PART V.

Miscellaneous:

INCLUDING

BAGATELLE.

BILLIARDS.

BOAT-BUILDING.

CARPENTERING.

CHESS.

CONJURING.

CRYPTOGRAPHY.

DEAF AND DUMB ALPHABET.

DOMINOES.

DRAUGHTS.

FIREWORKS.

GARDENING.

MIMICRY AND VENTRILOQUISM.

PUZZLES.

SHOWS.

STAMP-COLLECTING.

TINSELLING.

BAGATELLE.

Whatever diversity of opinion there may be with respect to the skill

required to excel at bagatelle, there can be none with regard to its

popularity. The familiar long green table, with its round end and nine

numbered cups let in level with the cloth, is found nearly everywhere.

The games played on a bagatelle board are various, the principal of

which are, English bagatelle (which is the ordinary game), French

bagatelle, Sans Egal, Mississippi, Tron Madame, the Cannon game or

Bagatelle _versus_ Billiards. Many of the strokes at billiards will be

found useful at bagatelle, but much less strength will be required.

ENGLISH BAGATELLE

May be played by any number of persons. The order of precedence is

settled by each person striking a ball up the board, and whoever gets

the highest number takes the lead and possession of the whole nine

balls. He places his ball on the white spot nearest the striking point,

and the black ball (which counts double) on the spot nearest the holes.

The black ball must be struck at the commencement of every round, but

afterwards the player can either play for the holes direct or by

striking the other balls. The mace or cue may be used, as agreed upon.

Any number of rounds may be played, and the score is counted from the

marked holes into which the balls are driven. The sides of the table are

filled with holes and pegs to mark the progress of the game.

THE FRENCH GAME

Differs from the English in two or three essential particulars. It is

generally played by two or four persons, who, instead of playing with

the whole nine balls, take it in turn to strike, and score all they make

until a hole is missed. The player forfeits one point if he misses the

black ball, which counts double, as in the English game. A hundred up is

the usual score, and occasionally different values are given to coloured

balls, so that a black counts double, a red the same, or adds two to the

score otherwise made.

SANS EGAL

Is a favourite game for two persons. The lead is decided as in the

English game, and each player has four balls of different colours. The

black ball is placed as in the English game, and the players take

alternate strokes. The one that holes the black ball counts it towards

his game, as well as all he may hole of his own; but should he hole any

of his adversary’s, the number is scored to the owner of them. The game

is played 21 or 31 up, and the winner of one round takes the lead in the

next.

THE CANNON GAME.

This is also called “Billiards _v._ Bagatelle,” and is played by two

persons,--101 up. Three balls of different colours are used--black, red,

and white: the choice of the two last, and the lead, is determined as in

the English game. The game is commenced by placing the black ball on the

spot; but should the player miss it, his opponent scores five; and if

the ball is holed at the same time, the number of the cup is also

counted to his opponent, who then takes the turn. The black ball

invariably counts double, and is taken out of the cup every time it is

holed and placed on “the spot,” as at the commencement. If the player’s

ball is holed after contact with the black ball, or after having made a

cannon, it counts the number of the cup, and is returned to him, when he

continues to play until he misses. A cannon scores two to the game, but

the black ball must be struck first, or else five is added to the

adversary’s score. There are a few other points to be observed. The

player continues playing after making a cannon, or after holing his own

or adversary’s ball, if he has struck the black ball first. Should any

ball rebound beyond the centre of the table or be forced off the board,

it must not be played that round, unless it is the black ball, which

must be placed on “the spot,” as at the commencement of the game.

MISSISSIPPI.

This is a variation of the game by means of a wooden perforated bridge,

each arch of which bears a particular number. The bridge is placed close

up to the circle, and each player strikes up one ball; he who gets the

highest number takes the lead, and plays the nine balls successively.

The balls must strike one of the cushions previous to entering the

bridge, otherwise the number will be scored to the adversary. The game

may be played 30, 60, or 100 up, as may be agreed on.

BILLIARDS.

Of all indoor games, billiards ranks highest. It is without doubt the

king, and reigns triumphant over chess, backgammon, parlour croquet; and

since those delightful miniature billiard tables have been introduced,

it is rapidly superseding bagatelle as a parlour game. These miniature

tables possess all the advantages of the larger and more aristocratic

tables. The same principles operate, the practice is similar, and the

laws which govern the play are alike; need it be a matter of wonder that

billiards is fast becoming as popular and universal as it is excellent?

When a boy first tries his hand at billiards, he is generally confounded

by the apparently erratic conduct of the balls. They are apt to diverge

into the strangest places, and somehow manage to remain precisely in

those spots where a practised player can make a good break from them.

This arises first from the want of a knowledge of the laws which

regulate moving bodies, the general principles of billiards, and an

acquaintance with the various “strokes,” and the effects they produce.

Thus to become a good billiard-player requires a nicety of touch, a good

eye, and sound judgment. These are to be acquired if the player attends

to the following principles and points of the game.

Most boys are aware that billiards is played on an oblong table twelve

feet long by six feet wide, inside the cushions: the smaller tables

preserve these general proportions. In France, for instance, the table

is some four feet by eight feet, and without pockets, it being used

solely for the cannon game; but English tables have invariably six

pockets, one at each corner and two at the sides. No good table is now

made without a slate bed, perfectly level, and covered with fine green

cloth. The old list cushions are now superseded by those made of

vulcanized india-rubber, which not only resists the deteriorating

influence of the weather, but increases the “speed” of the table. The

surface of the cloth is marked with three “spots.” The first “spot” is

placed about twelve inches from the upper end or top of the table, and

is known as “_the_ spot.” The second is placed two feet six inches from

the top, and the third is in the centre of the table. Two feet six

inches from the bottom of the table is the “baulk line,” on which is

inscribed a semicircle, called the “striking point,” shown on figs. 4 to

7. The position of the semicircle is also marked by three spots, one at

each end and one at the centre.

The moveable adjuncts to the table are cues, balls, butt, and a rest or

jigger. With respect to these one or two words of advice. See that your

cue is well balanced; beware of fancy cues; let the leathered tip be

moderately broad, and keep it always well chalked. The balls are perfect

spheres turned out of the centre of the tusk. It may be mentioned that

the ordinary length of a cue is four feet nine inches, and the diameter

of “match balls” is two inches and a sixteenth. The “butt” is a stiff,

thick cue, well leathered at the butt end, and is used occasionally for

pushing the ball when it is necessary to come off a cushion at an exact

angle. The uses of the “rest” and long cues are obvious.

Ere touching on the game itself, there are a few essential points which

claim the attention of a young player. They are these: 1. The attainment

of a good position. 2. The making of a firm “bridge.” 3. The acquirement

of a good, easy, but firm, stroke. The last two essentials depend in a

great measure on the first. It is obvious that the billiard player

requires an easy play for his right arm, and firmness in his left to

give solidity to the “bridge.” To ensure this he must stand firmly on

his right leg, so that it supports the weight of his body. The left leg

should be placed slightly in advance, and pressed gently to balance the

body only. This will throw additional weight on the left arm, which

rests on the table, and leave the right arm free. If the position is a

good one, the left leg may be lifted from the floor without disturbing

the body. To form the “bridge,” the left hand must be first extended on

the table, and the fingers drawn up straight towards the wrist, so as to

elevate the knuckles. If well done, the tips of the fingers, the wrist,

and ball of the thumb will touch the table. The point of the thumb must

be then kept slightly apart from the fingers to form a groove, in which

the cue can rest, as shown in fig. 1.

[Illustration: FIG. 1.--THE BRIDGE.]

The bridge should be formed almost six inches from the ball. To strike

well, surely, and firmly, the cue must be held in the grasp of the right

hand. This is essential, for unless the cue is so held it will be

impossible to make a good, and therefore a sure, stroke. All fancy modes

of holding the cue by the tips of the fingers should be avoided. The cue

may be laid on the groove of the bridge, and drawn back, and then firmly

and steadily send it forward in a straight line, keeping the right hand

well down behind you, so that the force of the blow comes from the

shoulder, not the elbow. The eye must be educated to guide the hand,

and, hit or miss, the stroke should be given at once. There should be no

hesitation, no see-sawing of the cue to and fro, and no violent motions

whatever. The body should be so placed as to give firmness to the

bridge, ease to the right arm--which should be kept straight, with the

point of the cue slightly above the surface of the cloth--and a general

freedom from constraint, which is highly essential to success.

The best method of practice for a young beginner is to place a ball

before his cue and strike it firmly and gently into different pockets,

or at different marked points of the cushion, until he can pocket the

ball and hit a given point with freedom and precision. The ball must be

fairly struck with the tip of the cue, not pushed or jerked forward; and

hence it will be necessary to draw back the point of the cue five or six

inches ere striking the ball. The stroke, though firm, must not be

violent, lest the natural angles of the table should be destroyed. If

the ball is watched carefully after it has struck the cushion, it will

be found to return at an exactly equal angle to the one at which it was

struck. In other words, “the angle of reflexion is equal to the angle of

incidence.” This is the first and most important rule of billiards, and

one that should never be forgotten. The variation of the strength and

direction of the stroke will be found to materially affect this law, and

enables the skilled player to make those formidable and seemingly

impossible strokes which secure him his victory. This peculiarity of the

angles is best illustrated, and the practice of the student advanced, by

placing another ball at a little distance before the player, which we

will call the object ball. If we place them in a line with one of the

marked places on the cushion, and strike the first ball fair in the

centre, and cause it to strike the object ball full,--if this is done,

it will strike the marked spot, and come off at the same angle as your

first ball would have done.

For the purposes of play the object ball is divided thus:--

[Illustration: 1. Full Ball.

2. Three-quarter Ball.

3. Half Ball.

4. Quarter Ball.

5. Eighth Ball.

6. Very fine Ball.

FIG. 2.--DIVIDING THE OBJECT BALL.]

Fig. 2, No. 1, shows the object ball struck full, fig. 2, No. 2, the

three-quarter ball, and so on. The half ball is the most important in

practice, as by it the natural angle is made, an angle that is of the

greatest importance at billiards, though each have their particular

uses, which the young player should endeavour to understand. He will

find that the balls diverge at different angles, more or less acute,

according as the object ball is struck “full” or “fine;” the fine ball

being precisely the reverse of the three-quarter ball.

[Illustration: FIG. 3.--THE PLAYER’S BALL DIVIDED FOR THE SIDE-STROKE.]

There are many ordinary hazards and cannons which can be made by simply

dividing the object ball, but the motion which the striking ball obtains

after contact with the object ball will be modified by the position of

the cue and the manner in which it is struck. First let us take the

position of the cue. For the full centre stroke or straight hazard the

ball must be struck well in the centre, and produce what is termed _the

retard_, or stop ball, if the object ball is struck full likewise. If

the striker’s ball is struck considerably above its centre, it produces

the _following stroke_. To make the ball _jump_, it must be struck

sharply on the top with a “downward, forward motion,” and this, if

carefully done, will cause the ball to jump over a neighbouring and

intervening ball. When the ball is struck low, it produces _the recoil_,

and the striker’s ball will return from the object ball to the player.

This leads the beginner to the greatest of all modern improvements in

the game, the _side-stroke_. It is found that it is much easier to

divide the striker’s ball with accuracy than the object ball, but when

both balls are divided with judgment the highest scientific play is

obtained. The application of _side_ and twist to the striker’s ball is

often misapplied by beginners, and is frequently the cause of

mischievous results; for all students should remember that “the harder

you strike the balls the more rapidly they fly apart;” and frequently a

modification of the strength of the stroke will achieve the desired

result better than the application of “side,” which may fail. It should

always be remembered that the ball must be struck on the side on which

it is intended to go after contact with the object ball, and that the

effect is not produced until after it has come in contact with another

ball or the cushion. It is used for the same purpose as the division of

the object ball, and accomplishes the same object. In order that it may

be properly understood we give in fig. 3 the player’s ball divided for

the side-stroke.

The student can only acquire a knowledge of the effect of the strokes

given at these varied points by practice, or from the instruction of an

expert teacher; all that a writer can do is to lay down well-defined and

easily-understood axioms, rules, and cautions. Thus, if the ball is

struck at _c c_, at the top, it becomes the following ball; at the

bottom _c c_, a recoil; at _f f_ it will give a strong side to the ball

at the lower angles, the screw or twist, which causes the balls to twist

back; the upper angles will give high right-hand side or left-hand side,

according to the side they are struck.

THE ANGLES OF THE TABLE

Should never be forgotten. They change infinitely, and if the student

has made good use of the hints given as to the elementary practice with

one ball, he will have acquired some valuable information, and soon see

the truth of the axiom, that the “angle of reflexion is equal to the

angle of incidence;” and the advantage of a knowledge of the angles of

the table will be best seen in making cannons, for many players will

make them off one, two, three, and even four cushions.

[Illustration: FIG. 4.--ANGLES OF THE TABLE.]

Fig. 4 shows a series of very useful angles, which may be advantageously

studied. The black lines represent the course of the ball before

reverberation, the dotted lines its course after the first reflexion,

and the faint lines its course after the second reflexion. In these

examples the ball is supposed to be struck fairly in the centre with

moderate force, except in case 1, where the effects of different

strengths is shown. An ordinary, moderate stroke would bring the ball

into the left-hand corner pocket, while a harder stroke would produce

the angles _a b_: if played with greater strength the angles _c d_ will

result. “_Bricole_” angles are made across the table, and are of course

proportionately more acute. The _Bricole_ game is being obliged to

strike a cushion, and make the ball reverberate or recoil from it

previous to hitting the adversary’s ball. This is a very great

disadvantage, and is used principally in “_cramp games_,” where the

advantage of one player is neutralized by this; or by playing cannons

against cannons and hazards, or four pockets to two, or five to one, or

cannons and winning hazards against the whole game.

All strokes at billiards are distinguished by the name of cannons or

hazards. Cannon is a contraction of _carambole_, and is a stroke in

which the player strikes both balls in succession with his own. The

“losing hazard” is when the player’s own ball is forced into either of

the six pockets, after contact with the other ball. The “winning hazard”

is made by forcing the ball played upon into either pocket after

contact.

[Illustration: FIG. 5.--CANNONS.]

Here are a few examples of cannons made from the cushion, without the

use of the side-stroke. They only indicate the infinite variety that can

be made.

[Illustration: FIG. 6.--WINNING HAZARDS.]

Some rather difficult, but useful, _winning hazards_ are shown in fig.

6. The stroke A is termed the “spot stroke.” This stroke is sometimes

made a score or more times in succession by a good player. It is one of

the best of winning hazards. It requires a nearly full ball of moderate

strength, and to repeat it from one side to the other you should

slightly divide your own ball by putting on a little side (see D _e_ in

fig. 3); and you will find your ball in the right position to repeat the

stroke. Sometimes it may be made by a slow hoist, which causes the ball

to come back to the starting-point; or the ball may be stopped a little

behind the object ball, and thus make a succession of hazards from the

same pocket. The champion billiard-player, Roberts, makes tremendous

breaks from the “spot stroke.” Get a good player to show the variety of

ways in which it can be made, and practise it. Here are a few examples

of the effect of dividing the object ball. Strokes 1 to 14 are made from

the baulk into the top end pockets by dividing the object ball from a

nearly full ball, as in 10, 11, 12, 13, 14, to an eighth in 1 and 9.

Stroke 5 represents a half ball vulgarly called a pair of breeches.

Stroke 11 should be made to hug the cushion. Strokes 15 and 16 must be

played gently with a half ball, and 17 with a quarter ball. Strokes 18

to 33 show a variety of cuts made by striking the ball in the direction

shown by the line between the white ball and the red.

Now for a few _losing hazards_. They require a little different

treatment. Here are a few.

[Illustration: FIG. 7.--LOSING HAZARDS.]

The first eight strokes require a screw, and more or less side,

according to their position; 9, 10, 11, and 12 require strong side, as

shown; and in 13 the striker’s ball must first strike the cushion

gently, rebound, hit the other ball, and fall into the corner pocket.

Stroke 14 is an ugly position for a beginner, yet it frequently occurs.

You must put on plenty of side to your own ball, which will remove the

object ball, and your ball will then roll along the cushion into the

pocket. Stroke 22 alone requires a word in explanation. It shows now the

losing hazard is made from baulk off the red on the spot. Put on a

strong-side twist, and practise it well. Remember that practice can

alone make perfect. Be always decided, play steadily, and do not lose

your temper.

Now for a few hints with respect to the games to be played. With every

billiard table a set of rules is supplied, and these must be studied and

obeyed, as regulating the game; but an endless variety of games may be

extemporised to suit the various parties and skill of the professors.

THE AMERICAN GAME

Is played with four balls, a light red, or pink, and dark red. The balls

are placed on the spots in the centre between the pockets. The baulk is

not confined to the semicircle, but you can place your ball anywhere

within the line which is extended level with the winning-hazard spot.

The game is usually played 63 up, and consists of winning hazards and

cannons. In this game “doubles” are of great advantage. Doubles are so

called when a player strikes his own or an object ball at a certain

angle of the cushion, so as to cause it to come off at an equal angle

and go into a pocket at the opposite side of the table. It is called a

“double double” if the ball returns and goes into a pocket on the side

of the table it first struck; and there is a game in which no score is

made unless the cushion is first struck with the ball.

PYRAMIDS, OR PYRAMID POOL,

Is played with fifteen red and one white ball. The red balls are

arranged in a triangle, thus:--

o o o o o

o o o o

o o o

o o

o

The first ball is placed on the winning-hazard spot. The white ball is

placed in baulk. The game is placed by holing all the red balls. A great

deal will depend in this on keeping the white ball safe, so that your

adversary may have to play a cramp stroke. It is a pretty game to play

with friends. Pyramids can be so modified as to suit a number of

players, each striking in succession, and scoring according to the

number of balls pocketed. A small stake is placed on each ball to give

an interest in the game. When played in this manner, the winner who

scores the greatest number takes the stakes.

“WINNING AND LOSING CARAMBOLE GAME”

Is played by either two or four persons. Winning and losing hazards,

cannons, and forfeits, go to make the score, which is usually 50. If

four players make a match, and play side against side, they play 63 up,

and the partners may instruct each other. This plan is open to

objection, and a far better one is for each to play his own game, and

handicap the inferior players by giving them ten or fifteen points at

the commencement. In this case, if either party gives a miss, it is far

better that he should lose one point than the others should take one

each. The white and spot white balls are then played alternately, as if

only two were playing. The game commences by stringing for the lead and

the choice of balls. The player must place his ball within the striking

ring, and stand within the limits of the corner of the table. He whose

ball rests nearest to the cushion at the baulk end of the table wins the

lead, and chooses his own ball. A few general hints respecting the rules

only is necessary. The red ball is placed on the lower of the two spots

at the bottom of the table, and replaced there when it is holed (_i. e._

pocketed) or forced over the edge of the table, or when the balls are

broken or, in other words, placed as at the commencement of a game.

Whoever breaks the balls leads off. With respect to scoring: if the

striker holes the white ball (called a white winning hazard), or if he

holes his own ball from the white ball (called a white losing hazard),

he gains two points; if he does both, he gains four points. If he holes

the red ball, he wins three; and if by the same stroke he holes his own

from the red, he wins three more.

POOL.

There are several ways of playing pool. There is the ordinary game, with

as many balls as there are players, or with two balls only, the players

playing in turns, and playing with alternate balls; playing with the

nearest ball; playing at the last player; or the player playing at

whichever ball he chooses. The most popular game is that in which the

player plays at the last player. When coloured balls are used, they are

played as the colours are placed on the marking board. Each player has

three lives at starting. But there is this drawback to pool: if the

player happens to lose all his lives in rapid succession, he is

condemned to inglorious idleness until the pool is played out, and then

the same thing may happen. This may be obviated by allowing the lives to

be unlimited, and paying nothing into the general pool, so that if a

player’s ball be pocketed, he has only to pay his stake and remain on

hand until his turn comes round again. In this manner the players may

continue their game for an unlimited period, and a new-comer may join

the game at any time.

There is a cannon game which affords excellent practice. All the pool or

pyramid balls are ranged in a line against the top and bottom cushion,

having the plain white ball in the middle. A cue is then laid flat

against them, and they are pushed along the table, so as to strike the

opposite cushion. The object of the player is to take the white ball and

make as many consecutive cannons as possible. Should his own ball run

into a pocket, he is obliged to stop and let the next player in; and if

any of the coloured balls run into a pocket, it must stay there, and of

course decrease the chances of a long series of cannons. This is much

more difficult than it looks.

There is a cannon game with one red and the two white balls. In this

pocketing either of the white balls causes two to be deducted from the

score, and pocketing the red ball loses three. The regular French game

consists of cannons only; misses and pockets do not count either way.

It is usually played on a French table, without pockets, with two and a

half inch balls, and a heavy one. The baulk is not confined to the

semicircle. At the commencement the red is placed on the winning spot,

and the non-striker’s ball on the centre spot in baulk.

ITALIAN SKITTLE POOL

Is an excellent game for boys. It is played thirty-one points up. Four

balls are used, two being white, one red, and one blue; and five

skittles are placed in the centre of the table. Each of the skittles is

numbered in the following order:--The first opposite the baulk is

numbered 1; the one to the right 2; the one opposite to the first 3; the

opposite to the second, on the left, 4; and the one in the centre 5. The

red ball is placed as in the cannon game, the blue one beneath it. The

two white balls are kept by the two players who have to play first.

There is a peculiarity in this game, from the fact that a number, from

one to sixteen, is chosen by the player at random, and the marker

secretly adds it to the score, and in order to win the pool the player

must make between the points of the game and those on the hidden ball

thirty-one points, neither more nor less: if he makes more he is

technically dead, and out of the game. The first player has to strike

the red ball, the second the blue one, while the following players may

use either. The points are made by knocking down the skittles, each of

which counts as many points as its number, and by whatever ball these

skittles are knocked down they always count. If a ball is knocked out of

the table, it destroys all the points made by the stroke. Any player

reaching twenty-nine or thirty points has a right to stop on his

declaring so, only the points he makes in his subsequent play count to

the advantage or disadvantage, whichever it may be, of the previous

player. The survivor from amongst all the players who have died by

overstepping the thirty-one points wins the pool. He who knocks down the

four outside skittles, leaving the centre one only standing, makes what

is called the royal, and wins the pool. There are some minute rules

about stopping, which must be declared immediately on reaching

twenty-nine or thirty points, and only one person can stop. The

advantage of stopping is the chance of being the survivor.

On a wet day, in a country house, the best round game is _Penny Pot_,

played like pool, and for every ball pocketed the player receives a

small stake, and plays until he ceases to score. After making a winning

hazard, the nearest ball is played on. A life is forfeited for every

miss, coup (_i. e._ playing a ball into a pocket without its touching

another ball), or losing hazard, and paid to the owner of the ball

played on.

[Illustration: BOAT BUILDING]

This truly English amusement cannot be too highly extolled, as it is

calculated to incite boys to emulate each other in acquiring proficiency

in an art which exercises their ingenuity and taste, while it inculcates

habits of patient industry. A good sailing ship is rather a troublesome

thing to construct; but when a lad sees it “walk the waters like a thing

of life” he experiences feelings which fully repay him for all his

labour. Every boy ought to learn to swim, if only to prevent anxious

parents including boat-sailing with dangerous pastimes that ought not to

be encouraged. We are always pleased to see boys sailing their miniature

vessels, and we cannot think that an occasional ducking ought to

interfere with an occupation so befitting to the youth of a great

maritime nation. As long as French boys amuse themselves with playing at

soldiers, we trust English boys will continue to build and sail their

model ships.

[Illustration]

If you wish to possess a good ship, you must make it yourself, as the

smartly-painted vessels of the toy-shops are usually made to sell, and

not to sail. To form the hull you will require a few carpenter’s tools,

such as a couple of chisels, a gouge, and a saw, in addition to that

invaluable instrument, a good pocket-knife. Having procured a suitable

piece of good white deal, with a straight grain, mark a line down the

middle, on the upper and lower sides, and at both ends; then mark out

with pencil the shape of the intended vessel, which should be broad in

proportion to length, and deep in proportion to the width. Most boys

shape their vessels before scooping them out, but it is far better to

reverse the process, and hollow out the wood before commencing the

outside. The deck is to be made of a thin piece of deal, and must be

fitted very accurately, so that no water may enter the hold. A flush

deck, without a raised edge or gunwale, is to be preferred, as such a

deck does not hold the water.

The mast should be made of strong, light wood; should be tapering, and

rather long. The less rigging there is the better; two shrouds and a few

stays will be enough. The best models for miniature ships are those

vessels that are rigged “fore and aft,” such as cutters and schooners;

square-rigged ships are unmanageable unless made very large.

[Illustration: CUTTER.]

Our first illustration shows a model cutter, with her sails set. The

principal sail is termed the mainsail, the one above it the gaff

topsail, and the triangular sail attached to the bowsprit the foresail

or jib.

The blocks used in rigging a model ship are to be made of boxwood or

alder. The latter is a softer wood than the former, and can be more

readily fashioned into shape with a penknife. The holes for the cords

should be bored through the pieces of wood before they are shaped into

blocks, as it is not easy to drill the blocks without splitting them.

The rudder should be attached to the keel by bent pins. The little

staples on the keel, in which the bent pins work, are to be formed of

brass wire. The stem of the rudder passes through a hole in the stern of

the vessel, and is provided with a tiller. Before launching the ship,

the tiller must be fixed so as to keep the rudder at the required angle.

Many boys fear to launch their ships in large ponds; but if a ship is

properly rigged, and answers to her rudder, there need be no doubt as to

her safe arrival at port.

[Illustration: SMACK.]

The smack is not so graceful as the cutter, but is a capital sailer. The

large sail is called a spritsail, from the spar or sprit which crosses

it diagonally from the mast to the upper aftmost corner.

[Illustration: SCHOONER.]

A schooner is a vessel with two masts, and fore-and-aft sails like

those of a cutter. The schooner-rig is not suited to very small boats.

[Illustration: LUGGER.]

The lugger is shown in the annexed engraving. The lug-sail which

distinguishes this rig is a square sail fastened to a yard that hangs

obliquely to the mast at one-third of its length. A lug-sail may be

fitted to a single-masted boat. The lugger is an excellent boat for

sailing, but it lacks the trim appearance of the cutter.

Cutters or schooners intended for fast sailing should have but one

foresail, as a large balloon-jib rigged with a boom holds more wind than

an ordinary jib and staysail. The ships should be well ballasted to

prevent the wind capsizing them, and their topmasts should be made

moveable, as in rough weather it will be found necessary to “strike”

them. Each boat may have two sets of sails--one set large, for light

winds, and the other considerably smaller, to be set up when the wind is

high. The sails should be made of very light stuff--thin calico is

best--and should have a line run round them, with loops for hooking them

on to the spars. Beware of putting too many blocks and useless ropes

about your boats, as the lighter the upper part of a vessel is the

better she will sail. In conclusion, spare no pains in finishing your

work neatly, so that your boats may bear witness to your skill and

patience.

[Illustration: THE RAW MATERIAL.]

[Illustration]

CARPENTERING.

“All made out of my own head.

And wood enough left for another.”

Nothing is more useful to a youth than to be able to do a little

carpentering. To be handy with a chisel and saw, a nail and a hammer,

saves many a pound in the course of the year. If you call in a carpenter

for a little work he is sure to spin out a “regular job.” I remember

once buying some oak saplings, which cost me eightpence a stick; and

wanting to build a summer-house, I required eight of them to be sawn

through, so I applied to a carpenter, and the sticks were cut, but to my

astonishment, sixteen shillings was charged for this little “job,”

although the wood cost me only five shillings and fourpence. I found out

afterwards that the proper price for sawing would have amounted to about

four shillings, so that twelve shillings profit was clapped on for the

benefit of my experience. I just mention this to show my young friends,

that if they wish to make summer-houses for their gardens, cages for

their birds, fowl-houses, rabbit-hutches, or boxes for their books, they

must learn to make them for themselves. I shall therefore offer them a

little advice upon “carpentering.”

THE SHOP AND BENCH.

Endeavour to procure some small outhouse, in which you may erect what is

called a carpenter’s or joiner’s bench. These may very often be bought

second-hand, or if not, can easily be procured at a reasonable rate. I

am very particular in recommending a bench, as without it you will find

many obstacles to your work. You must also provide yourself with a set

of tools,--gimlets, hammers, planes, saws, gouges, files, nails, screws,

and such articles of use.

[Illustration]

The bench is composed of a platform or top, supported by four stout

legs; A is what is called the bench hook; this ought to be fitted in

tight, so as to move up and down with a hammer only. The use of it is to

keep any wood steady you may have to plane: B is the bench screw, used

for keeping any wood firm and steady you may have to saw, which is to be

put in the grip and screwed tight. Sometimes the edges of wood require

to be planed, and then the wood is put in the grip or cheeks of the

bench and held tight while you plane it. The holes in the side of the

bench, C C, are for the insertion of a movable pin to support the end of

the board you have to plane or saw, which is not in the screw. The

height of your bench should be about 2 feet 8 inches. The common length

is from 10 to 12 feet, and the breadth about 3 feet 6 inches.

OF PLANES.

[Illustration]

C is what is called the jack plane, which is the first to be used. It is

about 17 inches in length, and is used to take the rough parts from a

piece of wood. It should be held steadily by fixing the right hand at

the handle (_h_), and the left over the top and side at (_s_), and

pushed forward on the wood, when the knife (_k_) will take off a shaving

which runs through the hole (_o_), and falls on the side. In using the

plane the endeavour should be to take off a clean shaving, which is

done by using the instrument uniformly and steadily over every surface

to be planed.

[Illustration]

D is another kind of plane, called the trying plane, having a double top

or handle. It is used to regulate and smooth, to a higher degree, the

surface of the wood that had previously been smoothed from the rough by

the jack plane. Its length is about 22 inches, and it is broader than

the jack plane. There is another plane called the _long_ plane, which is

used for facing a piece of stuff, which it does with the greatest

exactness; its length is about 2 feet 4 inches. There is also the

joiner’s plane, which is the longest of all the planes, being 30 inches

long. But the most handy of the planes to the boy carpenter is the

smoothing plane, E. It is the last plane used in joining, and gives the

utmost degree of smoothness to the surface of a piece of finished work;

it is about 7 inches in length, the sides of the stock are curved, and

resemble in figure a coffin; it is used in a similar way to the other.

[Illustration]

SAWS.

[Illustration]

There are many kinds of saws, but the most useful one is what is called

the “hand saw.” It has a blade or plate about 28 inches long; the teeth

of which are so formed as to allow you to cut the wood crossways as well

as lengthways. The handle of the saw is made so as to allow a full yet

free grasp of the hand, either for a pull or a thrust.

The _panel saw_. This saw has a plate nearly of the same size as a hand

saw, and is used for cutting very thin boards, which the rough teeth of

the hand saw would not cut through without breaking them.

[Illustration]

The _tenon saw_ is of a different shape to the others, and is made to

cut across the grain of the wood so as to leave the ends nicely even,

that it may fit to the piece it is joined to, which is called a

shoulder, being that part which comes in contact with the fibre of the

wood thus:

[Illustration]

To do this it requires that the teeth should be much smaller, and they

are therefore placed so close as eight or ten to the inch, according to

the length of the blade.

[Illustration]

The _dovetail saw_. There is another most useful saw it would be of

advantage for the young carpenter to have, namely, the dovetail saw. It

is about 9 inches long, and contains at least fifteen teeth in the inch.

It is used for cutting the dovetails of boxes. Its plate is very thin,

and it requires some care in using. It has a back for the purpose of

strength, formed of a thin piece of brass or iron, let in so as to give

the blade the requisite firmness necessary in using it.

[Illustration]

[Illustration]

The _compass saw_. The plate of this kind of saw is very narrow, and not

more than one inch wide at the broadest part, gradually diminishing to

about a quarter of an inch at the lower end. It is about 15 inches in

length, and is used for cutting a piece of wood into a circular form,

and the plate being narrow allows it to follow the foot of the compass

to a very small diameter.

The _keyhole saw_. The keyhole saw is much smaller than the above. It is

used for cutting short curves, small holes, &c., such as a keyhole. The

handle is the same form as that of the chisel, a small slit being cut

through from end to end. It has a screw on one side, in order that the

blade may be set to any length, according to the circumference of the

hole to be cut.

[Illustration]

THE SPOKE SHAVE.

[Illustration]

This is a very useful tool. It is employed for smoothing the edges of

round pieces, or other ends requiring to be shaved down. It is a narrow

plane made of boxwood, and has generally a steel blade let into it to

cut; it is used by taking hold of each end with a hand, and moving it to

and fro over the wood to be shaved down.

STOCK AND BITS.

[Illustration]

There are about thirty-six bits to a set, all of different shapes and

sizes; but our young friends need not get quite so many: if they provide

themselves with a couple of a medium size, this will be sufficient, such

as the centre bit and the auger bit. The centre bit will cut holes

varying from a quarter of an inch to three quarters of an inch in

diameter, and is used by pressing the knob end against the chest, and

twirling the centre part round with the hand. It cuts a hole very clean,

leaving it quite smooth inside. The auger bit is for the same purpose,

and is used in the same manner. Another bit, called the taper shell bit,

is used for making holes wider, and is a very useful implement.

HOW TO MAKE A WHEELBARROW.

[Illustration]

One of the handiest things in a garden is a wheelbarrow, and one of the

prettiest for the young carpenter to exercise his ingenuity upon. To

make one, take a wide plank or board about an inch and a quarter thick.

Proceed to your bench, and having fitted it to its proper position, take

your jack plane and plane off the rough, next use your smoothing plane

to make it smooth. Then take your pencil and draw upon its side the

following figure, A. Then take your compass saw and cut round the marks

you have made: to do this you will have to fix your board in the screw

of your bench. When this is done take your spoke shave, and shave the

edges all round till they are very smooth and even, and you have one

side of your barrow. Lay this on another piece of board, and mark the

shape of it with your pencil; cut and shave it exactly as you did the

first side, so that when finished the two will exactly correspond; then

cut a piece off another board for the back and front of the barrow, of

the subjoined shape, by the same method you cut the sides, and plane and

finish them up in a similar way. Cut some tenons at the end of each

exactly to correspond with the mortices shown on the sides, D D; let

them be a trifle larger than the mortices, so that they will drive in

tight. Then cut the bottom out neatly, and nail it to the sides. Having

proceeded thus far, cut out the legs of your barrow, B, and nail one on

each side as shown in the figure. Give each leg a shoulder for the sides

to rest upon.

[Illustration]

_To make the wheel._ Take a piece of board, A, and strike a circle upon

it the size you wish your wheel to be of, B, and with the compass saw

cut close round to the stroke; cut out a square hole, C, in the centre

for the nave to join. Then get the blacksmith to put an iron rim round

the wheel to keep it from splitting, and a round pin in each side of the

nave, and put a staple in each side of the barrow to keep the wheel in

its place. Paint the whole of any colour you choose, and you will have

PUNCH’S COACH.

[Illustration]

THE WAY TO MAKE A BOX.

First ascertain the size you wish your box to be of. Then cut off your

stuff, but take care to cut it a quarter of an inch longer than the size

of your box from outside to outside. Should you want it deeper or

broader than the length of a deal, the widest of which is generally only

eleven inches; suppose, for instance, you wish your box to be 18 inches

deep, and you have only 9-inch deal to make it with, you will of course

have to join two together, or make what is called in carpentering a

_glue joint_. First, then, after you have cut off your stuff, take your

jack plane and “scuffle the rough off;” then put your board edgeways

into the bench-screw, and take your trying plane or long plane to get

the edge of the deals that are to be glued together perfectly straight

and even; and lastly, use the joiner plane, which will take off a nice

uniform shaving of the whole length of the board. Proceed exactly in the

same manner with the other board to be joined to the first. Then, after

having made each thoroughly smooth, clap the two together and see if

they will lie close in every part, if not, you must plane them till they

do, taking care to plane the edges perfectly square, or at right angles

to the surface of the board, for if you are not careful in this

particular, when your boards are glued together they will be of this

form. When you have joined them properly for glueing, let your glue be

nicely hot and not too thick, and hold both edges of the boards together

so that you can with a brush put the glue on both at one time, put the

two together very quickly, let one of them be in the bench-screw, and

while there rub the other backwards and forwards till the glue sets,

which it will soon do if well joined. Let the whole dry, and then the

glued part will be as strong as any other part of the board.

[Illustration]

After your sides, ends, bottom, and top are thus prepared, you must then

plane them up nicely, so that they are perfectly smooth and straight.

Use first the jack plane, then the trying plane. When this is done you

have to proceed to a nice little job, namely, to dovetail the corners

together, so as to form your box. In this process much depends upon the

planing and squaring of the stuff, for if you have not done this nicely

the dovetailing will be very imperfectly performed. Assuming that

everything has been well done, then take the two ends of the box, and

see that each is perfectly square and true to the other. Then allow

one-eighth of an inch more than the thickness of your sides, and set out

the ends, squaring it over on both sides, which when the dovetails are

cut out will form the inside of the box.

TO CUT THE DOVETAILS.

Take one “end-piece” of the box and place it endways into the

bench-screw, and mark out the dovetails on the edge of the board inside,

thus:

[Illustration]

then with your dovetail saw cut in into the marks down to the

lines squared over on the flat side like this--

[Illustration]

Then with a chisel cut out that part of the wood that is crossed, and

leave the other part, this being the part which will form the pins or

tails. Then take one side of your box and lay it flat on the bench, the

inside uppermost; then place the end you have cut on it, keeping the

edges flush, and mark round the shape of the pins, which will leave them

after this form--

[Illustration]

the black places being the mortices which are to be cut out. In cutting

out these you must be careful to cut within side of the stroke, so that

the mortices will be a little smaller than the pins, which will admit of

their being driven in quite tight, and will allow the glue to adhere to

them (for you have to glue these when you fix them). When you have thus

put the ends and sides together let them stand till the glue gets dry,

then take your planes and plane the quarter of an inch off the pins

which you allowed to be a little longer than the length of the box, and

you have then made the body of your box.

THE BOTTOM OF THE BOX.

[Illustration]

Cut your bottom the exact size of the box, nail the bottom on, and “get

out” a piece of wood (by cutting and planing in the usual manner) to

nail round so as to form a skirting to it, and at the same time hide the

joints of the bottom; “get out” a similar piece of wood to nail round

the top which will form the lid. Then get a pair of box joints and a

lock, and having put them on by a stroke of your own ingenuity you will

have a “box.”

[Illustration]

THE GAME OF CHESS.

It is the principal aim of this little treatise to assist the young

player in his examination of the theory of the openings in the game of

chess--a branch of study that to the beginner generally appears to be of

a most dull and uninviting character, but which, nevertheless, is of the

highest importance to all those who are ambitious of attaining to any

degree of proficiency in the game.

Before proceeding further, we would presume that the young player

possesses at least an elementary knowledge of the game, such as the

moves and value of the various pieces, the laws of checking, &c. Should

he not be thus fortunate, we would strongly advise him to have recourse

to the assistance of some chess-friend for an explanation of the

elementary principles; for, thanks to the almost daily increasing

knowledge of the game, there are few localities so remote that cannot

produce a brother of the free-masonry of chess. Though, in compliance

with the time-honoured custom of all writers on chess, we subjoin a

brief description of the various pieces and their moves, yet it is our

firm conviction that no beginner has ever succeeded in mastering by the

assistance of “the books” alone, the mere elementary principles of the

game.

In the following pages we have endeavoured to give a brief synopsis of

the most important of the openings, collected from the most approved

authorities, and at the same time to present to the tyro as it were a

passing glimpse of the chief modern discoveries.

If we have occasionally strayed from the beaten path, or insensibly

diverged into any of the as yet unexplored regions of chess, we would

fain crave the reader’s kind indulgence for any of those errors which

almost invariably find their way into variations that have not undergone

the “limæ labor,” or the test of actual play. Finally, should we have

had the good fortune by the following pages to assist a single beginner

in mastering any of the elementary difficulties which beset the rough

road that only leads to proficiency in chess--should there, through our

means, have been added but a single recruit to the ranks of Caissa, well

will our labour have been repaid!

THE LAWS OF THE GAME.

I.--The chess-board must be so placed that each player has a white

corner square nearest his right-hand. If the board have been improperly

placed, it must be adjusted, provided _four_ moves on each side have not

been played, but not afterwards.

II.--If a Piece or Pawn be misplaced at the beginning of the game,

either player may insist upon the mistake being rectified, if he

discover it before playing his fourth move, but not afterwards.

III.--Should a player, at the commencement of the game, omit to place

all his men on the board, he may correct the omission before playing his

fourth move, but not afterwards.

IV.--If a player, undertaking to give the odds of a Piece or Pawn,

neglect to remove it from the board, his adversary, after _four_ moves

have been played on each side, has the choice of proceeding with or

recommencing the game.

V.--When no odds are given, the players must take the first move of each

game alternately, drawing lots to determine who shall begin the first

game. If a game be drawn, the player who began it has the first move of

the following one.

VI.--The player who gives the odds has the right of moving first in each

game, unless otherwise agreed. Whenever a Pawn is given, it is

understood to be always the King’s Bishop’s Pawn.

VII.--A Piece or Pawn touched must be played, unless at the moment of

touching it the player say “_J’adoube_” or words to that effect; _but if

a Piece or Pawn be displaced or overturned by accident, it may be

restored to its place_.

VIII.--While a player holds the Piece or Pawn he has touched, he may

play it to any other than the square he took it from; but, having

quitted it, he cannot recall the move.

IX.--Should a player take one of his adversary’s Pieces or Pawns,

without saying “_J’adoube_” or words to that effect, his adversary may

compel him to take it; but if it cannot be legally taken, he may oblige

him to move the King; should his King, however, be so posted that he

cannot be legally moved, no penalty can be inflicted.

X.--Should a player move one of his adversary’s men, his antagonist has

the option of compelling him--1st, to replace the Piece or Pawn and move

his King; 2d, to replace the Piece or Pawn and take it; 3d, to let the

Piece or Pawn remain on the square to which it had been played, as if

the move were correct.

XI.--If a player take one of his adversary’s men with one of his own

that cannot take it without making a false move, his antagonist has the

option of compelling him to take it with a Piece or Pawn that can

legally take it, or to move his own Piece or Pawn which he touched.

XII.--Should a player take one of his own men with another, his

adversary has the option of obliging him to move either.

XIII.--If a player make a false move, _i. e._ play a Piece or Pawn to

any square to which it cannot legally be moved, his adversary has the

choice of three penalties; viz., 1st, of compelling him to let the Piece

or Pawn remain on the square to which he played it; 2d, to move

correctly to another square; 3d, to replace the Piece or Pawn and move

his King.

XIV.--Should a player move out of his turn, his adversary may choose

whether both moves shall remain, or the second be retracted.

XV.--When a Pawn is first moved in a game, it may be played one or two

squares; but in the latter case the opponent has the privilege of taking

it _en passant_ with any Pawn which could have taken it had it been

played one square only. A Pawn cannot be taken _en passant_ by a Piece.

XVI.--A player cannot castle in the following cases:--

1. If the King or Rook have been moved.

2. If the King be in check.

3. If there be any Piece between the King and Rook.

4. If the King pass over any square attacked by one of the adversary’s

Pieces or Pawns.

Should a player castle in any of the above cases, his adversary has the

choice of three penalties; viz., 1st, of insisting that the move remain;

2d, of compelling him to move the King; 3d, of compelling him to move

the Rook.

XVII.--If a player touch a Piece or Pawn that cannot be moved without

leaving the King in check, he must replace the Piece or Pawn and move

his King; but if the King cannot be moved, no penalty can be inflicted.

XVIII.--If a player attack the adverse King without saying “Check,” his

adversary is not obliged to attend to it; but if the former, in playing

his next move, were to say “Check,” each player must retract his last

move, and he that is under check must obviate it.

XIX.--If the King has been in check for several moves, and it cannot be

ascertained how it occurred, the player whose King is in check must

retract his last move and free his King from the check; but if the moves

made subsequent to the check be known, they must be retracted.

XX.--Should a player say “Check,” without giving it, and his adversary,

in consequence, move his King, or touch a Piece or Pawn to interpose, he

may retract such move, provided his adversary have not completed his

last move.

XXI.--Every Pawn which has reached the eighth or last square of the

chess-board, must be immediately exchanged for a Queen or any other

Piece the player may think fit, even though all the Pieces remain on the

board. It follows, therefore, that he may have two or more Queens, three

or more Rooks, Bishops, or Knights.

XXII.--If a play remain, at the end of the game, with a Rook and Bishop

against a Rook; with both Bishops only; with Knight and Bishop only,

&c., he must checkmate his adversary in fifty moves on each side at

most, or the game will be considered as drawn; the fifty moves commence

from the time the adversary gives notice that he will count them. The

law holds good for all other checkmates of Pieces only, such as Queen,

or Rook only, Queen against a Rook, &c. &c.

XXIII.--If a player agree to checkmate with a particular Piece or Pawn,

or on a particular square, or engage to force his adversary to stalemate

or checkmate him, he is not restricted to any number of moves.

XXIV.--A stalemate is a drawn game.

XXV.--If a player make a false move, castle improperly, &c. &c., the

adversary must take notice of such irregularity before he touches a

Piece or Pawn, or he will not be allowed to inflict any penalty.

XXVI.--Should any question arise, respecting which there is no law, or

in case of a dispute respecting any law, the players must refer the

point to the most skilful disinterested bystanders, and their decision

must be considered as conclusive.

THE KING’S KNIGHT’S OPENING.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d.

Black has now only three satisfactory methods of defence; viz., 2. P. to

Q’s 3d; 2. K’s Kt. to B’s 3d; 2. Q’s Kt. to B’s 3d. He may, however,

adopt five other modes of play; viz., P. to K. B’s 3d; Q. to K. B’s 3d;

B. to Q’s 3d; P. to Q’s 4th; and P. to K. B’s 4th. Of these the first

three are utterly untenable, and the last two are highly dangerous.

Should he play 2. P. to K. B’s 3d, you reply with 3. Kt. takes K’s P.,

checking with Q. at K. R’s 5th, if the Kt. be taken. Should he play 2.

Q. to K. B’s 3d, or B. to Q’s 3d, you equally reply with B. to Q. B’s

4th, with the advantage. If he adopt 2. P. to Q’s 4th, you play 3. P.

takes P., following it up with Q’s Kt. to B’s 3d, if he retake with

Queen. If he play 2. P. to K. B’s 4th, you reply 3. Kt. takes K’s P., or

B. to Q. B’s 4th, and obtain the better game shortly. Having disposed of

these unsafe defences, we will now return to the examination of the

three satisfactory replies:--P. to Q’s 3d; K’s Kt. to B’s 3d; Q’s Kt. to

B’s 3d. For the last two, see Games II. and III.

GAME I.--PHILIDOR’S DEFENCE.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. P. to Q’s 3d.

3. P. to Q’s 4th.

This is your best reply; if instead you play,--

3. B. to Q’s B’s 4th, he plays-- 3. B. to K’s 2d. (best.)

3. P. takes P. (best.)

4. Q. takes P. 4. Q’s Kt. to B’s 3d.

If you play 4. Kt. takes P., probably his best reply is P. to Q’s 4th.

5. B. to Q. Kt.’s 5th. 5. B. to Q’s 2d.

6. Q. to Q’s sq. 6. B. to K’s 2d, or K’s Kt. to K’s

2d.

7. Q’s Kt. to B’s 3d, with the better position.

You may also, instead of 4. Q. takes P., try K’s B. to Q. B’s 4th.

Black’s best reply seems to be Q’s Kt. to B’s 3d.

GAME II.--PETROFF’S DEFENCE.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. K’s Kt. to B’s 3d.

This defence was brought into notice by Petroff some years ago, and has

been approved of by many of the leading players. It is an excellent

defence when receiving the odds of a piece.

3. Kt. takes K’s P. 3. P. to Q’s 3d.

4. Kt. to K. B’s 3d. 4. Kt. takes K’s P.

5. P. to Q’s 4th, (or Var. A.) 5. P. to Q’s 4th.

6. B. to Q’s 3d. 6. B. to K’s 2d, (not to Q’s 3d.)

7. Castles. 7. Q’s Kt. to B’s 3d.

8. P. to Q. B’s 4th. 8. Q’s B. to K’s 3d.

9. P. to Q. R’s. 3d. 9. Castles.

10. Q. to Q. B’s 2d, with a slightly better game.

_Variation A. on White’s 5th Move._

White has another move at this point, which seems at least as good as 5.

P. to Q’s 4th; viz., Q’s Kt. to B’s 3d.

WHITE. BLACK.

5. Q’s Kt. to B’s 3d. 5. Kt. takes Kt.

6. Q’s P. takes Kt. 6. B. to K’s 2d.

7. B. to Q’s 3d.

White has the better opened game.

GAME III.--THE GIUOCO PIANO.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

This is recommended by nearly all authors, as Black’s best reply. Of

late, however, there has been an opinion prevalent among many of our

best players, that it is inferior to K’s Kt. to B’s 3d, or even P. to

Q’s 3d. For our own part, we incline to the old move of Q’s Kt. to B’s

3d, but doubt whether there is any defence by which Black can acquire a

_perfectly even_ game.

3. B. to Q. B’s 4th. 3. B. to Q. B’s 4th. (best.)

4. P. to Q. B’s 3d. 4. K’s Kt. to B’s 3d. (best.)

5. P. to Q’s 4th. 5. P. takes P.

6. P. to K’s 5th, (or Var. A.) 6. P. to Q’s 4th. (best.)

7. K’s B. to Q. Kt.’s 5th. 7. K’s Kt. to K’s 5th.

8. P. takes P. 8. B. to Q. Kt.’s 3d. (best.)

9. Castles. 9. Q’s B. to K. Kt.’s 5th.

10. B. takes Kt. (ch.) 10. P. takes B.

11. Q’s B. to K’s 3d, or Q’s Kt. 11. Castles.

to B’s 3d.

These are the moves given in the Handbook, and the game is dismissed as

equal. In actual play, however, we should take Black’s game for choice.

_Variation A. on White’s 6th Move._

WHITE. BLACK.

6. P. takes P. 6. B. to Q. Kt.’s 5th (ch.)

White’s 6th move is recommended by the German masters, and in our

opinion is preferable to P. to K’s 5th; Black’s best reply is to

check,--

7. B. to Q’s 2d. 7. B. takes B. (ch.)

8. Q’s Kt. takes B. 8. P. to Q’s 4th.

9. P. takes P. 9. Kt. takes P.

10. Q. to Q. Kt.’s 3d. 10. Q’s Kt. to K’s 2d.

11. K’s R. to K’s sq.

We much prefer White’s game.

GAME IV.--THE EVANS’ GAMBIT.

It would be impossible, in the narrow limits assigned to our treatise,

to enter into the merits of this opening; we shall therefore give one or

two of the leading variations, and refer learners, who may be desirous

of a more comprehensive analysis, to Mr. Walker’s excellent articles on

this popular opening, in Vol. ix. of the “Chess Player’s Chronicle,” the

“Handbook,” and Mr. Boden’s useful little work, entitled “A Popular

Introduction to Chess.”

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. B. to Q. B’s 4th. 3. B. to Q. B’s 4th.

4. P. to Q. Kt.’s 4th. 4. B. takes Q. Kt.’s P.

5. P. to Q. B’s 3d. 5. B. to Q. B’s 4th.

6. Castles. 6. P. to Q’s 3d. (best.)

7. P. to Q’s 4th. 7. P. takes P.

8. P. takes P. 8. B. to Q. Kt.’s 3d.

9. B. to Q. Kt.’s 2d. 9. K’s Kt. to B’s 3d.

Instead of 9. B. to Q. Kt.’s 2d, you may adopt several other modes of

play; viz., 9. B. to Q. R’s 3d; 9. R. to K’s sq.; 9. P. to K. R’s 3d; 9.

Q’s Kt. to B’s 3d. To the two first of these, Black equally replies with

Q’s B. to K. Kt.’s 5th, with the better game. (For 9. P. to K. R’s 3d,

and 9. Q’s Kt. to B’s 3d, see Variations A. and B.)

10. P. to Q’s 5th. 10. Q’s Kt. to K’s 2d. (best.)

11. B. takes K’s Kt. 11. P. takes B.

12. K’s Kt. to Q’s 4th.

White has rather the better game.

_Variation A. on White’s 9th Move._

WHITE. BLACK.

9. P. to K. R’s 3d. 9. Kt. to Q. R’s 4th.

This is the move usually recommended for the defence. Black may however

adopt, 9. P. to K. R’s 3d, apparently with little disadvantage.

10. B. to Q’s 3d. 10. K’s Kt. to K’s 2d.

11. P. to Q. R’s 4th. 11. Castles.

12. R. to Q. R’s 2d. 12. K. to R’s sq.

13. R. to K’s 2d. 13. P. to K. B’s 4th.

The game is about equal.

_Variation B. on White’s 9th Move._

WHITE. BLACK.

9. Q’s Kt. to B’s 3d.

We have long suspected that the force of this form of the attack has

been vastly underrated. The following variations are taken from an able

analysis by Mr. G. B. Fraser, of Dundee, who has kindly presented the

result of his labours in the investigation of this attack at our

disposal:--

9. B. to K. Kt.’s 5th.

This move is considered by all the modern writers on Chess to be Black’s

best reply.

10. Q. to Q. R’s 4th. 10. B. takes Kt.

In reply to White’s last move, Black may play either 10. Q. to Q’s 2d,

or 10. B. to Q’s 2d, instead of the move in the text. If he adopt 10. Q.

to Q’s 2d, White replies with B. to Q. Kt.’s 5th, apparently winning a

piece. It has been suggested to us that perhaps Black’s best move is 10.

K. to B’s sq., to which White might reply with K. Kt. to his 5th; and on

Black’s moving K. Kt. to R’s 3d, advance the P. to Q’s 5th. (For B. to

Q’s 2d, see Variation A.)

11. P. to Q’s 5th. 11. B. to K. Kt.’s 5th. (best.)

12. P. takes Q’s Kt. 12. P. takes P.

Black might play also Q’s R. to Q. Kt.’s sq., whereupon follows,--

13. P. takes P. (dis. ch.) 13. B. to Q’s 2d.

14. Q. to Q. Kt.’s 3d, and wins.

13. P. to K’s 5th.

White might also with advantage take the Q. B’s P. checking, although

the move in the text seems stronger.

13. B. to K’s 3d.

If he play,--

13. Q. to Q’s 2d.

14. P. takes P. 14. P. takes P.

15. Kt. to Q’s 5th, and wins.

14. B. takes B. 14. P. takes B.

15. Q. takes P. (ch.) 15. K. to B’s sq.

16. B. to Q. R’s 3d, with a winning game.

_Variation A. on Black’s 10th Move._

WHITE. BLACK.

10. B. to Q’s 2d.

11. Q. to Q. Kt.’s 3d. 11. Kt. to Q. R’s 4th. (best.)

12. B. takes K. B’s P. 12. K. to B’s sq.

13. Q. to Q’s 5th. 13. Kt. to K. B’s 3d.

14. Q. to K. Kt.’s 5th. 14. K. takes B.

15. P. to K’s 5th. 15. P. to K. R’s 3d.

This is Black’s best reply. If he retire the Kt. to his square, or to

K’s square, or K. Kt.’s 5th, White will obtain a winning game, by 16. Q.

to K. B’s 4th. (ch.)

16. Q. to K. B’s 4th. 16. P. to K. Kt.’s 4th. (best.)

17. Q. to Q’s 2d.

This seems White’s most promising move. He may also play 17. Q. takes

Kt., upon which Black exchanges Queens with the better game.

17. Kt. to K. R’s 2d.

18. P. to Q’s 5th. 18. B. to K. B’s 4th.

Black might also take Pawn with Pawn, and the game would probably be

continued thus:--

18. P takes P.

19. Kt. takes P. (ch.) 19. K. to Kt.’s 2d.

20. B. to Q. Kt.’s 2d. 20. Kt. to K. B’s 3d.

21. K. to R’s sq. 21. R. to K’s sq.

22. P. to K. B’s 4th, and will win.

19. P. to K’s 6th. (ch.) 19. K. to K’s 2d.

20. Kt. to Q’s 4th. 20. B. to K. Kt.’s 3d.

21. P. to K. B’s 4th, with a fine attack.

Instead of retiring his Bishop to Q. B’s 4th, as in Game IV., Black may,

though apparently less advantageously, play him to Q. R’s 4th.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. B. to Q. B’s 4th. 3. B. to Q. B’s 4th.

4. P. to Q. Kt.’s 4th. 4. B. takes P.

5. P. to Q. B’s 3d. 5. B. to Q. R’s 4th.

6. P. to Q’s 4th. (best.) 6. P. takes P.

7. Castles. 7. P. to Q’s 3d.

8. Q. to Q. Kt.’s 3d. 8. Q. to K. B’s 3d. (best.)

9. P. takes P., with a very fine game.

N.B.--Should Black at his 7th move, instead of 7. P. to Q’s 3d, play P.

to Q. B’s P., or K’s Kt. to B’s 3d, you, in reply, advance P. to K’s

5th, with a powerful attack.

THE GAMBIT DECLINED.

We now come to consider the consequences of Black’s not accepting the

gambit pawn at move 4.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. B. to Q. B’s 4th. 3. B. to Q. B’s 4th.

4. P. to Q. Kt.’s 4th. 4. B. to Q. Kt.’s 3d

5. B. to Q. Kt.’s 2d. 5. P. to Q’s 3d.

6. P. to Q’S 4th.

We prefer White’s game.

There is also another method of declining the Gambit, which, although

hitherto unanalysed, seems to present some interesting features.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. B. to Q. B’s 4th. 3. B. to Q. B’s 4th.

4. P. to Q. Kt.’s 4th. 4. P. to Q’s 4th.

5. P. takes Q’s P. 5. Kt. takes Q. Kt.’s P.

6. P. to Q. B’s 3d. 6. Kt. takes Q’s P.

7. Q. to Q. Kt.’s 3d. 7. P. to Q. B’s 3d.

8. B. takes Kt. 8. Q. takes B. (best.)

9. Q. takes Q. 9. Q. takes Q.

10. Kt. takes K’s P. Even Game.

It is very possible some of White’s moves may be improved upon, but the

foregoing variation seems satisfactorily to demonstrate that Black can

gain no advantage.

Before taking our leave of this beautiful opening, we would again remind

the young player, that it is perfectly immaterial, whether Black at move

5 captures the gambit pawn with B. or Kt., if with the latter White

equally replies with P. to Q. B’s 3d; and on Black’s retiring the Kt. to

Q. B’s 3d (best), the position becomes the same as given in a previous

variation.

GAME V.--RUY LOPEZ KNIGHT’S GAME.

We will now proceed to examine this, perhaps, the strongest and most

embarrassing attack the board affords. It is through fear of this

variation, that many of our best players have abandoned the usual

defence of 2. Q’s Kt. to B’s 3d, and turned to the King’s Knight’s

defence, or the old move of P. to Q’s 3d.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. B. to Q. Kt.’s 5th. 3. K’s Kt. to B’s 3d.

By playing your Bishop thus, you again threaten to win his K’s P. The

move in the text, commonly known as the Berlin defence, is perhaps as

good a reply as the position admits. He has, however, three other

plausible moves; viz., B. to Q. B’s 4th; B. to K’s 2d; P. to Q’s 3d,

which will be touched upon hereafter.

4. P. to Q’s 4th. 4. P. takes P.

This move (or perhaps still better, 4. Castles) appears to yield a far

stronger attack than the old move of Q. K’s 2d. Black, instead of P.

takes P., might either reply with 4. K’s Kt. takes K’s P., or 4. Q’s Kt.

takes Q’s P. If the former, perhaps castling at once is your best

reply; if the latter, you take Kt. with K’s Kt., and then play P. to K’s

5th, as in the present variation.

5. P. to K’s 5th. 5. Kt. to K’s 5th.

6. Castles. 6. B. to K’s 2d. (best.)

7. Kt. takes P. 7. Kt. takes Kt. (or Var. A.)

8. Q. takes Kt. 8. P. to K. B’s 4th.

9. P. takes P. _en passant_. 9. Kt. takes P.

10. Q’s Kt. to B’s 3d.

White has a very fine game.

We will now turn our attention to the other modes of play Black may

adopt at his 3d move, instead of K’s Kt. to B’s 3d; viz., B. to Q. B’s

4th; P. to Q’s 3d; B. to K’s 2d. (see Variations B. C.)

_Variation B. on Black’s 3d Move._

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. B. to Q. Kt.’s 5th. 3. B. to Q. B’s 4th.

4. P. to Q. B’s 3d. 4. K’s Kt. to K’s 2d. (best.)

5. Castles. 5. Castles.

6. P. to Q’s 4th. 6. P. takes P.

7. P. takes P. 7. B. to Q. Kt.’s 3d.

8. P. to Q’s 5th. 8. Q’s Kt. to his sq.

White may also play 8. Q’s Kt. to B’s 3d with advantage.

9. P. to Q’s 6th. 9. P. takes P.

10. Q. takes P. 10. B. to Q. B’s 2d.

11. Q. to Q. R’s 3d. 11. P. to Q’s 4th.

12. K’s R. to Q’s sq. 12. B. to Q’s 3d.

The move 12. K. R. to Q’s sq. is recommended in the Handbook as giving

White an advantage of position. The reply, however, in the text, which

occurred to the writer in actual play, seems calculated to free Black

from his embarrassment.

_Variation C. on Black’s 3d Move._

WHITE. BLACK.

3. P. to Q’s 3d.

4. P. to Q’s 4th. 4. B. to Q’s 2d.

5. Castles.

Black has a tolerably safe though constrained position.

N.B.--For 3. B. to K’s 2d, see the games illustrative of this opening.

GAME VI.--THE SCOTCH GAMBIT.

This opening derives its name from having been adopted in the great

match by correspondence between the London and Edinburgh Chess Clubs.

The attack consequent on this opening at one time considerably

embarrassed Mr. Cochrane, who considered there was no satisfactory

defence to it. Major Jaenisch, however, with characteristic patience and

analysis, has proved the contrary.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. P. to Q’s 4th. 3. P. takes P.

If he play 4. Kt. takes P., you reply with either Kt. takes Kt., or Kt.

takes K’s P., and obtain the better position.

4. B. to Q. B’s 4th. 4. B. to Q. B’s 4th.

This is now acknowledged to be Black’s best move; for 4. B. to Q. Kt.’s

5th. (ch.) see Variation A.

5. P. to Q. B’s 3d. 5. K’s Kt. to B’s 3d. (best.)

And the position is the same as given in the leading variation of the

Giuoco Piano, see page 622. Should Black instead play: P. takes Q. B’s

P., you take his K. B’s P. with your B. (ch.); and if he takes the

Bishop with King, play Q. to Q’s 5th (ch.), and then take his Bishop.

_Variation A. on Black’s 4th Move._

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. P. to Q’s 4th. 3. P. takes P.

4. B. to Q. B’s 4th. 4. B. to Q. Kt.’s 5th. (ch.)

5. P. to Q. B’s 3d. 5. P. takes P.

6. Castles. 6. P. to Q. B’s 7th.

Instead of 6. Castles, you might adopt Mr. Cochrane’s method of

continuing the attack, by 6. P. takes P.

N.B.--It would be very bad play of Black to take the Q. Kt.’s P.,

instead of the move in the text.

7. Q. takes P. 7. P. to Q’s 3d.

8. P. to Q. R’s 4th. 8. B. to Q. R’s 4th.

9. P. to Q. Kt.’s 4th. 9. B. to Kt.’s 3d.

10. Q. to Q. Kt.’s 3d, with a fine game.

There is another not uninteresting method of attack, which White might

adopt at his fifth move, instead of 5. P. to Q. B’s 3d; viz., K’s Kt. to

his 5th.

5. K’s Kt. to his 5th. 5. K’s Kt. to R’s 3d. (best.)

6. Kt. takes K. B’s P. 6. Kt. takes Kt.

7. B. takes Kt. (ch.) 7. K. takes B.

8. Q. to R’s 5th. 8. P. to K. Kt.’s 3d.

9. Q. takes B. 9. P. to Q’s 4th.

Black’s 9th move was first suggested in an able analysis on this

variation by Messrs. Jaenisch and Schummoff, in the “Chess Player’s

Chronicle” for July, 1850. It is far superior to the old move of P. to

Q’s 3d, and without great care on your part will give him an

irresistible attack.

10. Castles. 10. P. takes P.

This is your strongest move, and appears to have been overlooked by the

talented authors of the article in question:--

10. P. to Q. B’s 3d. (best.) 10. R. to K’s sq.

If Black play 10. P. to Q’s 6th, you reply with Q. to Q. B’s 4th (ch.),

winning the King’s Pawn.

11. B. to K. Kt.’s 5th. 11. Q. to Q’s 3d.

12. Q. takes Q. 12. P. takes Q.

13. P. takes P. 13. Kt. takes P.

14. Q’s Kt. to B’s 3d.

And Black will have great difficulty in avoiding the loss of a Pawn.

There is another variation of this opening hitherto, we believe,

unanalysed, which, although it presents many points of interest, seems

altogether unknown to the majority of amateurs.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s Kt. to B’s 3d. 2. Q’s Kt. to B’s 3d.

3. P. to Q’s 4th. 3. P. takes P.

4. B. to Q. B’s 4th. 4. B. to Q. B’s 4th.

5. Castles. 5. P. to Q’s 3d.

6. K’s Kt. to his 5th. 6. K’s Kt. to R’s 3d.

7. P. to K. B’s 4th. 7. P. to Q’s 6th. (dis. ch.)

If he play 7. B. to K. Kt.’s 5th, your best reply seems to be Q. to K’s

sq., although you might obtain a strong but hazardous attack by playing

Q. to her 3d, and afterwards, on his attacking her, with Q’s Kt. to Q.

Kt.’s 3d.

8. K. to R’s sq. 8. P. takes P.

9. Q. takes P. 9. Q’s Kt. to Q’s 5th.

10. Q. to Q. B’s 3d.

And although minus a Pawn, you have a fine game. If he now play P. to K.

B’s 3d, you reply with B. to K’s 3d.

THE KING’S BISHOP’S OPENING.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K. B. to Q. B’s 4th. 2. K. B. to Q. B’s 4th.

By this move you attack his weakest point, viz. the K. B’s P. Most of

the classical writers on Chess concur in recommending the same move as

Black’s best reply. Major Jaenisch and the German authors unanimously

recommend 2. K’s Kt. to B’s 3d in preference, the move generally adopted

in actual play. (See Game III.)

White has now several methods of continuing the attack. He may play the

move recommended by Philidor, viz. P. to Q. B’s 3d, to which Black may

reply with either K’s Kt. to B’s 3d, or Q. to K. Kt.’s 4th, or P. to Q’s

4th, in every case with at least an equal game.

You may also play K’s Kt. to B’s 3d, and upon Black’s bringing out his

Q’s Kt., the position is resolved into the Giuoco Piano.

If you play Q. to K. R’s 5th, (a move frequently adopted by young

players,) Black will reply with Q. to K B’s 3d, or to K’s 2d, with no

inferiority of position. Besides these moves you have two others at

command, viz. Q. to K’s 2d, and P. to Q. Kt.’s 4th, which we will

proceed to examine.

GAME I.--THE LOPEZ GAMBIT.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K. B. to Q. B’s 4th. 2. K. B to Q. B’s 4th.

3. Q. to K’s 2d. 3. Q’s Kt. to B’s 3d.

By playing thus you threaten at once to take his K. B’s P. (ch.), and if

K. takes B, to win his Bishop in return by the check of the Q. The move

in the text is Black’s best reply, any other move would leave you with

at least an even position.

4. P. to Q. B’s 3d. 4. K’s Kt. to B’s 3d.

Instead of P. to Q. B’s 3d, you may take the adverse K. B’s P (ch.); see

Variation A.

5. P. to K. B’s 4th. 5. B. takes K’s Kt.

6. R. takes B. 6. Castles.

7. P. to Q’s 3d. 7. P. to Q’s 4th.

With a superior game.

_Variation A. on White’s 4th Move._

WHITE. BLACK.

4. B. takes K. B’s P. (ch.) 4. K. takes B.

5. Q. to Q. B’s 4th. (ch.) 5. P. to Q’s 4th.

6. Q. takes B. 6. P. takes K’s P.

7. Q. to Q. B’s 4th (ch.) 7. B. to K’s 3d.

8. Q. takes P. 8. K’s Kt. to B’s 3d.

Black has by far the better game.

GAME II.--THE DOUBLE GAMBIT.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s B. to Q. B’s 4th. 2. K’s B. to Q. B’s 4th.

3. P. to Q. Kt.’s 4th. 3. B. takes P.

4. P. to K. B’s 4th. 4. P. to Q’s 4th.

His best move. If, in lieu of P. to Q’s 4th, he adopt P. takes K. B’s

P., you reply with K’s Kt. to B’s 3d, and obtain a fine attack.

5. P. takes Q’s P. 5. P. to K’s 5th.

If you play B. takes P., Black replies with P. to Q. B’s 3d, with the

better game.

6. K’s Kt. to K’s 2d. 6. K’s Kt. to B’s 3d.

7. Castles. 7. Castles.

8. Q’s Kt. to B’s 3d. 8. P. to Q. B’s 3d.

9. P. takes P. 9. Q’s Kt. takes P.

Black has the better game, thereby proving that the Double Gambit, if

correctly met, is disadvantageous to the first player.

GAME III.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. K’s B. to Q. B’s 4th. 2. K’s Kt. to B’s 3d.

3. K’s Kt. to B’s 3d. 3. Kt. takes K’s P. (best.)

Your third move is probably the best on the board; 3. P. to Q’s 4th, and

3. P. to Q’s 3d, seem much inferior, as Black immediately gains the

attack.

4. Q’s Kt. to B’s 3d. 4. K’s Kt. to B’s 3d.

Your fourth move was introduced two or three years ago, and was first

analysed by Mr. Boden, in his “Popular Introduction,” where Black’s

reply, of 4. K’s Kt. to B’s 3d, is recommended as his best; we believe,

however, he can at least as advantageously play 4. Kt. takes Q’s Kt.,

or, as has been suggested to us, 4. P. to Q’s 4th.; see Variation A.

5. Kt. takes K’s P. 5. P. to Q’s 4th.

6. B. to Q. Kt.’s 3d. 6. B. to Q’s 3d.

Equal game.

_Variation A. on Black’s 4th Move._

WHITE. BLACK.

4. Kt. takes Q’s Kt.

5. Q’s P. takes Kt. 5. P. to Q. B’s 3d.

He may also play 5. P. to K. B’s 3d, by which he preserves his Pawn,

though with a somewhat inferior position.

6. Kt. takes K’s P. 6. P. to Q’s 4th.

7. B. to Q’s 3d. 7. B. to Q’s 3d.

8. K’s Kt. to B’s 3d. 8. Castles.

9. Castles.

Black has no inferiority of position.

THE KING’S GAMBIT.

GAME I.

This beautiful and brilliant début, which, as Mr. Staunton observes,

gives birth to the most intricate and beautiful combinations the

chess-men are susceptible of, has been a universal favourite with every

class of players from the earliest stages of European Chess up to the

present day. In order to facilitate the analysis of this opening, as far

as our narrow limits will permit, we shall divide it into its three

principal heads; viz., The King’s Knight’s Gambit, The Allgaier Gambit,

and the King’s Bishop’s Gambit, and afterwards devote a few words to the

Gambit Declined.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. P. to K. B’s 4th. 2. P. takes P.

3. K’s Kt. to B’s 3d. 3. P. to K. Kt.’s 4th.

This is Black’s best move, indeed the only one to retain the gambit

pawn. He, however, may obtain a nearly equal game by 3. P. to Q,’s 4th.

If he play 3. B. to K’s 2d, commonly known as the Cunningham Gambit,

White replies with B. to Q. B’s 4th, and on Black’s checking with B. at

R’s 5th, plays K. to B’s sq., with a much better game.

4. B. to Q. B’s 4th. 4. B. to K. Kt.’s 2d (best), or

Var. A.

5. P. to Q B’s 3d. 5. P. to K. R’s 3d. (best.)

Should Black play the obvious-looking move of 4. P. to Q’s 3d, White

gains a striking advantage by the following mode of play:--

6. Q. to Q. Kt.’s 3d. 6. Q. to K’s 2d.

7. Q. to Q. Kt.’s 5th. (ch.) 7. B. on P. interposes.

8. Q. takes K. Kt.’s P., &c.

6. P. to Q’s 4th. 6. P. to Q’s 3d.

7. Castles. 7. Q’s Kt. to Q’s 2d.

This is usually considered his best move, though Q’s Kt. to B’s 3d, or

K’s Kt. to K’s 2d, are perhaps equally good.

8. P. to K. Kt.’s 3d. 8. P. to K. Kt.’s 5th.

If he takes P. with P., you get a fine attack by B. takes K. B’s P.

(ch.)

9. Kt. to K. R’s 4th, (or to K’s 9. Kt. to Q. Kt.’s 3d.

sq.)

10. B. to Q. Kt.’s 3d. 10. P. to K. B’s 6th.

He has a Pawn more, and a strong position.

N.B.--Instead of 5. P. to Q. B’s 3d, you may also play 5. P. to K. R’s

4th, with a good attack.

THE SALVIO GAMBIT.

_Variation A. on Black’s 4th Move._

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. P. to K. B’s 4th. 2. P. takes P.

3. K’s Kt. to B’s 3d. 3. P. to K. Kt.’s 4th.

4. B. to Q. B’s 4th. 4. P. to K. Kt.’s 5th.

5. Kt. to K’s 5th. 5. Q. to K. R’s 5th. (ch.)

Instead of 5. Kt. to K’s 5th, you may castle, for which see Game II.

(The Muzio Gambit.)

6. K. to B’s sq. 6. K’s Kt. to R’s 3d.

7. P. to Q’s 4th. 7. P. to K. B’s 6th.

8. P. takes P. 8. P. to Q’s 3d.

9. B. takes K’s Kt. 9. Q’s P. takes Kt.

And Black has a fine Game.

You seem to have no better move than 9. B. takes K’s Kt.; if you play

Kt. to Q’s 3d, he replies with K. Kt.’s P. takes P., and your game is

gone.

GAME II.--THE MUZIO GAMBIT.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. P. to B’s 4th. 2. P. takes P.

3. K’s Kt. to B’s 3d. 3. P. to K. Kt.’s 4th.

4. B. to Q. B’s 4th. 4. P. to K. Kt.’s 5th.

5. Castles. 5. P. takes Kt.

This sacrifice of the Kt., daring as it may appear at first sight, is,

nevertheless, considered by modern analysis to be quite sound.

6. Q. takes P. 6. Q. to K. B’s 3d. (best.)

7. P. to K’s 5th. 7. Q. takes K’s P.

Your 7th move is given by most of “the books” as the best. We have found

Q’s Kt. to B’s 3d at this point a strong move in actual play.

8. P. to Q’s 3d. 8. K’s B. to R’s 3d.

9. Q’s B. to Q’s 2d. 9. K’s Kt. to K’s 2d.

10. Q’s Kt. to B’s 3d. 10. P. to Q. B’s 3d.

Some authors recommend Q’s Kt. to B’s 3d as more attacking than the move

in the text. It has however been proved untenable in the “Handbook”

(page 281.)

11. Q’s R. to K’s sq. 11. Q. to Q. B’s 4th. (ch.)

12. K. to R’s sq. 12. P. to Q’s 4th.

Mr. Staunton recommends 12. R. to K. B’s 2d, instead of retiring the

King to R’s sq. We have tried this move in actual play, following it up

with Q’s R. to K. B’s sq., which seems to give White an overwhelming

attack.

13. Q. to K. R’s 5th. 13. Q. to Q’s 3d.

14. B. takes Q. P. 14. P. takes B.

15. Kt. takes Q’s P. 15. Q’s Kt. to B’s 3d.

16. Q’s B. to his 3d. 16. Q. to K. Kt.’s 3d.

17. R. takes Kt. (ch.) 17. K. to B’s sq.

The moves up to this point, both for attack and defence, are given by

Jaenisch and the “Handbook” as the best the board affords; with the best

play, probably the game ought to be drawn.

We much regret that our space will not allow of a more elaborate

analysis of this beautiful gambit; we trust, however, that the above

variations will show the young player the difficulty and resource of

this opening.

We cannot quit the subject without alluding to a defence lately

introduced by Messrs. Kling and Horwitz, which consists in Black’s

playing Q. to K’s 2d at his 5th move, instead of taking the Kt. With all

deference and respect for the wonderful and almost inexhaustible power

of analysis displayed by these two eminent players, we must confess that

we have our doubts as to the soundness of the move in question. The

young players, however, will find it full analysed in Kling and

Horwitz’s “Chess Studies,” one of the most valuable and interesting

works on Chess of modern days, which needs not our recommendation to

find its way to the book-shelf of every lover of Chess.

GAME I.--THE ALLGAIER GAMBIT.

This opening, the invention of which is erroneously ascribed to

Allgaier, has of late years become a favourite with all classes of

players, though we agree with Mr. Boden in considering that its

resources have been considerably overrated, although not perhaps from

the same reason as adduced in his “Popular Introduction.”

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. P. to K. B’s 4th. 2. P. takes P.

3. K’s Kt. to B’s 3d. 3. P. to K. Kt.’s 4th.

4. P. to K. R’s 4th. 4. P. to K. Kt.’s 5th.

You may here play your Kt. to K’s 5th, or to K. Kt.’s 5th. Modern

authorities agree in recommending the former, as giving a more lasting

attack. As, however, some very embarrassing positions may arise from

playing the Kt. to his 5th, we will examine the consequences resulting

from it at present, leaving the move of 5. Kt. to K’s 5th for after

examination, (Game II.).

5. Kt. to Kt.’s 5th. 5. P. to K. R’s 3d. (best.)

6. Kt. takes K. B’s P. 6. K. takes Kt.

7. B. to Q. B’s 4th. (ch.) 7. P. to Q’s 4th.

Your 7th move gives a far more embarrassing attack than the old move of

Q. takes K. Kt.’s P., to which Black replies, K’s Kt. to B’s 3d. with a

winning position.

In the present game Black’s reply of P. to Q’s 4th is his only move. If

he retire K. to Kt.’s sq., you must gain some advantage by Q. takes K.

Kt.’s P., &c.

8. B. takes P. (ch.) 8. K. to K’s sq.

In our opinion the move of K. to K’s sq. is preferable to K. to Kt.’s

2d. At all events the defence seems much simpler, and at least as

satisfactory.

9. P. to Q’s 4th. 9. P. to K. B’s 6th. (best.)

10. P. takes P. 10. B. to K’s 2d.

With a winning game.

GAME II.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. P. to K. B’s 4th. 2. P. takes P.

3. K. Kt.’s to B’s 3d. 3. P. to K. Kt.’s 4th.

4. P. to K. R’s 4th. 4. P. to K. Kt.’s 5th.

6. Kt. to K’s 5th. 5. P. to K. R’s 4th.

Black’s 5th move has been recommended by almost all the authorities as

the correct reply; although the moves 5. P. to Q’s 3d; 5. B. to K’s 2d;

or 5. K’s Kt. to B’s 3d, seem, to say the least, equally advantageous

for the second player.

6. B. to Q. B’s 4th. 6. Kt. to K. R’s 3d.

7. P. to Q’s 4th. 7. P. to K. B’s 6th.

8. P. takes P. (best.) 8. P. to Q’s 3d.

9. Kt. to Q’s 3d. 9. B. to K’s 2d.

10. B. to K’s 3d.

This is the move given by the “books;” B. to K. B’s 4th, however,

appears at least as good.

10. B. takes K. R’s P. (ch.)

11. K. to Q’s 2d. 11. P. takes P.

12. Q. takes P. 12. B. to K. Kt.’s 5th.

13. Q. to K. B’s 4th. 13. Q’s Kt. to B’s 3d.

One of the advantages of the move 10. B. to K. B’s 4th, as suggested

above, seems to be that the White Q. could not be played to K’s 3d,

instead of the more assailable part of K. B’s 4th.

14. Q’s Kt. to B’s 3d.

And the game, in spite of the formidable appearance of the adverse

Bishops, seems in White’s favour, from the disposition of his forces, so

well calculated for a vigorous assault.

N.B.--It would be very unadvisable for Black to reply to White’s move of

Kt. to Q. B’s 3d. with Kt. takes Q’s P.

14. Kt. takes Q’s P.

15. B. takes Kt. 15. B. to K. Kt.’s 4th.

16. B. takes K’s R. 16. B. takes Q. (ch.)

17. Kt. takes B.

And White has a more than ample equivalent for his lost Queen, and a

considerable superiority of position.

GAME I.--THE BISHOP’S GAMBIT.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. P. to K. B’s 4th. 2. P. takes P.

3. B. to Q. B’s 4th. 3. Q. to K. R’s 5th. (ch.)

Black’s 3d move is the one generally recommended at this point. He has,

however, the option of several other moves, the most important of which

seems to be P. to Q’s 4th. (See Game II.)

4. K. to B’s sq. 4. P. to K. Kt.’s 4th. (best.)

If Black, instead of the move in the text, play B. to Q. B’s 4th, a move

frequently adopted by young players, you reply with P. to Q.’s 4th and

K’s Kt. to B’s 3d, with a fine position.

5. Q’s Kt. to B’s 3d. 5. B. to K. Kt.’s 2d. (best.)

6. P. to Q’s 4th. 6. P. to Q’s 3d.

7. K’s Kt. to B’s 3d. 7. Q. to K. R’s 4th.

8. P. to K. R’s 4th. 8. P. to K. R’s 3d.

9. P. to K’s 5th. 9. P. takes P.

Major Jaenisch, to whom we owe almost all our knowledge of this fine

opening, at one time we believe recommended 9. B. to K. Kt.’s 5th for

Black, instead of P. takes P., but has we believe qualified his opinion

in favour of the move in the text.

10. Q’s Kt. to Q’s 5th. 10. K. to Q’s sq.

11. P. takes P. 11. B. to Q’s 2d.

12. K. to Kt.’s sq. 12. Q. to K. Kt.’s 3d.

13. P. takes P. 13. P. takes P.

14. R. takes R. 14. B. takes R.

15. K’s Kt. takes P. 15. Q. takes K’s Kt.

This sacrifice is the invention of Petroff, the great Russian master;

and without the greatest care in the defence, will give you an

overpowering attack.

16. Q’s B. takes P. 16. Q. to K. Kt.’s 3d. (best.)

17. P. to K’s 6th. 17. P. takes P.

18. Kt. takes Q. B’s P. 18. P. to K’s 4th.

19. Kt. to K’s 6th. (ch.)

GAME II.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. P. to K. B’s 4th. 2. P. takes P.

3. B. to Q. B’s 4th. 3. P. to Q’s 4th.

We would recommend this defence to the young player, (especially when

receiving the odds of a piece,) as it leads at once to at least an even

game, and avoids an intricate and difficult series of moves, the least

error in which would be fatal.

4. B. takes P. 4. K’s Kt. to B’s 3d.

5. Q. to K’s 2d. 5. Kt. takes B.

This is probably your best move, though Kt. to Q. B’s 3d, may be played

without danger.

6. P. takes Kt. (dis. ch.) 6. B. to K’s 2d.

7. Q. to K. B’s 3d. (best.) 7. B. to K. R’s 5th. (ch.)

8. P. to K. Kt.’s 3d. 8. P. takes P.

9. P. takes P. 9. B. to K. Kt.’s 4th.

10. Q’s Kt. to B’s 3d.

The game is about even.

Instead of Black’s 8th move of P. takes P., Mr. Staunton suggests the

highly ingenious move of castling; and the game would probably be

continued thus:--

8. Castles.

9. Kt. to K’s 2d. (best.) 9. R. to K’s sq.

This is your best reply, if you capture either B. or P. you lose in a

few moves. (See the “Handbook,” p. 335.)

10. Q’s Kt. to B’s 3d. 10. B. to K. B’s 3d.

We do not see that Black has anything better.

11. Q’s Kt. to K’s 4th.

And White has some little advantage. It is worth while remarking, that

if Black now adopt the tempting move of B. to K. Kt.’s 5th, White will

win at least a pawn. We leave the “modus operandi” for the investigation

of the young player.

We cannot take our leave of this inexhaustible opening, without once

more recommending the amateur who is ambitious of becoming initiated

into the mysteries of the Bishop’s Gambit, to study the admirable

articles on this début, published by Major Jaenisch, in the late volumes

of the “Chess-Player’s Chronicle,” which exhibit, perhaps, the most

patient and profound analysis the annals of Chess have ever produced.

THE GAMBIT REFUSED.

The refusal of the gambit, though it may be done with perfect safety,

generally leads to a dull and uninteresting game; we would therefore

advise the young player to accept the proffered pawn, more especially

when receiving the odds of a piece, as he will gain more knowledge of

the game by observing the manner in which a fine player pursues his

attack, than can be obtained from all the works that have ever been

written on the subject.

GAME I.

WHITE. BLACK.

1. P. to K’s 4th. 1. P. to K’s 4th.

2. P. to K. B’s 4th. 2. B. to Q. B’s 4th.

This has usually been received as the best method of declining the

gambit, though a preference has sprung up lately in favour of P. to Q’s

4th (See Game II.). Major Jaenisch recommends K’s Kt. to B’s 3d, to

which you reply with P. takes P.; and upon his taking K’s P. with Kt.,

you play K’s Kt. to B’s 3d.

3. K’s Kt. to B’s 3d. 3. P. to Q’s 3d.

4. P. to Q. B’s 3d. 4. B. to K. Kt.’s 5th.

5. P. to K. R’s 3d. 5. B. takes Kt.

We believe your 5th move is now more generally preferred to B. to K’s

2d. You may also play 5. P. to Q’s 4th., though it is somewhat

hazardous.

6. Q. takes B. 6. Q’s Kt. to B’s 3d.

7. B. to Q. B’s 4th, or Kt.’s 5th.

And the game is about even.