Chapter XIII: Part 13

FIG. 19.
[WHITE TO MOVE AND WIN.]

To checkmate with two Bishops is comparatively easy. Fig. 19 illustrates the most unfavourable position for White, and the solution given is the shortest attainable.

{420}

WHITE. BLACK.
1. B to Q sq. 1. K to K 6
2. K to Kt 2 2. K to Q 7
3. B to Q B 2 3. K to K 6
4. K to B 3 4. K to B 6
5. K to Q 4 5. K to Kt 5
6. B to K sq. 6. K to B 6
7. B to Q 3 7. K to B 5
8. B to K 4 8. K to Kt 4
9. K to K 5 9. K to Kt 5
10. B to K B 2 10. K to Kt 4
11. B to K B 5 11. K to R 3
12. K to B 6 12. K to R 4
13. B to K 6 13. K to R 3
14. B to Kt 4 14. K to R 2
15. K to B 7 15. K to R 3

White must he careful not to stalemate the Black King. For instance, if
Black were to play here 15. ... K to R sq., White could not play 16. B
to K B 5; but must play 16. B to K 3, K to R 2; 17. B to B 5: ch., K to
R sq.; 18. B to Q 4 mate.

16. B to K 3: ch. 16. K to R 2
17. B to B 5: ch. 17. K to R sq.
18. B to Q 4, checkmate.

KING, BISHOP, AND KNIGHT AGAINST KING.

{421}

Black.
+---------------------------------------+
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| ^K | | #K | | | | | ^B |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| ^Kt| | | | | | | |
+---------------------------------------+
White.

FIG. 20.
[WHITE TO MOVE AND WIN.]

To checkmate with Bishop and Knight is a very difficult process. Checkmate can only be forced if the Black King is driven to one of the Rook squares of the same colour as the Bishop. In the position shown in Fig. 20 the Black King must be driven either to Q R sq., or K R 8. Frequently the Bishop and Knight are separated from the White King; in that case the Black King cannot be prevented from moving to a Rook square of the opposite colour to the Bishop. Then the forces must be brought together to act in concert with the White King; when, by combined action, the Black King can be forced on to a corner square of the same colour as White's Bishop, and checkmated as shown in the appended solution. Mate can be forced in the most {422} unfavourable position (see Fig. 20) in about thirty or thirty-one moves.

WHITE. BLACK.
1. Kt to Kt 3: ch. 1. K to B 3

If 1. ... K to B 5; then 2. B to Q sq., K to B 6; 3. K to Kt 5, K to Q
6; 4. K to B 5, K to K 5; 5. B to B 2: ch., K to K 4; 6. Kt to Q 4, K
to B 3; 7. K to Q 6, K to B 2; 8. Kt to B 3, K to B 3; 9. Kt to K 5, K
to Kt 2; 10. K to K 6, and the King is gradually forced on to the last
row.

2. K to Kt 4 2. K to Q 4
3. B to B 3: ch. 3. K to Q 3
4. Kt to Q 4 4. K to K 4
5. K to B 5 5. K to B 3
6. K to Q 5 6. K to B 2
7. Kt to B 5 7. K to B 3
8. Kt to Q 6 8. K to Kt 3
9. K to K 5 9. K to Kt 2
10. B to K 4 10. K to Kt sq.
11. K to B 6 11. K to R sq.

The King is now on the Rook square of opposite colour to the Bishop, and must be driven to K R 8, or Q R square, in order to be checkmated.

12. Kt to B 7: ch. 12. K to Kt sq.
13. B to B 5 ...

Purposely losing a move (_coup de repos_); it is immaterial where the Bishop moves to so long as it remains on the same diagonal, the object being to force Black to move, without altering White's position.

... 13. K to B sq.
14. B to R 7 ...

To prevent the King from returning to Kt sq. if the Kt moves. {423}

... 14. K to K sq.
15. Kt to K 5 15. K to Q sq.
16. B to K 4 16. K to B 2
17. Kt to B 4 ...

The Black King is now gradually forced on to the fatal White corner.

... 17. K to Q 2
18. K to B 7 18. K to Q sq.
19. B to B 6 19. K to B 2
20. B to Kt 5 ...

Not to R 4, because at Kt 5 the Bishop guards the additional square R 6.

... 20. K to Q sq.
21. K to K 6 21. K to B sq.
22. K to Q 6 22. K to Q sq.
23. Kt to R 5 23. K to B sq.
24. B to Q 7: ch. 24. K to Kt sq.

If 24. ... K to Q sq., then 25. Kt to B 6, checkmate.

25. K to B 6 25. K to R 2
26. Kt to B 4 26. K to R 3
27. K to B 7 27. K to R 2
28. B to B 8 28. K to R sq.
29. Kt to R 5 29. K to R 2
30. Kt to B 6: ch. 30. K to R sq.
31. B to Kt 7, checkmate.

END GAME WITH TWO KNIGHTS.

With two Knights alone no mate can be forced, except through incorrect play on the part of the defence. Consequently the remaining with two {424} Knights should be avoided. If the player has the option to change off pieces, he should keep Bishop and Knight rather than two Knights.

GENERAL OBSERVATIONS.

A good system for the student is to practise one Opening only, attack and defence alternately, till it is thoroughly well mastered, and so on with every other Opening. The student should not get into the habit of playing with one colour only, or he will find himself at a disadvantage when he cannot have his favourite colour. He must not make a move without carefully weighing the possible replies. If he finds _a good move_, let him still try to find a _better one_. When his opponent makes a move, he must try to discover the object of such move, whether it is immediately menacing, or only indirectly so. In the first case, a suitable defence must be found; in the latter case, he may profit by the respite to bring a piece into play.

The first principle is to develop the pieces quickly, and never to commence an attack with insufficient forces. If a player is able to bring more pieces into play than his opponent, it is obvious that he must be stronger. The Opening correctly played is frequently half the battle won.

Avoid useless checks. Avoid useless exchanges. Bear in mind that it is disadvantageous to be left with two Knights only, as mate cannot be given with them. If the player has the better game, he should avoid remaining with a Bishop of different colour from a like piece of his opponent, as Bishops of different colour frequently lead to a draw. {425}

The student should further accustom himself to an elegant style of play--viz., strictly to adhere to the laws of the game; never to take back a move; never to touch a man until he has determined where to move it; and to move his pieces quietly.

BIBLIOGRAPHY OF CHESS.

The literature of chess is very extensive, but many of the best works would be practically useless to a beginner, as too advanced for his capabilities. Any of the works mentioned next below may be studied with advantage by the learner.

CHESS[106] (Oval Series). By L. Hoffer. Routledge, 1s.

COMMON SENSE IN CHESS. By E. Lasker. Bellairs & Co. 2s. 6d. nett.

CHESS. By R. F. Green. Bell & Sons. 1s.

THE CHESS-PLAYER'S MENTOR. By F. J. Lee and G. H. D. Gossip. Ward &
Downey. 1s.

THE CHESS-PLAYER'S VADE MECUM. By G. H. D. Gossip. Ward & Downey. 1s.

THE CHESS OPENINGS. By I. Gunsberg. Bell & Sons, 1s.

THE CHESS-PLAYER'S POCKET BOOK. By James Mortimer. Sampson Low & Co.
1s.

SIX PRACTICAL CHESS OPENINGS. Anon. British Chess Company. 6d.

SIX CHESS LESSONS FOR JUNIOR PLAYERS. By S. Tinsley. British Chess
Company. 6d.

FIFTY PAWN PUZZLES. Anon. British Chess Company. 4d.

To more advanced players may be recommended, in addition--

THE CHESS-PLAYER'S HANDBOOK. By Howard Staunton. Bell & Sons. 5s. {426}

THE CHESS-PLAYER'S COMPANION. By Howard Staunton. Bell & Sons. 5s.

MORPHY'S GAMES OF CHESS. By J. Lowenthal. Bell and Sons. 5s.

CHESS OPENINGS, ANCIENT AND MODERN. By E. Freeborough and C. E. Ranken.
Kegan Paul & Co. 8s.

CHESS ENDINGS. By E. Freeborough. Kegan Paul & Co. 7s. 6d.

SELECT CHESS END-GAMES. By E. Freeborough. Kegan Paul & Co. 1s. 6d.
nett.

CHESS STUDIES AND END GAMES. By J. Kling and B. Horwitz. Bell & Sons.
7s. 6d.

SYNOPSIS OF THE CHESS OPENINGS. By William Cook. Simpkin, Marshall &
Co. 4s.

THE CHESS-PLAYER'S MANUAL. By G. H. D. Gossip. Routledge. 7s. 6d.

THE PRINCIPLES OF CHESS. By James Mason. Horace Cox. 2s. 6d.

THE ART OF CHESS. By James Mason. Horace Cox. 5s. nett.

CHESS OPENINGS. By James Mason. Horace Cox. 2s. net.

CHESS MASTERPIECES. By H. E. Bird. Dean & Sons. 3s.

CHESS PRACTICE. By H. E. Bird. Sampson Low & Co. 2s. 6d.

CHESS NOVELTIES. By H. E. Bird. Warne & Co. 3s. 6d.

MODERN CHESS BRILLIANCIES. By G. H. D. Gossip. Ward & Downey. 1s.

THE HASTINGS CHESS TOURNAMENT BOOK (1895). Edited by Horace Cheshire.
Chatto & Windus. 7s. 6d. net.

* * * * *

{427}

DRAUGHTS.

"In friendly contention, the old men
Laughed at each lucky hit or unsuccessful manoeuvre--
Laughed when a man was crowned, or a breach was made in the king-row."
LONGFELLOW--_Evangeline._

The game of Draughts is played on a board of sixty-four squares of alternate colours, and with twenty-four pieces, called men (twelve on each side), also of opposite colours. It is played by two persons; the one having the twelve black or red pieces is technically said to be playing the _first side_, and the other, having the twelve white, to be playing the _second side_. Each player endeavours to confine the pieces of the other in situations where they cannot be played, or both to capture and fix, so that _none can be played_; the person whose side is brought to this state loses the game.

The essential rules of the game are as under--

The board shall be so placed that the bottom corner square on the left hand shall be black.

The men shall be placed on the black squares.[107]

{428}

The black men shall be placed upon the supposed first twelve squares of the board; the white upon the last twelve squares.

Each player shall play alternately with black and white men. Lots shall be cast for the colour at the commencement of a match, _the winner to have the choice of taking_ black _or_ white.

The first move must _invariably_ be made by the person having the black men.

At the end of five minutes "Time" may be called; and if the move be not completed on the expiry of another minute, the game shall be adjudged lost through improper delay.

When there is only _one way_ of taking one or more pieces, "Time" shall be called at the end of one minute; and if the move be not completed on the expiry of another minute, the game shall be adjudged lost through improper delay.

After the first move has been made, if either player arrange any piece without giving intimation to his opponent, he shall forfeit the game; but, if it is his turn to play, he may avoid the penalty by playing that piece, if possible.

After the pieces have been arranged, if the person whose turn it is to play _touch_ one, he must either play that piece or forfeit the game. When the piece is not playable, he is penalised according to the preceding law.

If _any part_ of a playable piece be played over an {429} angle of the square on which it is stationed, the play must be completed in _that direction_.

A capturing play, as well as an ordinary one, is completed the moment the hand is withdrawn from the piece played, even though two or more pieces should have been taken.

When taking, if a player remove one of his own pieces, he cannot replace it, but his opponent can either play or insist on his replacing it.

Either player making a false or improper move shall forfeit the game to his opponent, without another move being made.

The "Huff" or "Blow" is, _before one plays his own piece_, to remove from the board any of the adverse pieces that might or should have taken. The "Huff" does not constitute a move.

The player has the power either to _huff_, _compel the take_, or to _let the piece remain on the board_, as he thinks proper.[108]

When a man first reaches any of the squares on the opposite extreme line of the board, it becomes a "King." It must be crowned (by placing a man of the same colour on the top of it) by the opponent, and can afterwards be moved backwards or forwards as the limits of the board permit.

A Draw is when neither of the players can force a win. When one of the sides appears stronger than the other, the stronger party may be required to {430} complete the win, or to show a decided advantage over his opponent _within forty of his own moves_--counted from the point at which notice was given--failing in which, he must relinquish the game as a draw.

White.
+---------------------------------------+
| | W | | W | | W | | W |
|---------------------------------------|
| W | | W | | W | | W | |
|---------------------------------------|
| | W | | W | | W | | W |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| B | | B | | B | | B | |
|---------------------------------------|
| | B | | B | | B | | B |
|---------------------------------------|
| B | | B | | B | | B | |
+---------------------------------------+
Black.

FIG. 1.

The above diagram (Fig. 1) shows the board set for play, and Fig. 2 shows the draught-board numbered for the purpose of recording moves. {431}

White.
+---------------------------------------+
| | 32 | | 31 | | 30 | | 29 |
|---------------------------------------|
| 28 | | 27 | | 26 | | 25 | |
|---------------------------------------|
| | 24 | | 23 | | 22 | | 21 |
|---------------------------------------|
| 20 | | 19 | | 18 | | 17 | |
|---------------------------------------|
| | 16 | | 15 | | 14 | | 13 |
|---------------------------------------|
| 12 | | 11 | | 10 | | 9 | |
|---------------------------------------|
| | 8 | | 7 | | 6 | | 5 |
|---------------------------------------|
| 4 | | 3 | | 2 | | 1 | |
+---------------------------------------+
Black.

FIG. 2.

The men being placed as shown in Fig. 1, the game is begun by each player moving alternately one of his men along the diagonal on which it is situated. The men can only move forward either to right or left one square at a time, unless they have attained one of the four squares on the extreme further side of the board (technically termed the "crown-head"). This done, they become Kings, and can move either forward or backward. The {432} pieces take in the direction they move, by leaping over any opposing man that may be immediately contiguous, provided there be a vacant square behind it. If several men should be exposed by having open spaces behind them alternately, they may be all taken at one capture, and the capturing piece is then placed on the square beyond the last man.

To explain the mode of capturing by a practical illustration, let us begin by placing the men as for a game. You will perceive that Black, who always plays first, can only move one of the men placed on 9, 10, 11, or 12; supposing him, then, to play the man on 11 to 15, and White to answer this by playing 22 to 18, Black can take the white man on 18 by leaping from 15 to 22, and removing the captured piece from the board. Should Black not take the man on 18, but make another move--say 12 to 16, for instance--he is liable to be "huffed"; that is, White may remove the man (that on 15) with which Black should have taken, off the board for not taking. When one party "huffs" the other in preference to compelling the take, he does not replace the piece his opponent moved, but simply removes the man huffed from the board, and then plays his own move.

GENERAL ADVICE.

It is generally better to keep your men in the middle of the board than to play them to the side squares, as in the latter case one-half of their power is curtailed.

When you have once gained an advantage in the number of your pieces, you increase the proportion by exchanges, but in forcing them you must take care not to damage your position. Open your game {433} at all times upon a regular plan; by so doing you will acquire method in both attack and defence. Accustom yourself to play slowly at first, and, if a beginner, prefer playing with better players than yourself. Note their methods of opening a game, and follow them when opportunity presents itself.

If playing against an inferior, it is as well to keep the game complicated; if with a superior, to simplify it. Avoid scattering your forces; as they get fewer, concentrate them as much as possible.

Never touch the squares of the board with your fingers; and accustom yourself to play your move off-hand, when you have once made up your mind.

Do not lose time in studying when you have only one way of taking, but take quickly.

Pay quite as much attention to the probable plans of your adversary as to your own.

Remember that the science of the game consists in so moving your pieces at the commencement as to obtain a position which will compel your adversary to give his men away. One man ahead with a clear game should be a certain _win_.

In conclusion, the student is strongly advised to study and master the theory and practice of the play embraced in the First, Second, Third, and Fourth Positions (see _post_). These endings, in different forms, are of very frequent occurrence, and should be thoroughly mastered.

THE NAMES OF THE VARIOUS OPENINGS AND HOW FORMED.

1. The "Ayrshire Lassie" is formed by the first four moves (counting the play on both sides): 11 to 15, 24 to 20, 8 to 11, 28 to 24. {434}

2. The "Bristol" is formed by the first three moves: 11 to 16, 24 to 20, 16 to 19. It was so named in compliment to the players of that city for services rendered to the late Andrew Anderson, one of the greatest masters of the game.

3. The "Cross" is formed by the first two moves: 11 to 15, 23 to 18. It is so named because the second move is played across the direction of the first.

4. The "Defiance" is formed by the first four moves: 11 to 15, 23 to 19, 9 to 14, 27 to 23. It is so named because it defies or prevents the formation of the "Fife" game.

5. The "Dyke" is formed by the first three moves: 11 to 15, 22 to 17, 15 to 19.

6. The "Fife" is formed by the first five moves: 11 to 15, 23 to 19, 9 to 14, 22 to 17, 5 to 9. It has been so called since 1847, when Wyllie, hailing from Fifeshire, played it against Anderson.

7. The "Glasgow" is formed by the first five moves: 11 to 15, 23 to 19, 8 to 11, 22 to 17, 11 to 16. It has been known by this name since Sinclair, of Glasgow, played it against Anderson at a match in 1828.

8. The "Laird and Lady" is formed by the first five moves: 11 to 15, 23 to 19, 8 to 11, 22 to 17, 9 to 13. It was so called from its having been the favourite opening of Laird and Lady Cather Cambusnethan, Lanarkshire.

9. "The Maid of the Mill" is formed by the first five moves: 11 to 15, 22 to 17, 8 to 11, 17 to 13, 15 to 18. It was so named in compliment to a miller's daughter, who was an excellent player, and partial to this opening. {435}

10. The "Old Fourteenth" is formed by the first five moves: 11 to 15, 23 to 19, 8 to 11, 22 to 17,4 to 8. It was so named through being familiar to players as the fourteenth game in Joshua Sturge's _Guide to the Game of Draughts_, published in 1800, which for many years was the leading authority on the game.

11. The "Second Double Corner" is formed by the first two moves: 11 to 15, 24 to 19. It is so named because the first move of the _second_ player is from the one double corner towards the other.

12. The "Single Corner" is formed by the first two moves: 11 to 15, 22 to 18. It is so named from the fact of each of these moves being played from one single corner towards the other.

13. The "Souter" is formed by the first five moves: 11 to 15, 23 to 19, 9 to 14, 22 to 17, 6 to 9. The game was so named owing to its being the favourite of an old Paisley shoemaker (_Scottice_, souter).

14. The "Whilter" is formed by the first five moves: 11 to 15, 23 to 19, 9 to 14, 22 to 17, 7 to 11. "Whilter" or "Wholter," in Scotch, signifies an overturning, or a change productive of confusion.

15. The "Will-o'-the-Wisp" is formed by the first three moves: 11 to 15, 23 to 19, 9 to 13.

N.B.--The reader should observe, in studying the position following, that the numbering of the squares always starts from the _black_ side of the board, whether black occupy the upper or the lower rows. {436}

END GAMES.

TWO KINGS TO ONE.

_Position._

Black.
+---------------------------------------+
| | | | | | | | |
|---------------------------------------|
| BB | | | | | | | |
|---------------------------------------|
| | | | | | WW | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | WW | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
+---------------------------------------+
White.

FIG. 3.
[WHITE TO MOVE AND WIN.]

To win with two Kings against one in the double corner (see Fig. 3) is often a source of difficulty to the learner, and yet, once known, nothing is more simple. The following shows how to force the win: {437}

_Solution._

22.18 1.5 1.5
5.9 10.6 9.13
11.15 5.1 10.15
9.6 14.10 13.17
18.14 1.5 15.18
6.1 6.1 17.13
15.10 5.9 18.22
W. wins.

THREE KINGS TO TWO.

This, again, is a state of things of very frequent occurrence, and the novice, even with the stronger game, may find it somewhat difficult to deal with.

The proper course for White is either to pin one of Black's men, and then go for the other, or to force an exchange, so as to be left with two Kings to one, when the game, as we have seen, is a foregone conclusion. To avoid this, Black naturally endeavours to reach the two double corners, so as to have his men as far apart as possible, and to divide the attacking force. Where Black adopts these tactics the proper play, on the part of White, is to get his three Kings in a line on the same diagonal as Black's two. Thus, if Black is at 32 and 5, White must manoeuvre to place his men upon squares 23, 18 and 14. If Black occupies 28 and 1, White must secure 19, 15 and 10. In this position, however Black may play, he is compelled, on White's next move, to accept the offer of an exchange. White has then two Kings to one, and the game is practically at an end. {438}

_Position._

Black.
+---------------------------------------+
| | | | | | | | |
|---------------------------------------|
| BB | | | | | | | |
|---------------------------------------|
| | | | | | WW | | |
|---------------------------------------|
| | | | | WW | | | |
|---------------------------------------|
| | | | WW | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | BB |
|---------------------------------------|
| | | | | | | | |
+---------------------------------------+
White.

FIG. 4.
[WHITE TO MOVE AND WIN.]

THE ELEMENTARY POSITIONS.

There are four often recurring situations known as the First, Second, Third, and Fourth Positions. It is highly desirable that the student should make himself well acquainted with them. {439}

FIRST POSITION.

Black.
+---------------------------------------+
| | | | | | | | |
|---------------------------------------|
| | | | | | | WW | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | B | | | | | |
|---------------------------------------|
| | | | | | B | | |
|---------------------------------------|
| | | W | | | | | |
+---------------------------------------+
White.

FIG. 5.
[BLACK TO MOVE AND WIN.]

{440} _Solution._

27.32 6.1 14.18 9.14
8.11 22.18 9.6 1.5
32.27 1.6 18.15 14.17
11.7 18.15 30.25 S--15.10
27.23 6.1 15.18 17.22
7.10 15.10 6.10 10.14
22.26 1.5 5.1 22.25
V.1--10.6 10.6 25.21 5.1
26.31 5.1 1.5 25.22
6.9 14.13 10.6 1.6
31.26 1.5 18.15 22.25
9.6 6.1 21.17 6.10
26.22 5.9 5.1 25.22
6.10 1.5 6.9 10.15
23.18 9.13 15.18 22.25
10.6 10.14 17.13 15.18
18.14 13.9 18.15 25.21
B. wins.

VARIATION 1.

30.25 22.18 5.9 15.18
23.18 1.5 10.15 9.5
10.6 18.15 V.2--9.5 18.22
18.14 5.1 15.18 17.14
6.1 15.10 5.9 1.6
26.30 1.5 1.5 5.1
25.21 10.6 9.6 6.2
30.25 5.1 18.15 1.5
1.5 14.10 21.17 22.17
25.22 1.5 5.1 14.9
5.1 6.1 6.9 B. wins.

VARIATION 2.

9.14 17.13 Continue as
1.5 1.5 trunk at
21.17 14.17 S.
5.1 15.10 B. wins.

{441}

SECOND POSITION.

Black.
+---------------------------------------+
| | | | | | B | | |
|---------------------------------------|
| BB | | B | | | | | |
|---------------------------------------|
| | | | | | WW | | W |
|---------------------------------------|
| W | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
+---------------------------------------+
White.

FIG. 6.
[BLACK TO MOVE AND WIN.]

{442}

_Solution._

5.9 23.18 14.10
11.15 28.24 19.24
9.14 18.14 10.15
15.11 24.19 24.28
14.18 6.10 15.19
11.16 19.23 28.32
18.15 10.15 19.24
16.20 23.27 32.28
15.11 15.19 11.16
20.24 27.32 28.19
3.7 19.24 16.23
24.19 32.28 12.8
7.10 24.27 23.18
19.23 28.24 8.4
10.15 27.32 18.14
23.27 24.28 4.8
15.19 32.27 6.1
27.32 28.32 8.11
19.24 27.24 14.9
32.28 32.28 13.6
24.27 24.19 1.10
28.32 28.32 11.16
27.31 19.15 10.15
32.28 32.28 16.20
31.27 15.10 15.19
28.32 28.24 B. wins.
27.23 10.6
32.28 24.19

{443}

THIRD POSITION.

Black.
+---------------------------------------+
| | | | | | | | |
|---------------------------------------|
| B | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| BB | | WW | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| BB | | WW | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
+---------------------------------------+
White.

FIG. 7.
[BLACK TO MOVE AND WIN.]

_Solution._

{444}

13.9 14.18 11.15
22.18 5.9 25.22
9.6 10.6 23.27
18.22 9.13 22.26
6.1 6.10 27.24
V.1--22.18 26.31 26.22
21.25 10.14 24.20
V.2--18.15 31.27 22.26
1.6 18.22 20.16
14.17 27.23 26.22
6.2 V.3--22.25 16.12
17.14 2.7 22.26
25.22 25.22 12.8
15.10 7.11 26.22
22.26 V.4--22.25 8.3

VARIATION 1.

14.18 10.15 26.31
5.9 30.26 18.22
18.23 15.19 31.27
1.6 26.30 21.17
23.26 19.23 27.31
6.10 22.26 9.14
26.30 23.18 B. wins.

VARIATION 2.

14.17 5.14 25.21
5.9 30.26 17.22
A--17.21 14.18 21.17
9.14 B. wins. 22.6
18.9 -- 1.19
1.5 A B. wins.
21.30 18.15

VARIATION 3.

14.10 10.14 14.9
23.19 19.15 15.10
B. wins.

{445}

VARIATION 4.

22.18 22.26 22.26
23.27 27.24 20.16
18.22 26.22 26.22
11.15 24.20 16.12

B. wins. Very critical, and requires extreme care in forcing the win.

FOURTH POSITION.

Black.
+---------------------------------------+
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| | | | | | | | |
|---------------------------------------|
| B | | BB | | BB | | | |
|---------------------------------------|
| | | | | | | | BB |
|---------------------------------------|
| | | W | | WW | | WW | |
+---------------------------------------+
White.

FIG. 8.
[BLACK TO MOVE AND [WHITE TO MOVE AND
WIN.] DRAW.]

{446}

_Solution_.

Black to move. White to move.

28.24 32.27 31.27 22.18
32.28 24.28 23.19 31.27
24.20 27.32 27.31 28.24
28.32 18.22 19.24 27.31
22.18 31.27 32.27 18.23
31.27 22.26 24.20 31.26
23.19 30.23 27.32 Drawn.
27.31 28.24
19.24 B. wins.

For further information as to the science of the game, see the article "Draughts" in _The Book of Card and Table Games_, of which the above account is an abridgment. The reader desirous of still more minute information will find it in _The Game of Draughts Simplified_, by Andrew Andersen. The fifth edition (1887) of this standard work (James Forrester, 2s. 6d.) is edited by Mr. Robert McCulloch, the writer of the above-mentioned article. Mr. McCulloch has also produced a book of his own, _The Guide to the Game of Draughts_ (Bryson & Co., Glasgow, 2_s_. 6d.). These are thoroughly up-to-date publications. We may mention in addition the _American Draughtplayer_, by H. Spayth, the accepted authority in America, and two valuable works by Mr. Joseph Gould, _The Problem Book_, and _Match Games_.

* * * * *

{447}

ROULETTE AS PLAYED AT MONTE CARLO.

BY CAPTAIN BROWNING.

("Slambo" of _The Westminster Gazette_.)

The Roulette table, which is covered with a green padded cloth, and marked out as shown in Fig. 1, is divided into two portions, the Roulette, or Wheel as it is commonly called, itself being let into the centre of the table between these two portions.

Fig. 1 is an illustration of one-half of the table, the other half being marked in exactly a similar manner. It will be seen that the cloth is divided into three long columns of figures, marked from 1 to 36. At the bottom end of these columns there are three spaces, representing all the numbers in the first, second, and third column respectively. There are three similar spaces both on the right and on the left, marked 12 D, 12 M, 12 P, indicating the third (_Derniere_), the second (_Milieu_), and first (_Premiere_) twelve (_Douzain_) numbers.

On either side of the column of figures are further spaces to mark the _Rouge_ (or Red numbers); _Impair_ (or odd numbers), _Manque_ (all numbers from 1 to 18 inclusive) on the one side; and the _Noir_ (or Black numbers), _Pair_ (or even numbers), and _Passe_ (all {448} numbers from 19 to 36 inclusive) on the other side; at the top of all is the space reserved for zero.

The Roulette, or Wheel, itself (Fig. 2) consists of a narrow circular ledge (A. A.) fixed in the table, and sloping downwards. Within this ledge is a brass cylinder (C. C.), suspended on a pin at its centre, and capable of being made to revolve by means of a cross-head or handle (H. H.).

The outer edge of the brass cylinder is divided into thirty-seven small compartments, numbered in irregular order from 1 to 36, and coloured alternately Red and Black; the 37th compartment being the zero.

The game is played in the following manner. A croupier--styled the _Tourneur_--calls out, "_Messieurs, faites vos jeux_," when the players place their stakes on that portion of the cloth which indicates the chance they wish to play upon. The _tourneur_ then says, "_Les jeux sont fait_," and throws a small ivory ball round the inclined ledge (A. A.) in one direction and turns the cylinder in the opposite direction. When the ball is coming to rest the croupier calls out, "_Rien ne va plus_," after which no further stakes can be made. As the ball comes to rest it gradually slips down the ledge, and finally lodges in one of the compartments in the cylinder. The number of this compartment is the winning number, and upon its colour, figure, &c., depend the results played for. It is announced by the _tourneur_ in this way, "_Onze, noir, impair, et manque_," which means that number 11, the Black, the uneven, and the _manque_ (numbers 1 to 18) win. The losing stakes are first raked into the Bank, then the winnings are paid, after which the _tourneur_ again says, "_Messieurs, faites vos jeux_," and the game proceeds as before.

{449}

There are no less than eight different methods of staking at Roulette. Besides the three even chances: Red, Black; _Pair_, _Impair_; _Passe_ or _Manque_, one single number may be backed. This is called staking _en plein_. Or two numbers may be coupled (_a cheval_); or three numbers (_transversale pleine_); or four numbers (_carre_); or six numbers (_transversale simple_, or _sixaine_). In addition, the first, second, or third dozens of numbers (_Douzaine Premiere_, _Milieu_, or _Derniere_), and the first, second, or third column each of twelve numbers may be staked upon. The odds offered by the Bank against backing a single number _en plein_ is 35 to 1, and the odds against the other chances in proportion: thus against either of two numbers appearing 17 to 1 is paid; against either of three numbers, 11 to 1; against either of four, 8 to 1, and so on; while obviously against each dozen, or column, 2 to 1 is paid; the Red, Black, _Pair_, _Impair_, _Passe_, or _Manque_ being even money chances.

A player wishing to stake on any of the even chances, or the dozens, or the columns, places his money on the portion of the cloth marked out for that chance. To back a single number, the stake is placed where that number is painted on the cloth; to back both of two numbers, the stake is placed _a cheval_--that is, on the line between these two numbers. To stake on three numbers with one coin, the amount is placed on the border-line of the outside number of three numbers. Four numbers are backed when the coin is so placed that it touches all four numbers, and six numbers are combined in one bet by placing the stake on the outside of the line dividing these six numbers. Zero may also be staked upon by placing the coin in the zero area; also zero, {450} 1, 2, 3 (_quatre premieres_), by putting the stake on the outside of the line dividing zero from 1, 2, 3; or zero coupled with 1 and 2; or 2 and 3 in a similar manner. In the illustration (Fig. 1) an example is given of staking in all these various ways. It will be noticed that consecutive numbers on the table can only be staked upon in combination, not consecutive numbers on the Wheel. Thus to combine the three _voisins_, or adjacent numbers, 0, 26, 15 on the Wheel, three separate stakes would be required.

Any two dozens may be combined, or any two columns, by placing the stake on the line between the two; and the player, when successful, receives one-half of the amount risked. Also any two even chances, such as _Rouge_ and _Impair_, whose position is adjacent on the cloth, may be combined with one stake by placing the coin on the dividing line between the two; the player is paid even money when both events turn up, and he only loses when neither event appears. But to bet on both _Passe_ and _Noir_ or _Rouge_ and _Manque_ at the same time, two separate states would be required.

The maximum stake allowed on the even chances is 6000 francs (L240)--on a single number 180 francs is the highest possible stake; the maximum stakes on the other chances are in proportion--thus 3000 francs on a dozen or column, and 720 francs on a _carre_ of four numbers. In each case the minimum stake is 5 francs, except when two dozens or two columns are combined with one stake, when at least 10 francs must be risked.

Each table is presided over by two _chefs-de-partie_, who sit on elevated chairs on either side of the Wheel. There are four croupiers, who sit at the _Banque_ (one {451} being the _tourneur_), whose duty it is to pay out the winners and rake in the losings. In addition, there is a croupier sitting at either end of the table, who looks after the interests both of the players and of the Bank generally.

There being thirty-seven compartments in the Wheel, and as the odds of 35 to 1 only are paid on the winning number, it follows that on all stakes on numbers, or combination of numbers, the Bank has one chance in thirty-seven, or a percentage of slightly under 3 per cent. in its favour.

The percentage in favour of the Bank on all monies staked on the even chances, however, is only one-half of this amount. On the appearance of zero, all the money at stake is swept into the Bank, with the exception of that on zero itself--which is paid at the same rate as any other number--and the amounts on the even chances--_Rouge_, _Pair_, _Manque_, &c.: these stakes are placed on the lines on the outside of the table (see Fig. 1), and are then said to be in prison.

On the next coup, if the stakes happen to be on the winning chance, they are allowed to be withdrawn by the player. The reader will please notice that this is theoretically exactly the same thing as if the punter halved his stake with the Banker, and this he is allowed to do if he chooses. Should two zeros appear consecutively the stakes are placed still further over these lines; they are now doubly in prison, and have to be doubly released therefrom before the player gets his own money back.

Thus it will be seen that, theoretically, once in every thirty-seven spins the Bank wins _half_ of all money staked on the even chances; on which chances, consequently, the Bank may be said to have a percentage {452} of slightly under 1-1/2 per cent. in its favour. This difference in the percentage in favour of the Bank is either unknown to, or totally disregarded by, the great majority of punters at Monte Carlo; but the player, by judicious methods of staking, to a great extent, can despoil the Bank of its higher percentage. An examination of the illustration (Fig. 1) will show that the following are Red numbers, viz. 1, 3, 5, 7, 9, 12, 14, 16, 18, 19, 21, 23, 25, 27, 30, 32, 34, and 36. Thus _Impair_ contains 10 Red numbers, and but 8 Black ones. The first column includes 6; the second column 4; and the third column 8 Red numbers. Thus a player staking on Black and _Impair_ has no less than twenty-eight numbers in his favour, on eight of which he wins both his stakes, and on twenty he neither wins nor loses. Or a punter staking on the third column and Black, is guarded by twenty-six numbers, on four of which (the four Black numbers in column 3) he receives 1-1/2 times his stakes, on eight (the eight Red numbers in column 3) he receives 1/2 times his stakes, and on the remainder he neither wins nor loses. Similar wagers can of course be made by combining Red and _Pair_, or the first column and Red, and so on. Now a player wishing to stake on a great many numbers (which is a very frequent occurrence, and is popularly known as "plastering the table"), instead of placing his money on the various _transversales_, _carres_, and _en pleins_, by which method he loses all his money if zero appears, should rather stake the equivalent amount on Black and _Impair_, or Red and _Pair_, which, as explained, covers twenty-eight numbers. By this method he loses only one-half of his money if zero appears. Nothing is more usual than to see a player stake _a cheval_ on two dozens. A more idiotic method {453} of gambling cannot be conceived. The equivalent amounts (supposing the _douze_ P and the _douze_ M are selected) should be staked on _Manque_, and the _transversale_ of 19 to 24. Now if zero appears half the stake on _Manque_ is saved, but in the former case the entire stake would be lost!

Many similar instances of good and bad staking could be quoted, but the average player at Monte Carlo considers the percentage against him to be so insignificant that it is scarcely worthy of his notice. However, as its _insignificance_ represents a gain of some hundreds of thousands of pounds sterling per annum to the Administration, it should be worthy of a passing thought at any rate.

Nearly every player at Monte Carlo has a system of some sort, generally played on the even chances. There are, however, systems for playing on numbers, dozens, &c., but these for the most part are of the most fantastic and insane order. The writer has actually known a player whose system was to back thirty-five out of the thirty-six numbers, on the principle that, having but two numbers against him, he would be very unlucky not to win one unit per coup!

Hundreds of people play on one particular number after the appearance of some other particular number, and are confident in themselves that, for example, 3 always turns up after 25; or 10 after 0. A very favourite stake is zero _et les quatre premiers_--that is, zero _en plein_, and zero coupled with 1, 2, 3. Another very general stake is _les voisins de zero_--or zero and the numbers on either side of it on the Wheel. This is a simple bet to make by putting one coin _a cheval_ between 0 and 3, one between 32 and 35, and one each on 26 and 15. The underlying idea of these {454} zero bets is that the Bank cheats; that it wants zero to turn up; and that the _tourneur_ is skilful enough to throw zero when he wishes. A more ridiculous assumption could not be made--in the first place, because the _tourneur_ cannot throw the ball even to a particular section of the Wheel, much less into zero itself; and in the second place, because the gambling could not possibly be carried out in a more straight-forward manner than it is by the Administration at Monte Carlo. If the _tourneur_ could throw the ball into any compartment he chose, he could, through his friends, ruin the Bank whenever he wished.

If I had space I could tell a story of how M. Blanc offered to give a certain player a year's practice at spinning the Wheel, and then to allow him to be his own croupier and stake as he chose. This is a fact; and yet I have often heard the following class of whispered conversation in the rooms: "Now's our time--there's a lot of money on the even chances--wait till the ball is spun and then bet on zero."

Some players back their age, when not too old--an eventuality that can occur only to the sterner sex. A sweet and blushing maiden of some fifty summers may be observed always to place her stake on No. 28--"Because it's my age, my dear, and to-day is my birthday!" Others back the number of their cloak-room ticket, or the number of the hymn for the day (if they should happen to have been present at church to hear it sung)--indeed everybody has a pet number; and why not? One number is just as likely to appear as any other. These are not systems in the true sense of the word, but they constitute a systematic method of staking, which is always advisable for play--be they ever so weird and fantastic--as they keep the player {455} within certain limits, and prevent him from losing his head, and making wild plunges to retrieve all his losses by one lucky spin of the Wheel.

The more business-like systems are played on the even chances. Many are exceedingly ingenious, and on paper would appear certain to "break the Bank at Monte Carlo!"

The underlying principle of all such systems is to play a Martingale--that is, after each loss to increase the stake in various proportions until all previous losses have been recouped, and a profit is shown. The commonest and simplest to play is the "_Montant et demontant_," which consists in increasing the stake after a loss by one unit per coup until the player is one unit to the good. Thus if the first stake be lost, the next stake would be two units, which is also lost, as is the next one of three units. The player would now have lost six units in all. His next stake becomes 4, which, supposing it to be won, would leave him a net loser of two units. The stake would now be dropped to three units; for the object is to be but one unit to the good. Should this stake win, the game would be started all over again with one unit. On the other hand, if the 3 had been lost, the next stake would be 4, and so on. There are many other systems. The general principle of them all is exactly the same; the calculations and paper results being nothing more nor less than an ingenious method of juggling with figures.

The Fitzroy system aims at winning one unit per coup played. For the working of this system it is necessary to keep a column in which _imaginary_ losses are written down: the player assuming that he loses one unit more and wins one unit less than he actually does. The stakes are increased by unity as in the {456} "_Montant et demontant_" system, with the exception of the second stake, which (after a loss) is three instead of two units, until the _imaginary_ losses column comes out clear. Here is an example of ten coups played on the Fitzroy system:--

+--------+-------+--------+--------++--------+-------+--------+--------+
| Stake. | W. | Net | Imagy. || Stake. | W. | Net | Imagy. |
| | or L. | + or - | Loss. || | or L. | + or - | Loss. |
+--------+-------+--------+--------++--------+-------+--------+--------+
| 1 | L.1 | -1 | -2 || 6 | W.6 | -3 | -9 |
| 3 | L.3 | -4 | -6 || 7 | W.7 | +4 | -3 |
| 4 | W.4 | 0 | -3 || 4 | L.4 | -0 | -8 |
| 4 | L.4 | -4 | -8 || 5 | W.5 | +5 | -4 |
| 5 | L.5 | -9 | -14 || 5 | W.5 | +10 | +/-0 |
+--------+-------+--------+--------++--------+-------+--------+--------+

Showing ten units won for ten coups played, the imaginary
loss column now reading +/-0.

Another very ingenious scheme is that known as the "_Labouchere_" system. To play this so many figures are written down that their total equals the "_grand coup_"[109] that is being played for. Ten is the customary coup, and the figures 1, 2, 3, 4 are written down on a piece of paper. The method of play is to stake the sum of the extreme figures, and if a win is scored, these two figures are erased; while if a loss is incurred the amount of the stake is written down at the end of the row of figures, and the next stake is the sum of the new extremes. When all the figures have been erased the coup is made, and the player either begins a fresh game or retires from the table. Here is an example: 1, 2, 3, 4: first stake 5, which is lost. The row now reads 1, 2, 3, 4, 5; and the next stake (6) is won, the row reading =1=, 2, 3, 4, =5=; the next stake (2+4) is lost, when we have =1=, 2, 3, 4, =5=, 6. {457} The next stake is 8, which is won, and we read =1=, =2=, 3, 4, =5=, =6=; the next stake being 7, which is won, the 4 and 3 are erased, when it will be found that the net profit is 10 units.

Example of a bad run at a "_Labouchere_" system. The "_grand coup_" is 10; so the starting figures are 1, 2, 3, 4. The player is supposed to stake on Red throughout. The dot shows which colour wins.

The Figures. The Stake. R. B. Net + or -
=1= 1 + 4 5 . +5
=2= 2 + 3 5 . +/-0
=3= 2 + 5 7 . -7
=4= 2 + 7 9 . +2
=5= 3 + 5 8 . -6
=7= 3 + 8 11 . +5
=8= 5 5 . +/-0
=5= 5 + 5 10 . -10
=10= 5 + 10 15 . -25
=15= 5 + 15 20 . -45
=20= 5 + 20 25 . -70
=25= 5 + 25 30 . -40
=25= 5 + 20 25 . -15
=35= 10 + 15 25 . -40
10 + 25 35 . -75
10 + 35 45 . -30
=40= 15 + 25 40 . -70
55 15 + 40 55 . -125
=70= 15 + 55 70 . -195
15 + 70 85 . -110
80 25 + 55 80 . -190
=105= 25 + 80 105 . -295
25 + 105 130 . -165
120 40 + 80 120 . -285
160 40 + 120 160 . -445
=200= 40 + 160 200 . -645
40 + 200 240 . -405
215 55 + 160 215 . -620
270 55 + 215 270 . -890

Showing 29 coups, of which the player wins 9, with a net loss of 890 units. The next stake would have to be 55 + 270 (325), _i.e._ if the game had been played {458} with a one louis unit, a heavier stake than is allowed at Roulette.

Systems are very amusing and profitable to play, provided nothing abnormal occurs. But something abnormal will occur sooner or later, and the amounts staked and lost become colossal, and finally the maximum is reached: no higher wager can be made, so the system fails. The flaw in all systems is that the losses on an unfavourable run are out of all proportion to the gains on a favourable one. A "_Labouchere_" runs into hundreds in no time, and is in fact one of the most treacherous systems to play for this reason. Let the reader dissect the play of a _Labouchere_ on such a run as that on p. 460, which is a far from uncommon one.