK.

WHITE .

White tomove first, and checkmate inthirteenmoves.

FORTY-NINTHPOSITION.

BYM. D’

ORVILLE .

BLACK.

WHITE .

White tomove first, and draw the game.

FIFTIETHPOSITION.

BYM. D'

OEVILLE .

BLACK.

WRITE .0

White forces Black to checkmate him intenmoves, orto stalemate him inninemoves.

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3 40 APPEND IX.

ingenious roblem admits Of some variationonbothsides. Black use not take theQ. at the second Inmay move

b

his1aK. to Kt

QOT

BQ R

hs

tguare, In

you mate y m to e square.

If at the ih-stymgve Black movhgtheK.,

K . Kt. eighth square,andBlack hasnothing ut

move of inteBut if at e first

Q”

move Black take the Kt. with hisQ. B . P., your Q. givesmate at her B . eighth sq

PROBLEMIX.,page 204.

1 . Q. to Q. B . fifth, chkg. l . K. to Q. Kt second.

2 . Q. to Q. B . eighth, chkg. 2 . K. takes Q.

3 . Kt. to Q. sixth. MATE .

l . K. takes R .

2 Kt toK B seventh chkg 2 .

3 . K . Kt . P. two, checkmate.

The moves Of the White remaining the same, Blackmight have played thus .

l . K. to K . R . third.

2 . K . takes Q .

PROBLEMXI. page 209 .

l . R . to Q. R . sixth, chkg.

2 . R . to Q.

3 . One of theRooks gives checkmate.

PROBLEMXII., page 209 .

l . K . B . P. one.

2. Kt. toK. B . fourth, checkmate.

PROBLEMXIII.,page 2 1 2 .

l . Q. tOQ. B . fourth, chkg. l.

2 . Q. to Q . B . , chkg. 2 .

3 . Kt. to Q . Kt . third,check

PROBLEMXIV.,page 21 3 .

1 . chlig.

2 . 2 . K. tO K. R .

3 . 3 . K. tskes R .

4 . E . .toK R . MATE .

If, at the first move, Black take theKt., you can

givemate inthreemoves: for example,1 .

2. R takesK R. P chkg 2 . K. takcsR .

3 . R . MATE S.

PROBLEMXV., page 21 6.

r. Kt. to Q. B . seventh, chkg. r. K. to Q . Kt.

SOLUTIONS TO PROBLEMS. 34 l

3 . Q. tO Q. S t esQ.

4 . Kt. tO Q. , chechnate.

Iflat thesecondmove Black King go tO Q B . oumate at the thirdmovewithQ. at Q. B . seventh sq

s

dlai'ey'

PROBLEMXVI, page 21 7.1 . Kt. i . Q.

a. Q. takesK. B . ,chkg . 2 . K. tt he. Q.

s. Q. s. K. K.

4 . KL b K. R. sixth. MATE .

If, at the first move, the Black K. go toK.

you play theKt. from K. Kt . fourth square tosquare, checking he thenplays

2. K. B . takeaKt.3 . Kt. takesB s ehsckmafing.

I. R. takes Q . P. checking. 1 . Kt. takesR .

eighth tO Q. B . 2 . K. tO K. squsre.

sixth, checking.

3 . 3 . Kt. takesQ.

4 . Kt . MATE S.

If, at the first move, Black play hisKing, youmate him

PROBLEMXVIII, page 226.

I. R . to Q . Kt . second. I. Q . Kt . P. one.

2. Q . checkmates.

If Black move R. or Q. P., the -White R. mates.

I

2 . B . t o Q R . filth, chkg . 2 K. takes B .

3 . Q . B P. one.

4. Q. Kt. P. MAras.

PROBLEMXX. ,page231 .

l . Kt. takesK. P. checking l . K . B . takseKt.2 . 2 . K . B . takes R .

3 . Kt. taliesK. B .

4 . Q. P. advances, checkrnate

l P advances. I P quene.2 Kt. covers, discover-mg check

and checkmate.

APPEND IX.

PROBLEMXXII. , page 236 .

1 . R . to K . Kt. sixth. l. K. takes R.

2 . Q . toK . Kt. eighth. MATE .

If Black refuse to captureR . the Q. mates inthe same

PROBLEMXXIII., page 237.

l. Kt. to Q . B . seventh, chkg. l . K. to Q . B . fourth.

2 . Q . B . P. one. 2 . Q . P. one.

3 . Q. B . P. one. 8 . Q. P. one.

4 . Kt. to K . sixth, checkmate.

PROBLEMXXIV., page 241 .

I. Kt. to K . R . fifih.

2 . Kt. to K . Kt . seventh, chlig . 2. K . to K . R . fifth.

3 . K . to K. B . fourth.

4 . Kt. toK . B . fifth. MATE .

PROBLEMXXV., page 246 .

Inthis positionthePawns should be at K. ,K. Kt. , and

Q. B . second squares : the solutionis thenas follows1 . Q . to Q . Sixth. l . K . to K . hhh.

2 . K . Kt . P. two. 2. K. to K . sixth.

3 . Q . B . P. one. 8 . K . to K. fifih.

4 . Q . to Q . fourth, checkmate.

PROBLEMXXVI.

, page 247.I. Q . to K . B . eighth, chkg. 1 Q. takes Q2 . K . to K . B . third. 2. Q . to K . R

3 . Kt . to K . third. MATE .

If, at the first move, Black his B . to K. B . thirduare, your Q. on

d move, his Q.

goes to K . square, you matewith the Kt. at K. R . sixthsquare instead ofK .

PROBLEMXXVII. , page 263 .l . Kt . to K . sixth. l. R . to Q . B .

3 . Q . P. one. 2. MustmoveKt. or R .

3 . Kt.MATE S.

PROBLEMXXVIII. ,page 253 .1 . Kt. to Q . Kt. fifth. 1 . K. to

2 . K . moves. 2. K . to R . eighth.

3 . E L to Q . B . third. 8 . P. m4 . R . to Q . Kt. MATE .

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344 APPEND IX.

PROBLEMIX. ,page 286.

l . R . to Q. Kt. chkg . K. toQ. R .

2 . Q . to K . R . eighth, chkg. K . to R . second.3 . Q . to Q . Kt. eighth, chkg . K . to R . third.

4. Q . to Q . Kt. seventh, chkg K. to R . fourth.

6 . R . to Q. R . P. to Q . B . fourth

6 .

7 . B . to Q . Kt. P. to Q . B . sixth.

8 . K . to Q . R . second. K. to R . fifih.

9 . Q . to Q . Kt. fourth, chkg K . takesQ. ,

andWhite is stalemated .

SOLUTIONS TO C URIOUS CHESSPROBLEMS.

FIRST POSITION, page 289 .

1 . Kt . to Q. second. 1 . P. takesKt.2 . Q. B . P. two, checkmating.

SEC OND POSITION, page 290.

«1 . Q. to K. Kt. second. I. R . takes Q.

2 . Kt . to Q . Kt. seventh. MATE .

The inenuity and difficulty of this solutionare wellillustrate by your first move. Its object is to prevent theBlack Rook from checkinyour K.,

and also to openthesquare from which your t . gives the mate. Black hasthe choice of severalmoves: should he take yourKt. withhisKt . , or your B . withhis B ., you checkmate withQ. at

Q. second square: if he donot take theQ. ,but play R .

,to

Q. eighth, you thenmate with Kt . at Q. Kt . seventh as

THIRD POSITION, page 291 .l Kt . to Q . Kt. seventh. l . K . to Q . fourth.

2 . Q . to K . fourth. MATE .

FOURTHPOSITION, page 292l . K . toK. B . sixth. 1 . K. takesKt.2 . B . to K . B . third. MATE .

FIE-TE POSITION, page 293 .

1 . Q . to Q . R. fifth. l . P. moves.

2 . Q. to Q . R . MATE .

SIxTHPOSITION, page 294 .

1 . R . teQ. seventh,discovg. check.

2 . Kt. to K. B . sixth.

3 . R . to K. R . seventh. MATE .

SOLUTIONS TO PROBLEMS. 345

l. K. toK. Kt.

3 . R. to K. B . seventh. MATR .

Sm POSITION, page 295.

l . R . to Q . eighth, chg. 1 . B . takes R.

2 . Kt. to Q. sixth.

8 . Q. MATE S.

E IORTR POSITION, page296.

2 . B . interposes, discovg. check. 2. K. to Q. Kt . second .

3 . Kt. toQ. R. fifth. MATE .

1 . Q . to K. B .

2 . 2 . K. takes B .

3 . Kt. Ma ss.

The other variations are sufi ciently obvious.

NINTHPOSITION, page 297.

1 . Kt. takes Kt.2 . Q. toK. sixth.

3 . K. Kt . P. , or the Q. checkmates.

TE NTR POSITION, page 298 .

1 . Kt . to Q. finh. l . R. tO K. B chg.

2 . Q. to K. B . sixth. 2 . B . takes Kt.3 . K. Kt . P. one. C R c IIATR .

If at the first move the Black B . take theKt. onmatewith Q. at K . Kt. sixth. If at the second move lack R .

take the Q. theWhiteKt. retakes, checkmating.

E LRvRNTIIPOSITION, page 299 .

l . K. Kt. to K, R . third. 1 . Anything.

2 . 2 . K. takos B .

3 . Q. Kt . to K. B . sixth. MATR.

Twnm nPOSITION, page 300.

1 . Q. a. Q . Kt. sixth, chg . l . It . takes Q.

2 . B . to Q . fourth, chg. a K . to Q. R . burth.

3 . B . to Q. Kt. sixth. MATS .

Vana' tion.1 . Q. to Q. Kt. sixth, chg . l . K. to Q. R.

2 . Q. takm Kt. 2 . K. to Q. Kt.3 . B . to K. fifih. MATR .

THIRTEENTHPOSITION,page 301 .

I. m. takes K. Kt. P. ,chg. 1 . Q . B . takes Kt2 . Kt . tukm K. R . P chg . 2 . Q. B . takes Kt .3 . Q. to K. Kt. second, chg. 3 . B . lakes Q. , checkm

can.

346 APPEND IX.

FOURTSRNTIIPOSITION, page 302 .

l . l . Q. tskesQ.

2 . K . P. one, chg. 2 . K. to K . third.

3 . Kt. to K . B . eighth. MATE .

m '

l'nPOSITION, page 303 .

I. Kt. to K . second. I. B . to K . B . third. chg.

2 . Q . to Q . fourth. 2 . Anything.

8 . Kt . to Q . B . third. MATR .

Or (it the B . capture Q .)Kt. takes B . MATS .

If at his first move Black play anything but theB ., you

canmate intwomoves.

SIxTRRNTR POSITION, page 304.

I. Q . toK. B . fourth, chg. I. K. to K . R . fourth.

2 . Q . takes K . B . P chg. 2 . P. tak .esQ3 . Kt . to K . B . fourth, chg. 8 . K. mmoves.

4. R . toK. Kt . sixth. MLTR .

SRVRNTRRNTR POSITION, page 305.

WHITE . BLACK.

1 . R . to Q . B . seventh, chg. l . K . to K . R . third

2 . R . to K . R . seventh, chg. 2 . R . takes R .

3 . Kt. to K . Kt . eighth, chg . 3 . K . to K. Kt . fourth4. K . R . P. two. C R SOIIIIATR .

BLACK. WHITE .

1 . R . to K. R . sixth, chg. l K. tukes R

2. Q. toto .K Kt. seventh, chg. 2 K. to K . R fourth

3 . Q. takes K. R . P. , checking . 3 . K. to K Kt. fifth4 . Q . K. R . third. C RROIIIIATR .

E IGIITRRNTIIPOSITION, page 306.

l. R . at K. Kt. square takes B . I. Q . to Kt. second2 . R . takes K R . P Q . takes R .

3 . R . toK. Kt. 8 . Q . moves.

4 . R . MATE S.

If at the first move Black K . B . P. or Q. take R . you

matenext move. If at the third move Black Q. play to

Q. Kt . eighth, checking,you must capture her with the R .

and not with the K., for if takenwith the K .

’

Black is

O

NINRTRRNTIIPOSITION, page 307.

l . K . to Q . seventh. l . K . to K . fourth.

2 . R to K . Kt . fifth, chg. 2. K . to Q . filth.

3 . Kt . to K . third. 3 . K . to Q . sixth.

4 . R . to Q . fifth. MATE .

TWE NTIETHPOSITION, page 308 .

1 . Q. takesP. atK. fourth, chg . 1 . K. tskes Q.

2. Kt . from K. B . seventhtO Q. 2 . K. takesKt t . fourth.

sixth, chg.

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348 APPEND IX.

TWNNTY-ROURTIIPOSITION, page 3 1 2l . Kt . to Q . B . sixth, chg . and .l. K . to Q. Kt . third.

dIscoverincheck .

2 . R . to Q . sixth, chg . 2 . R . takes R .

3 . R . to Q . Kt. filth, chg. 8 . K . takes Kt.4 . Q . takes R. MATE .

w NTT-I'IRTR POSITION, page 3 1 3 .

l . Kt. from Q . Kt. third to Q . B . l . K . to Q . B . filth, discoveringfilth, checking. check.

2 . B . to Q . Kt. third, checking. 2 . R . takes B checking.

3 . P. takes R . , checking. 3 . Q . takesP. , checking .

4 . Q takes Q . MATS .

TwsNTr-SIxTR POSITION, page 3 1 4.

R . to K. B . sixth, chg . and l . K. moves.l .

discoverincheck .

2 . Q . to K . seventh, chg. 2 . Kt. takes Q .

3 . R . to K . Kt. sixth, chg. 3 . K . takes Kt.4 . R . to K . Kt. seventh, chg. 4 . K. takes R . discg. checkmate.

TwnNTT-STVRNTIIPOSITION, page 3 1 5.

1 . Q. to Q. B . fifth. l . Kt. to K. Kt. third.

2 . B . to K . sixth, discovg . check. 2 . Kt. takes R .

3 . Q . takes R . , chg. 3 . K. moves.

4 . Q .MATSS.

The variations are sufficiently Obvious.TWENTY-EIGHTHPOSITION, page 3 1 6 .

l . K . to Q Kt. l . P. at Q . Kt. fourth,mo'

ves.

2 . Q . B . home. 2 . P. at Q . Kt third, moves.

3 . R . to Q. second. 3 . K . moves.

4 . R . to Q . fourth, chg . , discovg. oh. and checkmate.

The following are the variations inthis solutionTheK . may move to Q. Kt . second . The K. may move

after or before theB or after or before theR.

If the R . bemoved first to Q. sixth, seventh, or eighth,the‘t

li

ias inthe above solution, the K . neednot be moved

i t

If theQ. B . bemoved first to K . Kt. fifth, or K . third,then, as above, the K.neednot bemoved at all.IfK. B . be moved to K. R . either before or after Q. B .

hasmoved, theK .neednot bemoved at all.Under these circumstances there are seventeen m uta

tions. or modes of solution, all ensuring mate ont a fourth

move, and a few Of them rendering it possible onthe third.

Six of these solutions involve the move of theK., via.

three toKt. square and three toKt. second.Three of these solutions involve themove ofK . B .

Two involve the doublemove Of Q. B .

Six involve the doublemove of R .

SOLUTIONS TO PROBLEMS. 349

Inthreeof these solutions the first move is B . home, andthe second R to econd and inthes e instancesmatemayhe

'

veninthree moves if Black doesnot play his best.e efl’

ect of the double pawnsmay be illustrated thusIf the foremost pawnbe removed from the board the

problem still remains as before, White to mate infourmoves but if the hindmost pawnbe removed, it bscom“White to mate inthreemoves. ”If the double pawns be removed, and Q. B . be placed at

home, the positionforms a very good two-move problem .

TwRNTr-NINTIIPOSITION, page 3 1 7.

l. R . takes R .

2 . R . checks. 2. K. moves.

3 . R. ehsch and wins R .

Tm TIxTnPOSITION,page 3 1 8 .

l . Kt . to Q. B . tru th. 1 : Q . Kt. R ome.2 . Kt . Kt. firm-

th, checkmg 2 . K . to Q. B . sighth.

3 . K. IO Q B .

4. Kt. toQ B . second MAT:

1 . Q . Kt. P. one . 1 . Kt. to Q. B . sixth.

a Kt to Q. Kt. fotmh.

5 Q . Kt. P. one. 5. Kt. takes P. Man.

Inboth solutions the order of themovesmay beInthe second, mate canbe protracted to the seventhTnm r-NIRST POSITION, page 3 1 9 .

l . Kt. to K. R. seventh, chg . l . K. m2 . Kt . from K. b urth to K. B . 2 K msixth, chg.

s Kt. to K. B . eighth.

If he take either Kt., the Q. mates ; and If he take Q. ,

tt L takes t checkmatmg.

1 . 1 1 . m l . K. to Kt.2 . K. to B second.

s. s. K. to B . thIrd

4 . P. oo s. MATS .

l. KL fim Q R Sixth to Q B I. R. takesKt.asventh, chg.

2 . R .

t-a

:es P.

3 . R . osKt. . checking.

4 . P. takss R.

5. P. to Q. seventhsq. and cc m Tas.

350 APPEND IX.

THIRTY-FOURTHPOSITION, page 322.

1 . Q . to Q . B . l . K. to R . m ond.

2 . Q . to Q . B . seventh, chg. 2. K . to R . third.

3 . Q . to Q . Kt. seventh, chg . 3 . K . to R . fourth.

4 . P. checks. 4 . K . to R . filth.

5. Q. Kt. P. one. MATE .

THIRTY-FIFTHPOSITION, page 323 .

I. Q . to Q . B sixth, chkg. l . K . to Kt.

2 . Q . takes K P. 2 . Q . takes K . R . P. ,

3 . Q . takes Q . 3 . Kt. takes Q .

4 . Kt. to Q . B . sixth, chkg. 4. K . to Kt . second.

5. takes Q . R . P. MATE .

2 . Kt. or P. takes Q .

3 Kt. to B . sixth, chlrg. 3 . K. to Kt. second.

4 . R . takes P. MATE .

THIRTY-SIXTHPOSITION, page 324.

I. Q . to Q . B . second. I. Q . B . P. one.

2 . Q . B . P. one. 2 . P. takesP.

3 . Q . to Q . Kt . third. 3 . P. takes P.

4 . Q . to Q . B . second. 4 . P. moves.

5. Q . to Q . B . MATS .

TRIRTT-ss NTR POSITION, page 325.

1 . Kt. to K . seventh, chlrg. I. B . takes Kt.2 . Q . to Q . filth, chlrg. 2 . K . to K . R .

3 . Q . to K . B . seventh. 3 . R . to K . Kt.4 . Q . takes K . R . P. , chlIg. 4 . K. takes Q .

5. B . to K . B . eighth, discovering checkmate.

TRIRTr-RISRTR POSITION, page 326.

1 . Q . to K . R . fifth, chkg. l . K . takes Q .

2 . K . R . takes K . P discovg. chit . 2. Kt. takes B .

3 . K . R . to K . R . sixth, chkg . 3 . K . takes R .

4 . Kt. to K . B . fifth, chkg. 4 . K . to R . fourth.

5. Q . R . to K . R . sixth. MATS .

TRIRTr-NINTHPOSITION,page 327.

1 . Kt . to Q . R . fihh, chkg. I. K . to Q . Kt . sixth.

2 . B . to Q . Kt . eighth. 2 . Q . P. one.

3 . B . takes P. 3 . P. takes P.

4 . K . to Q. B . fourth. 4. K . takes Kt.5. B . to Q . B . seventh. MATN .

FORTIRTIIPOSITION, page 328 .

l . R . to K. Kt . eighth, chkg. I. K . toR . filth.

2 . B . to K . Kt. filth, chkg. 2 . K . toKt. filth.

3 . Kt. to K . Kt . discovg . check . 3 . Kt. takes K . B .

4 . Q . B . to K . third, discovg. ch. 4. K . to R . fifth.

5° 3 ‘0 K B . 80003 6. chkg. 5. Kt. takes B . , giv. checkmate.

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352 APPEND IX.

FORTY-SEVKNTHPOSITION, page 335.

l . R. to K . third, chkg. and dis The moves of Black K. are

covering check . allforced.

2 . Q . to K . Kt . sixth, chkg .

B . to K . Kt. fourth, chkg.

Q . to K . fourth, chkg.

Q . Kt. P. one, chkg .

Q . to Q . B . sixth, chkg.

B . to Q . seventh, chkg.

8 . Kt.Mu ss.

FoaTr-msn'm POSITION, page 336.

3

4.

5.

6

7

1 . Kt . to K . fifth, chkg . l . K . to Q . Kt. fifth.

2 . Q . R . P. one, chkg. 2 . K . to Q . R . fourth.

3 . Q . Kt . P. two, chkg 3 . K. to R . third.

4 . Kt. to K. sixth. 4 . B . to Q.

If at the fourthmove Black play R . to Q. B . he canbemated Infewer moves.

5. Kt. to Q . seventh. 5 Kt . to K. fifth.

6 . P. takesP. 6. R . to Q . Tm: SBNTIN B L.

7 . P. advances. 7 . R . to Q . R. (If the P. is taken8 . P. advances. 8 . R . to Q . B . the mate canhe9 . P. advances. 9 . R . to Q . R . giveninfewer

1 0. P. queens . 1 0. R . to Q . B . moves. )1 1 . Q . to Q . B . fifth. 1 1 . Kt. takes Q .

1 2. Kt . takesKt . 1 2. Kt. takes Kt.1 3 . Kt . takes Kt. CHE C KMATE .

FoaTr-NINTHPosITION, page 337.

l . R . to Q . R . third, chkg. K . takes R .

2 . Q . to Q . Kt. third, chhg. 2 . Kt . takes Q .

3 . Kt. to Q . B . fourth, chkg . 3 . K . to R . fiflh.

4 . Kt. to Q. Kt . sixth, chkg. 4 . K . to R . sixth.

5. Kt . to Q . B . fourth, chkg . 5. K . to R . fifth.

6. Kt. to Q. Kt . sixth, chkg.

White draws thegame by a perpetual check.

FIFTIETHPOSITION, page 338 .

1 , Q . to Q . B . eighth, chkg . l K . to R . second.

2. Q . to Q . Kt . eighth, chkg. 2 . K. to R . third.

3 . R . to K . sixth, chkg. 3 . K . to R . fourth

4 . Q . to Kt. sixth, chkg . 4 . K . to R . fihh.

5. Kt. to Q . B . fifth, chkg. 5. Kt . takes Kt.6 . R . to K . fourth, chkg. 6 Kt. takes R7 . R . takes P. , chkg. 7 K . taksa R .

8 . Q. toto Kt. fourth, chkg. 8 . K. takes Kt.9 . Q . to .Kt third, chkg. 9 . K . to corner.

1 0. Q . to Q . Kt . , chkg . 1 0. Q . takesQ. , checkmating.

If at theninthmove,White play his Q. to Q. R . third,checking, Black K. must capture her, and thenWhite isstalemated according to the terms of the problem.

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