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■^
■
1^ V?>^/' ^ -^'"mi
■
I^^^^^E i^^i^K^
^^^^B^^^- -^af
Games Ancient and Oriental,
and how to Play Them
Edward Falkener
^(9-fr. H^
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GAMES ANCIENT AND ORIENTAL
HOW TO PLAY THEM.
BEING
THE GAMES OF THE ANCIENT EGYPTIANS
THE HIERA GRAMME OF THE GREEKS,
THE LUDUS LATRUNCULORUM OF THE ROMANS
AND THE
ORIENTAL GAMES OF
CHESS, DRAUGHTS, BACKGAMMON
AND
MAGIC SQUARES.
EDWARD FALKENER.
LONDON:
LONGMANS, GREEN AND Co.
AND NEW YORK: 15, EAST 16th STREET.
1892.
AU rights reserved.
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/^ARVAftD
JUNIVERSITYI
I LIBRARY
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't
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CONTENTS.
INTRODUCTION.
ir. THE GAMES OP THE ANCIENT EGYPTIANS.
III.
IV.
V.
VI.
VIL
VIII.
Dr. Birch*B Researches on the gomes of Ancient Egypt
Queen Hatasu's Draught-board and men, now in the British
Museum - - - -
The game of Tau, or the game of Robbers ; afterwards played
and called by the same name, Ludua Latrunculorunif by the
Romans . - - - -
The game <^ Senat ; still pkyed by the modem Egyptians, and
called by them Seega - - - .
The game of ffan ; The game of the Bowl
The game of the Sacred Way ; the Hiera Gramme of the Greeks
The game of Atep; still played by Italians, and by them
called Mora - . - - -
PAGE.
9
22
37
63
91
103
CHESS.
IX.
Chess Notation—A new system of
116
X.
ChtUuranga. Indian Chess
119
„ Alberuni's description of
139
XI.
Chinese Chess ....
143
XII.
Japanese Chess ....
155
XIII.
Burmese Chess
177
XIV.
Siamese Chess ....
191
XV.
TurkiBh Chess
19« v/
XVI.
Tamerlane's Chess - - -
197 V
XVII.
Game of the Maharajah and the Sepoys •
217
XVIII.
Double Chess
226
XIX.
Chess Problems - - . . -
DRAUGHTS.
229
XX.
Draughts . . - . .
235
XXI.
Polish Draughts . . _ . .
236
XXII.
Turkish Draughts . - . - -
237
XXUI.
Wei-K'i and Go : Tlie Chinese and Japanese game of
Enclosing
239
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IV.
XXIV.
XXV.
XXVI.
XXVII.
XXVIII.
XXIX.
CONTENTS.
BACKGAMMON.
Backgammon
German Backgammon
Turkish Backgammon
Fiichiti : or Indian Backgammon
C^uiOTf and Ckawput
Aihta-Kathte
PAGE.
252
254
255
257
263
265
MAGIC SQUARES.
XXX. Magic Squares ....
XXXI. Odd Squares ....
XXXII. Even Squares, whose halves are even
XXXIII. Even Squares, whose halves are uneven
XXXIV. To form a Magic Square, beginning at any cell
XXXV. Magic Squares in compartments
XXXVI. Magic Squares in borders
XXXVII. Hollow and Fancy Squares, and Magic Circles and Pentagons
XXXVIII. The Knight's Tour
XXXIX. The Kuight's Magic Square -
XL. The Knight*s Magic Square, beginning at any oell
XLL Indian Magic Squares
269
271
279
289
296
301
303
305
309
319
325
387
XLII.
FIGURES OF THE KNIGHT'S TOUR.
345
Appendix I. Rules of the Egyptian Games
„ II. Addenda et Corrigenda
,, III. Lower Empire Games
357
362
364
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INTRODUCTION.
The present age is distinguished for discovery of the
records and monuments of antiquity, and for the won-
derful discoveries of the secrets of nature ; for searching
after things long past, and for making progress with
rapid strides into the future. These two studies fre-
quently go hand in hand together. We study the
buildings and the sculptures of the ancients, and the
paintings of the old masters, and we apply the principles
thus learnt to the requirements of the present day ; we
study ancient authors, not merely to improve our taste
and intellect, but also to enable us to exert our faculties
to the best advantage in the affairs of life. The past,
the present, and the future are woven together in all
the studies and occupations of man. As a healthy
recreation from pursuits of more severe study, necessity
and usefulness, the following pages are offered in the
hope that some of the amusements of past ages may
take their place among the relaxations of modern times.
The author directed his attention many years ago to
the games of chess, draughts, and backgammon, and to
the formation of magic squares. After the elaborate
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2 INTRODUCTION.
works which have been written on the history of these
games, he feels, now that he proposes to publish his
researches, it would be presumptuous were he to attempt
to add to what has been already done so well ; he has
confined himself therefore exclusively to the practical
rules and principles of each game, so that anyone, with-
out further application, may be able to play any of these
games, as if they were modern games invented for the
present times ; and he thinks it will be found that these
games which were established in years gone by, whether
of greater or less antiquity, contain merits which are
not always to be found in the new and fanciful conceits
which are brought out each day, and set aside by others
to be introduced on the morrow, which will again in
their turn soon be forgotten.
In the examples of games given for each description
of chess, the reader, and more especially the chess-
player, will understand that the examples are merely
given to show the moves ; being frequently played by
friei;ds who were not chess-players, but who kindly
learnt the moves so as to enable the author to score the
game.
CJiess, draughts, and backgammon, or games resem-
bling these, have been played in all civilized countries,
and at all times. In some instances there is little or no
variation of the same game in difierent countries : in
others the difference is such as to constitute a new
game, and very frequently a game of great interest.
It is the object of this book to show some of these
varieties, and what is more, by giving examples of these
games to enable anyone to learn the games and play
them. We have not as yet found them in Nineveh or
Babylon, though we are convinced they were played
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INTEODUCnON. 3
there ; but we see them depicted on the walls of Egypt ;
and the most ancient of all the games of chess, the
details of which are known to us, comes from India.
Kings and princes, bishops and laymen, are depicted on
ancient monuments and in mediaeval MSS., playing at
these games. Learned men in all ages have sought
relaxation in such pursuits, after hours of severe study ;
and to all of us as we advance in years a game at whist or
backgammon relieves the eyes and keeps us awake, when
the faculties of the mind and body have become en-
feebled. The invalid also, and the afficted, forget
their troubles when absorbed in the intricacies and
difficulties and the excitement of the game. The re-
membrance of our friends is often associated with the
games we have played together ; sometimes even when
we have played only a single game, and have never
met again.
The formation of a magic square is an occupation
which we can enjoy when alone, as it presents countless
varieties of ingenious solution. Men in the present age
of necessity and practical industry are apt to look upon
such occupations as trivial, and as a waste of time;
but they forget that the mind requires relaxation as
well as the body; and that as some of the first wranglers
have been the first athletes ; and as the most illustrious
Greeks thought it their highest glory to be a victor
in the Olympic games ; so Euler and other eminent
mathematicians have not despised the solution of such
problems.
*' Deficiet sensim qui semper tenditur arcus."
The utilitarian therefore is wrong in declaiming
against such recreations as a waste of time ; as much so
as when he affirms that classics and mathematics are
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\^
^
4 INTRODUCTION.
useless in this age of science. Every man who has risen
to the highest grade of science will tell us that he could
not have been where he is were it not for the education
he received at college ; and in like manner a man who
has never looked into the works of a Greek or Latin
author, or worked a problem in Euclid, or solved an equa-
tion in algebra, since he left school, will acknowledge that
though he has never had occasion to apply these studies
in after life, he has found them of immense advantage
to him in improving and strengthening his mental facul-
V ties in the position which he occupies. But whether
these games are useful or not, they form the means of
rational amusement and social amusement far superior
to many of the amusements which are resorted to in the
present day : and no apology therefore is needed either
for the study or for the practice of any of these games.
V But of all these games chess is the most useful ; for as
mathematics is a handmaid to logic, and teaches the
lawyer to build up and establish his proofs before he
goes on ; so chess teaches the soldier not merely the
science of attack, but instils caution in the mind of a
prudent general to avoid surprises, to fortify his base of
operations, and to despise no foe. Talleyrand regarded
the pieces on a chess-board as applicable to mankind : —
things to be made use of, whether of higher or lower
degree ; and it is thus that priests regard the laity : —
"Les hommes sont, k ses yeux, des tehees k faire
mouvoir : ils occupent son esprit, mais ils ne disent rien
h son coeur."^
Of late years indeed it has become -the parent of
the Kriegs-spiel. And are not such habits essential
and necessary to us all, whatever our position of
^ M^moirefl.
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INTRODUCTION. 5
life may be, enabling us to concentrate all our efforts
to the accomplishment of the task before us, and to
stand on our guard constantly against all the tempta-
tions and dangers with which we are surrounded ?
Were we writing a history of chess and other games, ^
we should have to narrate liow kings and emperors,
shahs and sultans, princes and bishops, conquerors and
captives have played at chess ; and how provinces have
been staked, lives lost, and others saved only by the
delay in finishing a game ; how one who was summoned
to execution in the middle of a game begged to finish it,
and at the end of the game was proclaimed king ; and
we should be able to give many other anecdotes con-
nected with the game ; but these have been narrated
many times and by better hands, and of late by Professor
Forbes, from whose interesting history of Chess one
anecdote we will give, which Mr. Bland had however
previously narrated,* and others before him.
" Two Persian princes had engaged in such deep play,
that one of them having lost his whole fortune, was
rendered desperate, and staked his favourite wife Dila-
ram to retrieve it. He played, but with the same ill
success, and at last saw that he must inevitably be
checkmated by his adversary at the next move. Dila-
ram, who had observed the game from behind the
parda^ or gauze screen that separates the female from
the male portion of the company, cried out to her
husband in a voice of despair : —
" Ai Shab ! do KuA;/t bidib, wa Dilaram ra madib ;
Pil wa Piyada, peeb kun, wa zi Asp Sbab-mat."
" Prince, sacrifice your two rooks, and save Dilaram ;
Forward witb your bisbop and pawn, and witb tbe knigbt give
cbeckmate.''
^Persian Chus, p. 23.
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6 INTEODUCnON.
WBITB.
SdlutimL
DILARAM. BLACK.
1. R to R 8th (check). 1. K. takes R
2. B. to K. B. 5th (discoveriDg check).^ 2. K. to his Kt*8. square.*-^
3. R to R 8th (check). 3, K. takes R
4. Kt's. P. gives check. 4. K. to his Kt*3. square.
5. Kt. to R 6th (mate).
There is one anecdote, however, connected with our
own history, which ought to be recorded. When the
noble-minded, but weak and unfortunate King, Charles
I. received a letter to inform him that the Scots had
agreed to hand him over to the ParUamentary forces,
he was playing at chess. '* Painful as the tidings must
have been to him, his countenance betrayed no change ;
^ The Bishop moves two squares always, with power of hopping over an inter-
mediate square, whether occupied or not.
' Black might have interposed Rook from his Q. Kt's. 7th to his K. IVs- 7th, but
this would merely have delayed the game one move-
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INTRODUCTION. 7
and he continued the game with the same placidity of
manner and apparent interest, as if the letter had
remained unopened.*
But it is our purpose, not to give a history of chess
and other games, but to give the games themselves,
with examples of games, so that anyone may play
them ; «uch examples being given, as we have said,
not for the superior play exhibited in such games, but
simply to show the moves, and the nature and genius
of the game.
'* thou whose cynic sneers express
Theoensure of our favourite chess,
Know that its skill is science self,
Its play distraction from distress.
It soothes the anxious lover's care ;
It weans the drunkard from excess :
It counsels warriors in their art,
When dangers threat, and perils press ;
And yeilds us, when we need them most,
Companions in our loneliness."
From the Persian^ of Dm id Mutcizz.^
* John Heneage Jesse, Memoirs of the Court of Ei^yland during the reign of the
Siwnrte, 1. 405.
' Penian Cheu, by X. Bland Esq., M.R.A.S., 1850.
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II.
THE GAMES OF THE ANCIENT EGYPTIANS.
The illustration on front book-cover is from a photo-
graph of the bust of Queisn Hatasu in the Berlin Museum.
She lived about 1600 B.C. ; and we shall presently
describe her draught-board and other games. But these
games were played as early as the time of Kftshepses
and we can trace them even to the fourth dynasty;
which we will leave to Egyptian chronologists to
determine whether it was three or four thousand
years B.C., or twice the age of Queen Hatasu before
the Christian Era. The illustration on back book-cover
is of the time of Trajan, a.d. 100, and thus we see
through what a long period these Egyptian games con-
tinued to be played, begin ing id the earliest, ages, and
going down to the time of the Romans.
We have said that many of our modern games have
descended to us from ancient times, and that some are
depicted on the walls of Egyptian temples and tombs.
As Indians believed that the enjoyments of life with the
Great Spirit in the future state would consist in hunting;
as the Eomans placed theirs in the symposial enjoy-
ments prefigured by the lectisternium, as evidenced by
the recumbent figures so frequently found on their
sarcophagi ; and as the Mahometans look forward to
the solace of houris, so the Egyptians are represented as
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10 THE GAMES OF THE
passing their time in the future state in anointing (and
therefore we may conclude in previous bathing,) in
music, and dancing, and song, and in playing at various
games. What these ancient games were will be seen by
the following paper which was given to me in 1864, by
the eminent Egyptologist, and founder of the Biblical
Archaeological Society, the late Dr. Birch, of the British
Museum, and which will be read with great interest.
We have added the illustrations to make it more intelli-
gible.
'' B. M.
1 April, 1864.
" My dear Sir,
"Herewith I send you the representations of the
games of draughts on the monuments, which I have
long promised you : —
"On the Games of Ancient Egypt.
" The earliest appearance of games is in a tomb of
Rashepses, a scribe and functionary of the King of Tat-
Ka-ra of the 5th Egyptian dynasty. Amidst the diver-
sions of music and singing are seen two games : —
LepiiMt Denhmdler, 11.61, Tomb 16.
1. '* A low stand or table,* at each side of which is a
player seated on the ground, each placing a hand on
' About 16 inches high. £.F.
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ANCIENT EGYPTIANS. 11
one of the pieces. These pieces, twelve in number, are
of two different kinds, those of the player on the left
being conical, while those of the player on the right
having a small cap or stud at the top of the cone. The
pieces are placed alternately, plain and capped. Each
player is represented as about to take up a piece.
Hieroglyphical inscriptions are written over. Above the
board is ^-<2>-^^'^'^ maa sent, "see the sen't,'*
i.e.. the game. The word sent has many meanings in
hieroglyphs, and being here written without any deter-
minative, is very ambiguous.* It might be connected
with sen^ a " robber," and if so, would be the lat runc ulus.
Over the player on the right is "^^^ ^ ^^^^^ " ar
en" {That makes) ''shamt" {three) *'m" {from)
** sen't " {the board) : evidently alluding to the pieces
taken. Over th e pl ayer on the left is inscribed
^ ^P;— '^-^ "Fa" {Lifts) "shamt" {three)
'' sen " {pieces) or two ^* m " (from) '* sen't " {the board.)
2. •' The other game represents a circular board "
(placed upright in order to show it). The description
which follows is not very accurate, and the reader is
referred to the description of the game further on.
Prof. Lepsius's drawing, as noted by Dr. Birch, makes
the two innermost rings pen-annular, but this arises
1 ** ThiB word is not 8 » ^""" i (slen) as sometimes iDaccurately written, but
^g www
tZ3 (tendi) or rather ^^^ ^»^^- I* ^ al«o written ** [I ^
/wwv\ C==3 tIZ) CZZl ^^ '^'^'^'wv T ^^-^
(tendt). Now the apparently kindred word T^;^ 7\ {ten) has unquestionably
the sense of ' passing, (moving from one place to another)' and in the Tablet of
Canopus is rendered in the Greek fJUTari$rifu, * to alter, transpose, place differently.
The word ten has however another meaning (which may possibly have given the
liable to the game) viz. to removf, tnke away, cut off : hence perhaps ' game of take. *
Thi« however does not appear to me as probable as the former, because the verb in
this senae has usually the termination of cuUinff^>^" P. le P. Rbnoup.
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12 THE GAMES OF THE
probably from an imperfection in the painting, or from
an intentional desire of the artist to give space for
drawing the hands of the players.^) '' Above the board
is a jar. The game is called 8 . ° J ^ki^ -^^^ ^^
han," the game of the jar. The arrangement of the
board has great similarity to that of the circular Cretan
labyrinth, as seen in the coins of Gnossus.
3. "Some other representations of the first game
occur in the tombs of Beni-Hassan. They are of the
time of the twelfth dynasty.
On a low table of painted wood (coloured yellow, with
grey markings, E.F.), the men, twelve in number as
before, are placed. They are conical, and tipped cones,
as before ; the conical ones coloured yellow, the tipped
ones green. They are placed, as in * the already de-
scribed representation of the fifth dynasty, alternately
yellow and green, conical and tipped, along the board.
Each player is touching with delicate hand the piece
nearest to him.
4. *'A second representation has a similar board
with players : but the green and tipped men are on one
side of the board, and five in number : while the yellow
cones on the other side are six in number. Over them
is written the word O'^^f' J aaseb^ which is errone-
ously translated leisure by Eosellini. It probably
means some particular form of the game : or possibly
5. ** There is also an historical representation of this
game. The monarch, Eameses III, or Maimoun, is
represented at Medinet-Haboo seated on a chair.
1E.P.
' It is hopeless to attempt interpreting the word, until we find it with acme
kind of context. Mr. P, le P. Renouf.
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ANCIENT EGYPTIANS.
13
" Before him is a female standing, supposed to be his
queen.* Between them* is the table and board. The
pieces are all alike, with tipped heads, (but probably of
different colours, yellow and green^) each player lifts a
piece. The men, (as in the last representation,) are
placed at each end of the board, with a space between
them. There are six close together on the king's side
of the board, and five on the female's, who has taken
^ In his artide published in the Trans, of R. Soc. of Lit. he quotes Herodotus
II, 122, who says that Ramsinitus (Rameses III. the head of the 20th dynasty,
and founder of the palace at Medinet Haboo at Thebes) played (at draughts) with
Isis (Ceres) the wife of Osiris, and that sometimes he won, and sometimes he lost.
Barneses is often represented with his queen sitting behind him, and looking at
his play. It must therefore be either Isis, or his Queen, but not a slave.
* Dr. Birch writes here — " Between them is a chess or draught table.*' Chess is
quite out of the question.
>E.F.
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14
THE GAMES OF THE
up the fourth piece. This makes the number of men
eleven, which is probably an error in the drawing."
(The queen has five men with a gap between them, and
she has one piece in her hand ; while Eameses also has
five on the board, and one in each hand. He there-
fore is the winner : and he seems to show it in his
countenance.')
6. " At a late period, viz. in the age of Trajan and
the Antonines, the game was still played, as appears by
the caricature papyrus in the British Museum.
" A lion is seated on a stool playing at the game with
a goat. On the board are eight pieces, four on each
side, with tipped heads on the goat's side, and flat
heads on the lion's side. Each player is lifting up a
piece with his right forefoot.^
" Thus it will be seen that though the number of
pieces varied in the representations, the proper number
was six to each player ; that the number of squares on
^ Ab Queen HataBu's pieces are lion-headed, and as the name of the pieces abu has
some relation to a goat, it is probable that the caricature merely represents a battle
between the two sides, in which the lion-headed pieces ha^e got the mastery. E.F.
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ANCIENT EGYFTIANS,
15
each side of the board was six; and that the pieces
were arranged parallel to the player, as in modern
draughts. When the game advanced, the pieces were
played side by side, and probably took laterally. The
first move too was, it appears, one of the end pieces ;
or at least that was the favourite move.
7. " Different from this game are those shown on a
board in the collection of (Dr.) Abbott.
"On one side is a board formed of three lines of
squares in width, the central one of which has twelve
squares in length, and the two side ones four squares
in length. A drawer underneath held the pieces, some
£
I
ICJTJIUi
-ir^Trnmr-ir^fY~^r-i.
JJUULJ
\ 1
1
1
of which are tipped, and others reel-shaped. M. Prisse
thinks the game was probably played like the Trcrrc/a of
the Greeks, said to have been invented by Thoth, (Plato,
Phcedr^ p. 227^) and that the central line was the line
called c((>a y^fifiri or sacred line. He also considers
that it may have been the origin of the Greek game
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16 THE GAMES OF THE
8. '* On the other side is a board of thirty com-
partments, having three squares at each end, and ten
on each side.'
9. " Another kind of game is said to have resembled
the game of draughts. This game was also supposed
to afford diversion to the deceased in the future state.
The pieces are found with different heads, as those of a
man, a jackal, and a cat ; and are generally of porce-
lain or wood."
In the following year Dr. Birch sent a contribution
on the same subject to the Revue Archeologique, Vol. ix.
1865.
And in 1866 he published a paper entitled " Adver-
saria iEgyptiaca " in the Zeitschrift fur Egyptischer
Sprache, in which he states: —
" In my paper in the Rev ue A rcheologique I gave the
explanation of the word a^aaaa^^t^ as signifying the
Egyptian game of chess, and also that of 8 ^ Aaw,
the game of the vase. To this I will add the ^* ^* ^^
tau or game of " Eobbers," the prototype of the Eatrun-
culi of the Eomans which is found in an inscription at
Thebes published by Mr. Brugsch in his Monuments
Egyptiens, PI. LXVIII f. h., and in Champollion,
Notices Descriptives, p. 566. From a comparison of
these inscriptions it is evident that the hieroglyph c^
often in full texts represented chequered is really a
chess-board with the pieces arranged ready for the
game.
' It will be notioed that the cells are sunk in each of these games, to keep the
pieces in their places. In Queen Hatasu's board they are not sunk. E.F.
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ANCIENT EGYPTIANS.
17
"The text in Champollion differs from that of
Brugsch. It reads:
P*kS k i-^} k ilT k
P**^
delectatuB
m
in
kab
Indendo,
11
m
in
t'au
latmncuHs,
an
fuit
m lian m
in ludo vasis, in
ha
princeps.
StU't
abaco,
rpa
dux
" Here it is necessary to correct the form =— of
the Notice descriptive to 8==», the form in which it
occurs in the inscription published by Brugsch, while
the form in other passages is sn-t as already elsewhere
shown, which is the correct form, the 8==» being the
homophone of o and the phonetic complement as I
have elsewhere shown of the -#- or R. In Brugsch
the text is larger.
"The text in Brugsch, PI. LXVIII. f. reads:
^
J I
9^
i?
ma
visus est
bu
locus
nefr
bonus
at
hor&
n 8'xm 8Uta m
delectationis valetudinis. In
IT ^ mi ^h^ ^m
nefr-t ma hes ')(bt urlia
videntur cantus, saltatio,
bon&
unctus,
^^ k
ana
thura,
m
in
stnt
abaoo,
m
cum
j^< nbt
rebus omnibus,
L^)J k i
hdb
ludus
m
in
lum
vase.
11'
m tail an
in latrunculis, a (duce) etc. ,
^ We are indebted to Meean. Harrison & Sons for the use of this Egyptian i^pe:
Digitized by VjOOQIC
18 THE GAMES OF THE
" That the game snt means chess in general, there
can not be a doubt from the evidence which I have
already given. That of the tau or ** Eobbers " connects
it with the Soman game of Latmnculi which both by
name and probably as arranged had been derived from
Egypt. This last game indeed is described as different
from that of the vase and the chess-board. Perhaps
future researches may throw some light upon its nature.
It is mentioned however as latrones and not latro in the
Egyptian texts."
In 1867 I received a copy of this article in the
Zeitschriftf with the accompanjring letter :
"British Museum,
4th December, 1867.
*' Dear Falkener,
** You can keep the dissertations in the journal,
as other copies of the Zeitschrift are in my possession.
Some years ago, about three as I remember, I wrote a
short paper in French in the Revue Archiologique
entitled "Ehampsenite et le jeux d'echecs." In it I
showed that the unknown Egyptian word aawavstt*-
meant chess ; and that the dead, or their spirits, were
supposed to play at it in the future state. Something of
this, as far as memory serves, takes place in the Greek
or Boman Elysium, where the dead play at toZi, or
knuckle-bones, an Elysian pleasure which I formerly
realized when a boy at school Since then Lepsius has
published a coflSn, with the very chapter of the Bitual
which I illustrated ; in which are depicted the chess-
men. This time it is my intention to amalgamate the
two papers for the Royal Society of Literature in
English, and add some additions and observations.
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ANCIENT EGYPTIANS. 19
" The * Vase ' game was played over a circular board,
and the pieces moved on concentric circles. It is
represented on early tombs. My article in the Beviie
Arckeologique is in Vol. xii, 8° Paris 1865, p. 65 and
foil. No copies of my paper were sent me, or I should
have distributed them amongst my friends.
Yours very truly,
S. Birch.''
These two articles were incorporated together with
some additions in a paper read before the Eoyal Society
of Literature, Feby. 28, 1868, and published in its
Transactions, Vol. ix, new series, in 1870.
Here, in game No. 4 preceding, he gives the signifi-
cation of aaseh as "consumed" or "extinguished."
Eelative to game No. 5, he mentions that, as already
stated, Eameses III. played at draughts with Isis.
Game No. 6 he thinks may represent Khamsinitus " the
old lion " playing with Isis, on whose head was placed
a solar disk entwined with goats' horns. In the 17th
chapter of the Ritual for the Dead we read — " Making
transformations at their will ; and playing at (draughts)
being in a pavilion, a living soul."
Lastly, in 1878, we have some further observations
by Dr. Birch in his notes in the second edition of Sir
Gardner Wilkinson's Ancient Egyptians : — ^
" The board of the game was called p^^ eia or
"^^^ K9n^ sent. They generally played with six pieces,
and the set of each player was alike, but distinct from
that of his opponent. The most ordinary form was the
cone or conoid, either plain, or else surmounted by a
pointed or spherical head: but there were several
varieties of shape. A very old type of porcelain in the
»c
Digitized by VjOOQIC
20 TH£ GAMES OF THE
British Museum, No. 6143" is a human head, and no
doubt expresses ^^ the tau^ or robber, the latro of the
Eoman draught-board, said to be made of glass, and
supposed by some to be a single piece. Another type
was cat -or possibly dog-headed, B.M. 6414, and another
decidedly dog or jackal-headed, 6414^ of black porce-
lain probably represented the hiOTiy or dog, as the
Greeks called their pieces. One remarkable one has
traced upon it, in darker colour, the name of the
monarch Nechao, or Necho II of the 26th dynasty,
600 B.C. It is numbered 6414^" (It was originally
white: another 55 75'' is black. They are represented
below, the former of full size, the latter of half size.)
'• The game was one of the delights of the Egyptian
Elysium, and played in the future state, according to
the 17th chapter of the Ritual of the Dead ; and boards
and men — five of one kind, and four of the other — are
sometimes represented in the sarcophagi of the eleventh
dynasty. The boards had nine squares one way, and
seventeen the other : in all 153 squares. They were
alternately coloured red and black. The draught-men
were called ab or abur In another place he says —
** The Egyptian chess-board had thirty squares, black
and white," p. 259.
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ANCIENT EGYPTIANS. 21
It will be seen that these remarks of Dr. Birch
extend from 1864 to 1878. Making no further pro-
gress, I then laid aside my labours as hopeless, and
turned my attention to the Ludus Latrunculorum of
the Romans. But there also — notwithstanding all that
had been written on the subject by learned students
and antiquaries — as no board had been discovered, we
had no clue to the game ; and the wildest theories were
advanced for its solution ; and we got no further than
the poets left us. For the reader will have observed
from the foregoing that although numerous representa-
tions of the Egyptian draught-board exist in Egyptian
wall-painting, no plan of the board has been so repre-
sented ; neither have any remains of a draught-board
been discovered till very recently, although numerous
draught-men have been found from time to time. As
it was considered probable, as stated by Dr. Birch in
the foregoing extracts, that one of the Egyptian games
was the prototype of the famous Ludus Latrunculorum
of the Romans, a game which is now lost to us, and of
which likewise we have no remains of a board, or even
a description which we knew to apply to this game, of
the number of squares or the number of men; the
reader will imagine how when after so many years of
study, we had only got to the bare commencement of
our work, we were struck with startling amazement
and joy when we read the following announcement in
the Times of June 22, 1887 :—
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III.
"Ancient Boyal Egyptian Relics at the
Manchester Exhibition.
"In the place of honour at Manchester— that is to
say, on the dais, immediately under the dome in the
centre of the exhibition building — stands an Egyptian-
looking glass case containing a group of relics described
in the catalogue as " The throne, signet, draught-board
and draught-men of Queen Hatasu, B.C. 1600."
" DrauglU'hoard and drattght-men" " 1600 years
B.c," — I said '* we shall now know the number of squares,
and the number of men: and it will be no difficult
matter then to find the game." But we must go on
with the description by the IHmes' Correspondent, for
the particulars are most interesting : —
" The date is sufficiently startling, but, due allowance
being made for chronological difficulties, it is no doubt
fairly correct. As for the contents of the case, whether
as regards their extreme antiquity or their historical
associations, it is not too much to say that they are the
most remarkable objects in the exhibition. The throne
is unique. Specimens of ancient Egyptian stools and
chairs, some beautifully inlaid with marqueterie of
ivory and various woods, may be seen in several
European museums ; but in none do we find a Pharaonic
throne plated with gold and silver, and adorned with
the emblems of Egyptian sovereignty. It is not, of
course, absolutely intact. The seat and back (which
may have been made of plaited palm-fibre or bands of
leather) have perished ; but a leopard skin hides the
necessary restoration of these parts, and all that remains
of the original piece of furniture is magnificent. The
Digitized by VjOOQIC
Digitized by VjOOQIC
Digitized by VjOOQIC
QXTEEN HATASU'S DRAUGHT-BOARD. 23
wood is very hard and heavy, and of a rich dark colour
resembling rosewood. The four legs are carved in the
shape of the legs of some hoofed animal, probably a
bull, the front of each leg being decorated with two
royal basilisks in gold. These basilisks are erect, face
to face, their tails forming a continuous coil down to
the rise of the hoof. Bound each fetlock nms a silver
band, and under each hoof there was originally a plate
of silver, of which only a few fragments remain. The
cross rail in front of the seat is also plated with silver.
The arms (or what would be the arms if placed in
position) are very curious, consisting of two flat pieces
of wood joined at right angles, so as to form an upright
affixed to the framework of the back and a horizontal
support for the arm of the sitter. These are of the
same dark wood as the legs and rails, having a border
line at each side ; while down the middle, with head
erect at the top of the upright limb, and tail undulating
downwards to the finish of the arm-rest, is a basilisk
carved in some lighter coloured wood, and encrusted
with hundreds of minute silver annulets, to represent
the markings of the reptile. The nails connecting the
various parts are round-headed and plated with gold,
thus closely resembling the ornamental brass-headed
nails in use at the present day. The gold and silver
are both of the purest quality. Of the royal ovals
which formerly adorned this beautiful chair of state,
only one longitudinal fragment remains. This fragment
measures some 9in. or lOin. in length, is carved on
both sides, and contains about one-fourth part of what
may be called the field of the cartouche. Enough,
however, remains to identify on one side the throne-
name, and on the other side the family name, of Queen
Digitized by VjOOQIC
24 QUEEN HATASU*S DRAUGHT-BOABD.
Hatasu, or, more correctly, Hatshepsu. The carving is
admirable, every detail— even to the form of the nails
and the creases of the finger-joints in part of a hand —
being rendered with the most perfect truth and delicacy.
The throne-name, **Ea-ma-ka," is surrounded by a
palm-frond bordering, and the family name, "Amen-
Knum Hatshepsu/' by a border of concentric spirals.
The wood of this cartouche is the same as that of the
basilisks upon the arms, being very hard and close-
grained, and of a tawny yellow hue, like boxwood.
Some gorgeously coloured throne-chairs depicted on
the walls of a side chamber in the tomb of Kameses III.
at Thebes show exactly into what parts of the frame-
work these royal insignia were inserted, and might
serve as models for the complete restoration of this
most valuable and interesting relic.
"Among other objects in Queen Hatshepsu's case is a
fine female face — part of an effigy from a sarcophagus
lid — carved in the same rich dark wood as the throne.
In profile, this face not only bears a close resemblance
to the face of the seated statue of Hatshepsu in the
Berlin collection, but it is almost identical with the
profile of Hatshepsu's grandmother, Queen Aah-hotep,
as carved in effigy upon her sarcophagus lid in the
Boulak Museum. It is a beautiful, low-browed, full-
lipped Oriental face, of Egyptian type pur sang, without
the least touch of Semitism. Is it a portrait of
Hatshepsu ? This question (which it is perhaps impos-
sible to answer) is one of no ordinary interest ; for
Hatshepsu was not only a principal actor in the long
and splendid drama of Egyptian history, but she was
also one of the most extraordinary women in the history
of the ancient world. A daughter of Thothmes I., she
Digitized by VjOOQIC
QUEEN HATASU'S DRAUGHT-BOARD. 25
appears to have inherited certain sovereign rights by
virtue of her descent in the female line from the old
legitimate Xllth Dynasty stock. Intermarrying with
her brother, Thothmes II., she ratified that Pharaoh's
succession, and after his death she reigned alone,
literally as Pharaoh, for many years. As Pharaoh, she
is represented in the garb of a king, crowned with the
war helmet, and wearing a false beard. She was one
of the most magnificent builder-Sovereigns of Egypt ;
her great temple at Dayr-el-Baharee, in Western Thebes,
being architecturally unlike every other temple in
Egypt, and her obelisks at Karnak being the most
admirabl)'' engraved and proportioned, as well as the
loftiest, known. One 3'^et stands erect beside the fallen
fragments of its fellow. The most striking incident of
her reign was, however, the expedition which she
despatched to the *• Land of Punt," now identified with
the Somali country, on the east coast of Africa. For
this purpose she built and fitted out a fleet of five
ships, which successfully accomplished the voyage and
returned to Thebes laden with foreign shrubs, gums,
spices, rare woods, apes, elephant- tusks, and other
treasures. The departure and return of this fleet, the
incidents of the voyage, the lading of the ships, and the
triumphal procession of the troops on re-entering
Thebes, are represented on the terrace walls of Hat-
shepsu's temple in a series of sculptured and painted
tableaux of unparalleled interest. This is the earliest
instance of the fitting out of a fleet, or of a voyage of
discovery, known in history. Meanwhile, it may be
asked what route they followed. That the ships started
from and returned to Thebes is placed beyond doubt
by the tableaux and inscriptions. It is incredible that
Digitized by VjOOQIC
26 QUEEN HATASU'S DRAUGHT-BOARD.
they should have descended the Nile, sailed westward
through the Pillars of Hercules, doubled the Cape of
Good Hope, and arrived at the Somali coast by way of
the Mozambique Channel and the shores of Zanzibar.
This would imply that they twice made the almost com-
plete circuit of the African continent. If we reject this
hypothesis, as we must, there remains no alternative
route except by means of a canal, or chain of canals,
connecting the Nile with the Eed Sea. The old Wady
TAmilat Canal is generally ascribed to Seti I., second
Pharaoh of the XlXth Dynasty and father of Eameses
the Great; but this supposition rests upon no other
evidence than the fact that a canal leading from the
Nile to the ocean is represented upon a monument of
his reign. There is really no reason why this canal
may not have been made under the preceding dynasty,
and it is far from improbable that the great woman-
Pharaoh who first conceived the notion of venturing
her ships upon an unknown sea may have also cut the
channel of communication by which they went forth.
The throne which is now to be seen at the Manchester
Exhibition, the broken cartouche, the exquisitely-sculp-
tured face, the elaborate draught-men, may all, per-
chance, be carved in some of that very wood which the
Queen's fleet brought back from the far shores of Punt.
This, perhaps, is to consider the question too curiously ;
but the woods, at all events, are not of Egyptian growth.
" These rare and precious objects are the property of
Mr. Jesse Haworth, and are, by his permission, now for
the first time exhibited."
In the catalogue of the Manchester Exhibition is the
following description of the objects, written previously
to the above, by Mr. A. Dodgson of Ashton-under-Lyne.
Digitized by VjOOQIC
queen hatasu^s draught-board. 27
" The Throne, Cartouche, Signet, Draught-board
AND Draught-men of Queen Hatasu. Date b c.
1600. — These remarkable relics, the workmanship of
royal artists 3,500 years ago, i e., before the birth of
Moses, are now being exhibited for the first time, by
the kind permission of their owner, Jesse Haworth, Esq.
Queen Hatasu was the favourite daughter of Thothmes
L, and sister of Thothmes II. and III., Egyptian kings
of the XVIII. dynasty. She reigned conjointly with
her eldest brother ; then alone for 15 years, and for a
short time with her younger brother, Thothmes III,
She was the Elizabeth of Egyptian history ; had a mas-
culine genius, and unbounded ambition. A woman,
she assumed male attire ; was addressed as a king even
in the inscriptions upon her monuments. Her edifices
are said to be ** the most tasteful, most complete, and
brilliant creations which ever left the hands of an
Egyptian architect/' The largest and most beautifully
executed Obelisk, still standing at Kamak, bears her
name. On the walls of her unique and beautiful
Temple at Dayr-el-Baharee, we see a naval expedition
sent to explore the unknown land of Punt, the
Somali country on the east coast of Africa, near Cape
Guardafui, 600 years before the fleets of Solomon, and
returning laden with foreign woods, rare trees, gums,
perfumes, and strange beasts. Here we have (1) Queen
Hatasu's Throne, made of wood foreign to Egypt, the
legs most elegantly carved in imitation of the legs of an
animal, covered with gold down to the hoof, finishing
with a silver band. Each leg has carved in relief two
Ursei, the sacred cobra serpent of Egypt, symbolical of
a goddess. These are plated with gold. Each arm is
ornamented with a serpent curving gracefully along
Digitized by VjOOQIC
28 QUEEN HATASlfs DRAUGHT-BOARD-
from head to tail, the scales admirably imitated by
hundreds of inlaid silver rings. The only remaining
rail is plated with silver. The gold and silver are each
of the purest quality. (2) A fragment of the Cartouche
or oval bearing the royal name, and once attached to
the Throne ; the hieroglyphics are very elegantly
carved in relief, with a scroll-pattern round the edge
and around one margin, and a palm frond pattern
around the other. About one-fourth of the oval
remains, by means of which our distinguished Egypt-
ologist. Miss Amelia B. Edwards, L.L.D., has been able
to complete the name, and identify the Throne. On
one side is the great Queen's name, " Ra-ma-ka." On
the other the family name, " Amen-Khnum-Hat-Shepsu,"
commonly read Hatasu, With all its imperfections, it
is unique, being the only throne which has ever been
disinterred in Egypt. (3) A female face boldly but
exquisitely carved in dark wood, from the lid of a
coffin, the effigy strongly resembling the face of the
sitting statue of Hatasu in the Berlin Museum ; the eyes
and double crown are lost. (4) The Signet: this is a
Scarabaeus, in turquoise, bearing the Cartouche of
Queen Hatasu, once worn as a ring. (5) The Draught
Box and Draught-men: the box is of dark wood,
divided on its upper* side by strips of ivory into thirty
squares, on its under* side into twenty squares, twelve
being at one end and eight down the centre ;' some of
these contained hieroglyphics inlaid, three of which
still remain, also a drawer for holding the draughts.
These draughts consist of about twenty pieces, carved
with most exquisite art and finish in the form of lions'
heads — the hieroglyphic sign for "Hat" in Hatasu.
^ lower. ' upper. ^ ambiguous : see p. 33.
Digitized by VjOOQIC
QUEEN HATASU'S DRAUGHT-BOARD. 29
Also two little standing figures of Egyptian men like
pages or attendants, perfect and admirable specimens
of the most delicate Egyptian art. These may have
been markers, or, perhaps, the principal pieces. Two
sides of another draught box,^ of blue porcelain and
ivory, with which are two conical draughts of blue
porcelain and ivory and three other ivory pieces.
(6) Also parts of two porcelain rings and porcelain
rods, probably for some unknown game. (7) With the
above were found a kind of salve or perfume spoon in
green slate, and a second in alabaster." ^
Ra-vk-ka, Amen-Knum-Hatasu.
(The throne name.) (The family name.)
NUTAR HIMBT HaTASU.
The divine spouse,
(wifeof the King.)
^ board.
s [The coffin of Thothmes I., and the bodies of Thothmes II. and III. were
found at Dayr-el-Baharee in 1881— that of their sister, Queen Hatasu, had disap-
peared, but her Cabinet was there, and is now in the Boulack Museum, and '* I
have no doubt whateTer/V says Mias Edwards, "that this Throne and these other
relics are from that Tomb.'*]
Digitized by VjOOQIC
30 QUEEN HATASU'S DBAUGHT-BOABD.
The " dark wood bust," though not found with the
other objects, was supposed to be that of Queen Hatasu,
and to ^^ strongly resemble the face of the sitting
statue of Queen Hatasu in the Berlin Museum/' a
copy of which, in plaster, we have in our Museum ; but
I must acknowledge that I see no resemblance whatever
between them. Its identification being very uncertiun«
Mr. Haworth did not present it to the British Museum.
Queen Hatasu erected the magnificent obelisk at
Karnak. Her father gave her the name of Mat Ka ra,
Queen of the south and the north, that is to say, of
the whole world.
I naturally went to Manchester immediately after
reading this account in the Times, but was disappointed
to find that the " draught-board " is only the fragment
of a draught-board, and so my conjecture of the
Egyptian draught-board being a board of twelve squares
on each side could not be verified. It is broken off at
the end of the sixth square in length, and has only a
square and a half in width remaining, so that it is a
mere fragment. But the sixth square has the hieroglyph
T nefer, good, upon it, and I take this as half the length.^
The squares are about 1^ inch, and the ivory divisions
nearly J inch. The squares are filled with porcelain,
and the black hieroglyph is burnt into the porcelain.
The board stands three inches high, with an inch and a
half porcelain pannel on each side, bordered with f inch
ivory. The dark wood squares under the porcelain are
veneered on rough wood.
There are twenty pieces remaining of this game : ten
^ The same sign, nrftr, is seen in three examples extant of the game of the
Saerei Way^ which we shall describe presently, and which there seems to denote
a division in the board.
Digi-tized by VjOOQ IC
Q
<
o
?
H
X
o
D
<
P
w
b
CO
<
<
a:
z
D
O
O
H
U
o
<
Digitized by VjOOQIC
Digitized by VjOOQIC
QUEEN HATASU'S DRAUGHT-BOARD. 31
of light colour wood, and nine of dark wood, and one
of ivory; all these pieces have a lion's head. These
lions' heads are not all of exactly the same size ; one is
rather larger than the rest, and one is smaller. But
there is not sufficient difference of size to lead to the
supposition that they were of different powers, though
they may have belonged to different sets. Together
with these pieces are two reel-shaped pieces, one
astragal, and two upright draught-men of the form
represented in Egyptian paintings A; one white, the
other of blue enamel, and a dark wooden one a little
larger. ITiese are evidently the sole remnants of
another set or sets.
A double game was also found in Queen Hatasu's
tomb, similar to that formerly belonging to Dr. Abbot
of Cairo which is now in the Louvre. It is inlaid or
veneered with dark wood like the draught-board ; and
the squares are divided in like manner by ivory slips.
It is 12^ inches long by A^ wide, and 2^ deep with a
drawer in the middle to contain the men. On one side
the board has ten squares in length, and three in breadth,
the cells being a little more than an inch square. On
the other side the middle row has twelve squares and the
sides only four. Some of these ** squares '* are of oblong
Digitized by VjOOQIC
32 THE GAMES OF THB
form, in consequence of there being ten in length in-
stead of twelve as on the other side. This game appears
to be the game of the Sacred Way. The other game
differs from that of Dr. Abbot's in having hieroglyphics
in two of the squares. In a similar board discovered
by Mr. Petrie, and exhibited by him in London in 1889,
two squares are marked by I and II, thus appearing to
denote position : consequently, the two figures in one of
these squares, and the three figures in the next, in this
example, denote II and III. The next square in Mr.
Petrie's board has two diagonals across it, thus dividing
it into four parts, and the fifth square has the nefer
(good), as in this example. All these objects have been
given to the Nation by Mr. Jesse Haworth, and are now
in the British Museum.
The reader will have perceived from the preceding
article how much we are indebted to the learning and
research of Dr. Birch, in collecting all the evidence
relative to the games of ancient Egypt ; the more so as
it would appear from his belief that these games, or one
of them, represented chess, that he was occupied far
more in Egyptian and Assyrian and Chinese literature
and antiquities, than in these so-called ** idle " amuse-
ments. No one can for a moment suppose that chess
was invented in those ancient times. Draughts of some
kind were certainly played then, but as there are
various kinds of draughts in the present day — ^English,
Polish, Turkish, and many others — so ''draughts" as
played by the ancients were very different to the games
we know. That the Eoman game of Latrunculi was
known to the Egyptians, was taken for granted by Dr.
Birch, and the probability of its being so is shown by
his researches. In his paper of 1864 he thought sen
Digitized by VjOOQIC
ANCIENT EGYPTIANS, 33
Signified a robber, and so, he identified it with latro and
latrunculus? But in his paper of 1868 he identified the
game of Tau (robbers) with the latrunculi. Conse^
quently senat must mean something else ; and accord-
ingly he there gave a different interpretation of the
word, stating that aeni means " to traverse, or to open the
gates." Possibly it had some other meaning, more
appropriate to our purpose, and indeed, he tells us that
sen has many meanings in hieroglyphics.
In the inscriptions given us by Brugsch and Cham-
pollion, we have a distinction between the games of
Senat (" abacus " or " draughts "), and Tau (robbers).
The word Senat is inscribed over Dr. Birch's No. 1
(p. 1 0). That therefore cannot be the game of Tau. It
will be observed that the game of Senat is there coupled
with the game of Han or the Vase ; just as Dr. Birch's
No. 3 and No. 4 are coupled together, and as in a repre-
sentation of the Egyptian game called Mora by the
Italians, which we shall presently consider, two different
games are represented ; one where only one pUyer
throws out his fingeiB, while the other guesses; the
other where both do so, and each guesses. Nos. 3
and 4 therefore of Dr. Birch's description are different
games, though the board appears to be the same, with
the exception of the pieces being differently placed; and.
so we may conclude that one is the game of Senat
(''draughts"), and the other the game o( Tau or
Robbers. The word Aa^th written over the latter is
acknowledged by Dr. Birch to be of doubtful meaning.
From what is just stated that these grouped games
represent different games, we cannot accept Dr. Birch's
supposition that this word signifies ** lost," as being the
> Bat this was a mistake, for the word here .is differently spelt
D
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34
THE GAMES OF THE
conclusion of the other game ; but rather that it repre-
sents the other game of Tau, or robbers. If so, we see
that the board, like that of the game of Senat, or
*• draughts/' contained twelve cells each way, or 144 in
all. As these two games of " draughts '' and robbers,
were played apparently on the same board, and are
represented in the paintings with the same men, it
would be impossible to tell in these paintings which
game is represented, where the name Senat or Tau is
not given, were it not from other circumstances, which
we shall mention presently. In some examples we find
the men, instead of being placed in a continuous row,
are divided between the two players. In Dr. Birch's
No. 5 (p. 12) that of Eameses III. and Isis, or his
queen, there are ten men on the board. In No. 6
each side has four men remaining, while each player
holds a piece en prise, and the lion has a bag in which
he holds his captive pieces. In No. 4 one player has six
pieces, and the other five, but relative to this also
we will speak presently. We have seen that in 1878
Dr. Birch thought that " the board had nine squares
one way and seventeen the other, in all 153 squares.'*
This idea was evidently taken from the painting on
Mentuhotop's sarcophagus, published in Lepsius s ^l-
teste Texte.
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ANCIBNT EGYPTIANS. 35
On examining Prof. Lepsius's work however it will
be seen that this painting is in the middle of a long
upright pannel, and that the so-called board is merely
a piece of diaper ornament figuratively representing a
board, but not the board itself. The diaper is a mere
indication of the game, and goes for nothing in the
argument. In this same article Dr. Birch said : " The
Egyptian chess-board had thirty squares, black and
white/' and " they generally played with six pieces.''
Dr. Birch, therefore cannot be trusted for the details of
the game. Thirty also is the number given by Sou-
terius, p. 60.
D'
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IV.
THE GAME OP TAU
OR QAUB OV ROBBERS.
AFTERWARDS THE
LUDUS LATRUNCULORUM,
OR LUDUS CALCULORUM, OR PRCEUA LATRONUM, OR BBLLUM LATRONUM
OF THE ROMANS.
Salmasius, Historiae Aug. Scriptores Sex - - 1620
Soaterius, Palamides .... 1625
Bulengems, De ludis Veterum - - - 1627
Semptlebius, De alea Veterum ... 1667
Severinus, Dell' antica Pettia - - - 1690
Hyde, Historia Nerdiludii, h.e.d. Trunculorum - 1694
James Christie, Inquiry into the ancient Oreek game 1801
Becker, OaUus ..... 1838
Van Oppen, in " Sohachzeitimg," for - - 1847
Herbert Coleridge, on Greek and Boman Chess - 1855
„ „ in Forbes* History of Chess - 1860
L. Becq de Fouquidres, Les Teux des anciens - 1869
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38 THE GAME OF TAXJ.
IT is wonderful that this game should ever have
fallen into dissuetude, that it should ever have become
so completely forgotten, that the most zealous and
learned antiquaries should have failed in restoring it to
light. The goodly array of names at the head of this
article is evidence sufficient to show that all has been
done which learning and diligence could do. All
passages from ancient poets and historians have been
collected ; the bones of the entire skeleton have been
put together, but there they remained ; the game was
not played, and it could only be regarded as an inter-
esting fragment of antiquity— curious, but incomplete,
and useless.
Few visitors to the British Museum, previous to the
present time, could have failed to notice on the wall of
the further staircase,* the Egyptian caricature drawn
on papyrus, referred to in the first section, which repre-
sents a lion and goat— and looking very much like our
famous lion and unicorn — playing at a game which,
from the appearance of the pieces, might be easily
mistaken for chess. In the galleries upstairs may be
seen some wooden and bone pieces of similar appear-
ance, viz., lofty pieces like chess-men, and not flat, like
draught-men. Several references have been given
in the last section of Egyptian pictures of kings and
other persons playing at a game which seems in every
case to be identical. The pieces are always upright
pieces, and there is a difference of colour, or else a slight
difference of form observable between the two sides.
In all these representations, there is but one form
discernible in each colour or side, and this form is
indicated with great precision. Thus it is evident that
^ It is now removed, in order to protect it from the light.
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LUDUS LATRUNCULORUM. 39
the game so represented cannot be the game of chess ;
but a game like draughts. Some of the pieces in our
Museum, and of those in some foreign collections, have
the heads of animals ; and this seems to connect the
game with the game played by the Greeks and Romans,
the pieces of which were called dogs, kvveq, by the
Greeks.' Such heads of animals are observable in
Queen Hatasu's pieces, but in general the pieces repre-
sented in the Egyptian monuments were of cylindrical
form rounded at the top, or tapering pieces sunnounted
by a bead or knob. The latrunculi or latrones of the
Roman game were originally soldiers, but by degrees
the name became significant of licentiousness and
audacity, as the soldier became a robber. Just so in
our own language the terms knave, brigand, villain,
have lost their original significance. But whether we
regard the pieces in the Roman game of draughts as
soldiers or thieves, they are equally deserving of their
name : we have equally to guard against the strategies
of war, and the stratagems of thieves. Sometimes we
find our pieces taken by superior force or by skilful
marshalling : sometimes we find them stolen from us
when we least expect it. When most intent on taking an
adversary our enemy comes with subtlety and robs us of
our own piece. It is a lively inspiriting game, and likely
to be a favourite in modem, as it was in ancient times.
In the preceding sections we have shown the prob-
ability of the Ludus Latrunculorum having its origin in
Egypt. We have the myth of Thoth (Hermes) having
invented the game of draughts ; we have inscriptions
and wall paintings from tombs of the 4th dynasty ; we
have the actual draught-board and draught-men used
^ Bulengerus says they were called bo on account of their impudence.
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40
THE GAME OF TAU.
by Queen Hatasu shortly after the time of Joseph ; we
see on the wall-paintings Rameses III. playing the
game in the time of the Exodus; we find in every tomb
and sarcophagus, from the earliest to the latest times,
evidence that the Egyptians believed that in the future
state those who were weighed in the balance and found
worthy would play at these games; and from the
papyrus painting in our Museum we know that the
Egyptian game was still played in the time of Trajan
and the Antonines, say a.d. 100. We thus have
evidence that it continued to Eoman times. Instead
then of its being an idle assumption, a mere hypothesis,
to connect the Ludus Latrunculorum of the Romans
with the E^rptian game of Taw, it seems to be a most
.strange, and unaccountable, and incredible thing to
imagine that a game with a history of say 3000 years,
and which, as we have seen, was played in the time of
the Romans and early Christians, should not have been
continued in practice by them, though under another
name. But it is not another name : for Tau and
Latrones or Latrunculi are synonymous; as are the dogs
(icvvcc) as the Greeks called their ^5^ot, witli the dogs,
kilab, as the Arabs still call their draught-men. The
upright form also of the Egyptian piece (1) was merely
(1)
(2) 1859.
(3) 1853. (4) 1888.
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LUDUS LATRUNCUIX)RUM. 41
diminished in height by the Eomans, as we may judge
from the Grseco-Eoman latrunculus found by Mr.
Newton* at Halicarnassus, (2) and now in the British
Museum ; "jj®; the numerous pieces found in the tombs
of Cuma,^ and other Etruscan cities ; (3) ; and from the
still smaller and shorter latrunculus found at Eome in
1888, (4), in my possessioQ.
The dijfference in size of these latrunculi is interesting
as showing the habits of the various peoples. The
Egyptians in the earliest times played the game sitting
on the ground, as we see by their pictures, whereas
the Greeks and Eomans sat on chairs.
It is therefore only through neglect of this evidence
that we have hitherto not been able to determine the
details, and to recover the game of the Ludus Latrun-
culorum.
It will be observed that as the pieces diminished in
height they became more diflBcult to handle. Other
forms were therefore devised, gradually advancing to the
reel-shape, so as to give greater stability, and greater
facility of handling, though even in the old shape we
see this attempted in the latrunculi of Cuma already
given.
i Sir CharlQB Newton, K.C3.. ^BuUet. Archeolog. Nap. N.S. 1883-
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42
THE GAME OF TAU.
^
Those of Cuma were found in a tomb, the plan of
which is seen below. It contained three graves, and
on the podium round, the walls were placed the latrun-
culi, ready for the dead to play with when they arose
from their lethal state. No doubt there was the full
c
c
oe OO O O
.^
r
Tomb at Cuma.
number of them originally, sixty, but most of them
must have been taken away by the workmen or others,
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LQDUS LATRUNCULORUM. 43
and sold to travellers or dealers before Sigr. Minervini
visited the tomb.'
It was probably with latrunculi similar to that of
No. 4 that Quadratilla played.*
We will now proceed to connect together what we
know of each. While we have only disconnected refer-
ences to the game by the Latin poets, but no represen-
tation of the board ; in the Egyptian paintings and
hieroglyphics we have only a profile of the board, and
the name of the game, but no description. We will
therefore endeavour to discover the game by applying
the Homan description to the Egyptian board. We
will begin with the board.
There were two Egyptian games, the boards of which,
and the pieces of which appear to be the same. The
Sencit, as we have seen, was supposed to be the game
of ** Draughts;" and the Tau the game of Robbers.
Although in our Museum we see pieces of various forms,
it is important to bear in mind that in the paintings
the boards are always in profile, and of the same size,
and the boards and pieces are alike.
The games are represented also in hieroglyphics, In
^ Sigr. Mioervini thus describee these objects : — " In a Cuman tomb of Roman
construction were found the objects we publish, of the size of the original . .
There were several hemispherical pieces of three different colours, white, yellow,
and black .... With these were found two dice, with fragments of a carved
ivory box, in which probably they were kept ; and similar fragments are seen in
the work of the chev. Fiorelli's Monumenti Cumanij tav. ii, No. 6." The Brit.
Has. has no copy of this book. Speaking of these hemispherical pieces, he oon-
tinties —** h che in gran numero f uori da altri sepolchri, a me pare siano da riputarsi
reservienti al giuoco de Calculi o LalrunculL" He then refers to the passages in
Pollux, Ovid, Martial, and Sidonius Apollinaris, and lastly to the poem by Salens
Baasus, and then concludes — " Non saprei giudicare quai movimenti si additsssero
dal latino poeta." BuUcUino Archedofjko NapolUano. Nu(»va Serie, del P. R.
Garucci e di Qiulio Minervini, anno primo, 1853.
« Pliny's LeUer$9 vii, 24.
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44 THE GAME OF TAU.
general the board appears as a block with men on it :
this will be seen in the hieroglyphic description in p. 17.
The hieroglyph did not pretend to indicate the exax5t
number of men, but merely a board with men upon it.
But in larger hieroglyphic paintings the board is repre-
sented with a greater number of men. The men are
sometimes all of one height, and sometimes of high and
low pieces placed alternately : and in the double group
of the Benihassan tomb, p. 12, we find these two
distributions of the men. These therefore are the two
games. The left group will be seen to be the same
as the left group in Eashepses' tomb p. 10, over which is
the name ^* Senate The right hand group therefore
must be the Tau. It is this which we are now con-
sidering. It will be observed that, unlike the other
game, the men are placed in close ranks on either side
prior to commencing the game.
The larger hieroglyphics represent the board with
six, eight, ten or twelve men. Where the men are of
unequal height there was a reason for this, as we shall
presently see : but where they are of equal height, we
may hold it as certain that the painter or engraver
would never take the trouble to show more men than
were necessary. We may conclude then that the
greatest number shown in such hieroglyphs, twelve,
was the full number. This number, twelve, is the exact
number shown in all the paintings. The Egyptian
board therefore was a square of twelve, having 144
cells : for the men do not represent the number of men
played with, but the number of cells on each side of
the board. Thus in the papyrus .
Burton in the British Museum we y^^. >^^ ittttt
AA^^^yvNA
see a fictitious board represented, O
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z
<
en
CO
<
X
z
u
H
<
CQ
2
O
H
o
o:
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LUDUS LATRUNCtJLORUM, 45
of six by three squares, and having six men on the top
over the six squares.
Eustathius and Hesychius, as we learn from Pollux,
tell us that the Greek game, grammismos^ or diagram^
mismos — and from this we may draw the inference
that the Roman game we are treating of, though it
had its origin in Egypt, was known to the Greeks as
well as the Romans — was played with many pieces
{voXXwv i'lJ^^Dv), Hesychius says sixty, (cS^Kovra), and
that the plinthion or board had certain parts of it
called a city (iroXic), applying probably to groups or
masses of pieces in different parts of the board, so firmly
inti-enched that their opponents could not touch them.
Thus if the board was twelve-square, and there were
thirty men on each side, and the men were placed, as with
us, on alternate squares, they would occupy five rows^
and this number, five, is what is shown in right hand
group of Benihassan painting,' and in that of the Lion
and Goat.* There would then remain only two vacant
rows, so that the pieces would soon come in medias res.
Here we find the fragment of Queen Hatasu's board
of use: for if the sign nefer T, on the sixth square, marks
the half of the board, it is probable that the other half
was marked in the same way : and thus we have the
two vacant rows of the Ludus Latrunculorum indicated.
One of the meanings of the word T nefer, given us
by Mr. le Page Eenouf in his letter which we wUl give
presently, is door ; which probably may mean here open.
If so, its appearance on these two lines would be very
^ The left haDd figure appears ix> have six men ; but on examining it we see
that the artist had drawn five only : but finding he had left too wide a space
between two of them, he endeavoured to rectify it by squeezing in another to
fill it up.
' Four on the board, and one in each hand.
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46 THE GAME OP TAU.
appropriate, to designate the open space between the
two armies at the commencement of the battle ; and
this again would constitute a further argument both for
the size of the board and the number of the men. In
the game of the Sacred Way, which we shall consider
further on, we find the same sign nefer again used to
mark a division in the board.
We see now that Rameses III, and the lion and the
goat, are playing at the game of Tait\ not the game of
Senate or " draughts."
As Dr. Birch collected all the authorities for the
Egyptian games, without discovering the games them-
selves ; so Dr. Hyde brought together all the passages
from the Latin poets without discovering the Ludus
Latrunculorum. But we are equally indebted to both
these writers for their diligent and learned researches.
The following are the chief materials collected by Dr.
Hyde, though his work will be found to contain many
more of philological and antiquarian interest.
Sive latrocinii sub imagine calculus ibit,
Fac pereat vitreo miles ab hoste tuus.
Ovid. Ara Amandt^ ii, 207.
Cautaque, non stulte, latronum proelia ludat ;
Unus cum gemino calculus hoste pent.
Bellatorque sua prensus sine compare bellat,
iEmuluB et cceptum saepe recurrit iter.
Id. iii, 357.
Discolor ut recto grassetur limite miles,
Quum medius gemino calculus hoste pent :
Ut mage veUe sequi sciat, et revocare priorem ;
Nee, tuto fugiens, incomitatus eat.
Id mat. ii, 477
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Q
a:
O ;
^ b
o :j
S N
^ < /
< 5 '
H P /
3: a ,
O
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LUDD8 LATRUNCULORUM. 47
Sic vincas Noviumque Publiumque,
Mandris et vitreo latrone clausos.
Mart. Epig. vii, 72.
Hie mihi bis seno numeratur tessera puncto :
Calculus hie gemino discolor hoste pent.
Id, xiv, 17.
Insidiosorum si ludis bella latronum,
Gemmeus iste tibi miles, et hostis erit.
Id. xiv, 20.
Vultisne diem sequentem, quem plerique omnes
abaco et latrunculis eonterunt .... a prime
lucis in coenae tempus.
Maerob. Sat. i, 5.
Calculi partim ordine moventur, partim yage.
Ideo alios Ordinaries, alios Yagos appellant.
At vero qui omnino moveri non possunt Incites
dieunt.
Isidor. Grig, xviii, 67.
But the principal authority adduced by Dr. Hyde is
the following panegyric to Calpurnius Piso, for his
eflBciency in this game ; written by Saleius Bassus —
Te si forte juvat studiorum pondere fessum,
Non languere tamen, lususque movere per artem :
Callidiore mode tabula variatur apertd
Calculus, et vitreo peraguntur milite bella :
TJt niveus nigros, nunc ut niger alliget albos.
Sed tibi quis non terga dedit ? Quis te Duce cessit
Calculus ? Aut quis non periturus perdidit hostem ?
Mille modis acies tua dimicat, ille petentem
Dum fugit, ipse rapit : longo yenit ille recessu
Qui stetit in speeulis : hie se committere rizce
Audet, et in praedam yenienCem decipit hostem.
Ancipites subit ille moras, similisque ligato,
Obligat ipse duos : hie ad majora movetur,
Ut citus et fractd prorumpat in agmina mandr&,
Clausaque dejeeto populetnr moenia yallo.
Interea sectis quamyis acerrima surgunt.
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48 THB QAMB OP TAU.
Proelia militibus, plen& tamen ipse phalange,
Aut etiam pauco spoliate milite vincis,
Et tibi captiva resonat manus utraque turba.
Which may be thus freely rendered : —
When wearied in the studious hours,
And yet you would not idle be,
The Tabula invites your skill
The sly latruncuU to move.
The vitreous Boldiers see engage :
The whites by times a black ensnare ;
The blacks again a white destroy.
But who is there can play with thee ?
And imder you what knave can yield ?
See how in death their foes they slay,
For in a thousand ways they fight.
That calculus pretends to fly :
But lo, his follower he slays.
There comes a man from his retreat.
Who ever has been on the watch.
See there a man who boldly comes
His laden foe to intercept.
And there one braves a double foe,
That dying, he two more may slay.
See how that man from conquests fresh.
To other conquests now proceeds :
Swift how he breaks the ramparts dense,
And now the {ctti/) walls lays waste.
But though in such fierce contests held.
Thy phalanx still remains intact.
And scarce a soldier hast thou lost.
(The victory now, King^^ is thine !)
And each hand rattles with the captive crowd.
Now from these passages all that writers were agreed
upon was that the pieces on each side were of different
colours, and that a piece was captured or held in check
* Pollux, Ofum, ix, 7. Segm. 98.
' The conqueror in the game was called Dux, or Imperator. Vopiscus, /Voeii/.
18. He is called Dux in the sixth line of this poem : and the same word dux is
given by Champollion in his Noiica Detcriptives, p. 556. See p. 17.
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LUDUS LATRUNCULOBUM. 49
when Bs\ enemy attacked him and held him in on each
side. This is suppcM3ed by some to be understood by
the word alligatio ; and the piece so bound is supposed
by some to be able to escape capture if there is an
empty cell adjoining into which it can move : while
others supposed that the piece so hound is incitus, unable
to move, like the check-mate in Double Chess, only so
long as it is thus bound. But neither of these supposi-
tions can be correct : for the board is too large, the men
too numerous ; and so the game could never come to an
end, if there were so many means to escape capture.
The " alligatio '' then occurs when two opposite pieces
are in contiguous squares on the same line : then each
ia joined to, and attacks, or is attacked by the other.
But when a piece is " alligatus " by an enemy on each
side, it is " incitus/' imable to move, and consequently
is slain, or dead : —
Fao pereat Titreo miles ab hoste tuus. Orid. A.A.
XTnus cum gemino calculus hoste pent. Id.
Quum medius gemino calculus hoste perit. Id. TiisL
Calculus hie gemino discolor hoste perit. Mart,
and the piece so slain is taken off: —
Bum fugit, ipse rapit . . • .
Et tibi captiy& resonat manus utraque turb&. Bassus.
Ludi hujus ars est, comprehensione duarum
tesserarum concolorum, alteram discolorem
toUere. (dvaipetv) Pollux. Onam. ix, 7. § 98.
and this is shown in the Egyptian painting of Bameses
and Isis ; and in the caricature of the lion and goat,
where the lion is seen to hold a bag full of captive
pieces in one paw, and to take up a piece in the other.
Much confusion has also arisen relative to the moves
as described by S^ Isidor. He appears to say that
some of the pieces move in a right, or "straight
forward ** line, as in Ovid : —
£
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50 THE GAME OF TAU.
Disoolor nt recto grassetur limite miles,
and some in a wandering, supposed to be a diagonal
line: and he appears to accentuate this by calling the
pieces by different names according to their moves —
"ordinaries" and "vagos/* Accordingly more than
one recent writer on the games of the ancients, suppose
that the men on either side consisted of inferior and
superior pieces — ^but, as we have seen, there is no
authority for this. One writer indeed supposes that,
as in chess, so in this game, there was first a line of
eight pawns, which he calls infantry, and behind them a
line of eight queens, or cavalry, on an ordinary eight-
square board. But if the word vage means diagonally,
then they would be like bishops, not like our queens.
But even with this lower power, imagine eight bishops
on either side fighting against eight pawns. What
chance would the poor pawns have ? and what a fierce
battle it would be between the bishops I It would be
like the bishops of Antioch and Alexandria, of Constan-
tinople and Ephesus fighting against each other, and
ravaging their flocks I But I doubt whether Isidor
meant anything of the kind : for after mentioning the
"ordinaries" and the *'vagos," he describes the
"incitos," or dead pieces. Now if the pieces had
different moves and different powers, we should not, if
we had taken two of each, say we had taken four
captives, or four " shut up " pieces ; but two bishops
and two pawns, or names denoting the respective
powers of such pieces. I opprehend therefore that the
passage merely means that all the pieces move both in
an ordinal or straight line, forwards, sideways, and
backwards, and in a diagonal line ; and that those that
*' cannot move" are called by such a name, and are
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LUDU8 LATBUNCULORUM, 51
then taken off. That the pieces can move backwards
is shown by Ovid : —
. . . et coBptnm ssepe recurrit iter.
XJt mage velle sequi Bciat, et reyooare priorem.
With these data we began the game : but we soon
found, although we made several trials, that as we
moved up the pieces we arrived at a dead-lock. For if
two solid lines of twelve pieces are advanced on either
side, not a man could advance : we thus came to a
stand-still, and so felt convinced that something was
missing. Some pieces with increased power, like the
bishop, as above suggested, would have got over this
difficulty ; but queen Hatasu's draught-men being all
alike, as those are also which have been found in
Etruscan tombs, we see that there was no such differ-
ence of power between the pieces, and that the pieces
were all alike.
I was thus on the point of giving up the game in
despair. But fortunately I remembered that Dr. Birch
stated that the name of the Egyptian draughtman
was ah A, and I perceived that this sign is exactly like
the representation of draught-men in Egyptian paintings,
and like the draughtmen themselves so frequently seen
in the British Museum, and Museums abroad, and three
of which, two white and one black, were foimd in
Queen Hatasu's tomb with the twenty lion-headed
pieces, forming pieces of another set : and on making
enquiry, I found that this word ah means to leap. But
I must here give Mr. le Page RenouTs letter : —
" 18 August, 1887.
'' Dear Sir,
" The hieroglyphic sign A representing what we
may call a draught-man has the phonetic value ah, and
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52 THE GAME OF TAIT.
the meaning of the Egyptian ah is * leap/ * jump/ ^ hop/
hence * play/ The heart in Egyptian is called ab on
account of its motion, just as our own word * heart/ the
German herz, the Latin cor (cord-is), the Greek KapSia,
and other Indo European words have their origin in a
root skardj which signifies ' spring/ * hop,' * play/ The
Sanskrit hird has these meanings. The Greeks, as we
know from the Etymologicum Magnum^ were aware
of the sense of <cpa&'a, avo tov KiveiaOai. They called the
extremity of the branch of a tree the dancing part
icpaSti, and an especially lively dance was called jcopSaS,
a word which in Egyptian would be rendered by
ab.
le Egyptian name of the piece in draughts, thus
drawn from a verb of motion, is analogous to our own
pawn, or the French * pion,' or the German * laiifer,' (for
the bishop in chess). It is, I believe, quite true that
the original word for pawn was paon (peacock), but
this does not alter the fact that the idea of motion in
connection with the game was so strong in people's
minds as to obliterate the original signification derived
from the shape of the piece.
The Egyptian word T nefer originally signifies ' fair,'
' beautiful/ and hence * good/ It is used as a substan-
tive in the sense of a youth, a damsel, a pony, young
cow, and even of wind {fair wind). Festal robes
were called neferu.
There are other meanings : nefer is once found signi-
fying ' door,' and once in the sense of ' fire.' A string
is also called nefert. Neferu also signfiies com, but
this is probably only a form of the more common nepru.
The object T is undoubtedly a stringed instrument,
and its name neferit looks as if it were connected with
Digitized by VjOOQIC
LUDUS LATRUNCULORUM.
53
the Semitic b:iy or the Greek va/3Xa. But it means
probably the ' stringed/ One of the Egyptian constel-
lations was called the Lute-Bearer, t'ai-nefert.
Believe me,
Very faithfully yours,
P. le P. Kbnouf."
This solved the difficulty, and completed the game.
Each piece was an a6, and therefore all the pieces,
though moving only one square at a time in any
direction, could leap over an adversary occupying a
contiguous square, provided the next square were open,
as in draughts, but without taking it. I then tried a
game, and the following is the result : —
19*
29i
393
493
69b
693
793
893
993
1093
1193
1293
19a
29a
39a
49a
59a
69a
79a
89a
99a
109a
119a
129a
19
29
39
49
59
69
79
89
99
109
119
129
18
28
38
48
58
68
78
88
98
108
118
128
17
27
37
47
57
67
77
87
97
107
117
127
16
26
36
46
56
66
76
86
96
106
116
126
15
25
35
45
55
65
75
85
95
105
115
125
14
24
34
44
54
64
74
84
94
104
114
124
13
23
33
43
53
63
73
83
93
103
113
123
12
22
32
42
52
62
72
82
92
102
112
122
11
21
31
41
51
61
71
81
91
101
111
121
10
20
30
40
50
60
70
80
90
100
110
120
Digitized by VjOOQIC
54
THB 6AMB OF TAU.
Game I.
White.
Black.
WhiU.
Black
14—16
127—126
43—44
78—77
15—16
126—126
85—86
116—106
34—26
107—116
44—35
98—97
54—65
118—127
66—88+87
99(1—99+88
28—14
47—36
14—15
107—96
94—85
98—107
86—85
57—56
74—65
109—118
63—74
38—47
83—94
58—47
25—26
47—46
55—66
47—57
65—55
67—57
94—95
89—98
26—37+36,
46 57—47+37
Here 26 by moying to 37, takes 36 and 46, but is lost itself ;
thus illustrating Bassus : —
Ancipites subit ille moras,
similisque
ligato,
ObUgat
ipse duos.
16—17
47—36
15—25
29—38
17—16
36—34
17—18
98—87
32—33+34
66—46
25—16
118—117
33—44
69—68
23—24
97—106
44—34
79*— 79
21—22
66—56
34—25
99—98
54—55
66—54
16—17
27—36
55—44
54—45
66—37+36
18—28+37
24—35
45—36
35—36
28—37
44—45
36—47
62—53
46—35+36
16—26
46—44
53—44
35—46
45 55
44—66
44—45
46—44
22—33
87—97
45—54
44—55
33—44
117—108
54—65
37—46
65—77+86
79—88+77
25—36
46—35
35—46
88—77
12—23
77—66
74—75
47—57
65—54
35—46
72—63
57—56
36—56+55, 56 96—86
75—65
56—57
103—94
106—84+85,84
63—74
77—86
^ Tbe piece 56 should not have been lost : as the rule is probably similar to that
of Senat or Seega, in which a piece can place itself between two oppononta
without loss. This rule should occur again three moves afterwards, with 84, and
in other places ; and is rectified in the next game. See page 64.
Digitized by VjOOQIC
LUDUS LATRDNCULOBDM.
55
WkiU.
Black.
H'hite.
Skuk.
61—62
49—68
26—36
38—47
62—63
108—107
95—77+66, 77
47—25
44—55
119<»— 109
36—35
Here Blades 25 is lost : but 58 comes up to the rescue, and White
neglecting to cover 46 — 45, it jumps from 47 — 45, and takes 35,
thus releasing his partner 25.
• ••••••• ■■ ■ iv> o^ w/uxjuuuibi/VJ
Audet, et in prsedam yenientem decipit
hostem.
58—47
18—17
47—45+35, 45
78—76
97—87
46—37
25—36
54—55
69-78
55—66
57—48
92—93
109—98
17—26
48—38+37
41—42
39—48
56-^6 + 36
68—57
42—43
48—26
94—96
38—47
37—27
26—17
46—68
57—79
27—26
19a— 19
68—77 + 86
47—57
43—34
29J— 39«
77 67
79—78
57—48
39(1—39
67—47
39i»— 39
48—47
17—27
66—66
57—67
47—36
27—38
47—67
67—58
26—17
49J— 59a
26—87
590—59
17—18
39—29
63—54
78—68
36—37
58—48
66—67
68—77
55—56
48—26
67—78
59—69
37—46
19—17
Here by moving 17 to 18 four moves ago. Whits gradually
detached a piece from its support, and must have inevitably lost it,
had it not by good forttme eventually found shelter in I9h.
Bellatorque suo prensus sine compare bellat.
Nee, tuto fugiens, incomitatus eat.
18—19
29— 19a
46—47
78—68
19—19*
59a— 49a
31—32
77—67
34—25
38—37
47—68+67
37—48+58
25—15
490—39
56—57
48—47
30—31
26—16
57—46
19a— 19
Digitized by Google
56
THR GAME OF TAU.
White.
Block.
White.
Black.
74—75
68—68
36—44
87—86
7e— 66
47—46
67—46
78—67
46—66
68—67
76—66
67—66+46
66—66
46—66
44—45
14_34+46
66—44
66—66
32—43
34—14
66—66
66—46
43—33
36—25
66—66
46—36
24—13
39—48
66—68
67—78
33—34
14 12
68—67
36—37
I 18—23
86—76
44—46
16—14
95—85
76—66
16—24
693— 69a
65—65
56—54
46—86
37—36
Whitens piece 55 is here hemmed in. It camiot move into 44, 46,
or 64, without losing 34 ; which would also be lost eventually if it
moYcd into 56. In 46 or 65 it would be taken immediately. Its
only escape is by leaping into 53. It is to such a position as this
that Seneca alludes in Epiat. 117 : —
Nemo qui ad incendium domus susb currit, tabulam latrun-
culariam perspicit, quomodo alligatus exeat calculus.
WhiU.
Black.
White.
Black.
65—63
54—43 + 34
84—75
66—76
23—33+43
12—22
114—105
98—87
150—41
25—34
54—65
76—74
33—11
22—23
75—84
74—56
11—12
23—14
45—46
56—36
53—43
106—96
41—42
36—35
93—84
96—74
46—45
68—57
86—63
74—75
42—33
107—106
63—64
66—65
33—34
35—25
64—66 + 76
48—58
84—86
127—117
66—75
65—55
112—103
87—96
76—66
65—44
105—107 + 96
117—108 + 107 !
66—55
44—35
103—104
125—115
56—16
34—62
123—124
108—97
70—61 + 52
35—56
124—125
115—116
43—54
55—66
104—105
106—104
1 Should have been 10-11 : but the 10 had accidentally slipped off the board.
Digitized by VjOOQIC
LDDDS LATRUNCULOKUM.
57
White.
Black.
JFhite.
Black.
105—114
104 124
47—37
25—26
114—123+124
129—118
34—35
26—48
123—114
118—107
37—47
19—28
114—105
97—106
195— 29a
28—37
101—102
17—16
35—46
48 57 + 47
61—62
69<j— 69
290—29
37—47
81-82
69—78
29 38
47—45
85—86
78—77
46—47
45—36
86—76
57—67
47—58
57—68
45—56
67—78
65—56
68—67
5&— 67
107—97
56—66
67—78
125—107 + 106
116—117 + 107
105—96
98—97
105—96
117—106
124—125
97—95
96—116
895— 89a
96—105
107—116
82—83
77—57
105—96
78—87
67—47
78—77
96—107+116 95—96
76—67 + 57,67
1(»6— 126
107—85
36—46
116—105
126—115
125—126
46—56
105—125
97—106
66—46
16—26
83—94
115—126
46—47
56—46
94—95
106—116
85—75
87—76
95—105
126—124
75—65
76—54
125—126
116—127
62—53
54—45
126—116
77—87
53—44
14—24
121—122
124—125
12—23
26—35
122—123
87—97
65—54
96—86
116—115
97—107
54—55
24—22
123—124
89(1—99
38—37+46
35—24+23
115—126 + 125,126
99—98
44—35+45
Black resigns.
Et tibi captiva resonat manus utraque turba.
And each band rattles with the captive crowd.
Beminding us of the jeering laugh with which the old lion
shakes the bag of yictims in the face of the poor goat.
Digitized by VjOOQIC
58
THE GAME OF TAU.
The preceeding game was played before we had
discovered the game of Senat, and consequently before
we knew that a piece voluntarily going between two
opponents is not forfeited. We therefore give another
example of the game^ subject to this condition : as it
may be regarded as certain that the same law would
be common to each game.
Oame n.
WTiite.
Black.
TThife.
Black.
14—15
27—26
35—45
36—46
15—16
47 46
24—35
58—57
23—24
46—36
74—65
57—56
34—35
38—37
65—75
87—86
16—17+26
37—26
63—64
107—96
17—16
67—66
43—44
127—116
16—17+26
36—26
54—55
118—107
17—16
26—36
55 57 + 46,66
49—584
White^B 55 moving to 57 takes 46 and 66, but is taken itself.
Andpites subit ille moras, similisque ligato,
Obligat ipse duos.
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LUDUS LATRUNCULOBUM.
59
Whits.
Black.
White.
Black.
64—66
68—47
46—36
86—64
35—36
56—66
' 75—76
64—75+76
3&— 46
86—64+65
124—125
98—97
52—53+64
78—77
94—95
89—88
123—124
96—95
125—126
18—27
83—84
129—128
44—45
27—37
103—104
107—106
46—55
47—56
114—115
69—68
126—117+106,116 97—106+11
104—105
95—86
Here again the same quotation applies,
this was a f ayourite move in the game.
It would appear that
White.
Black.
White.
Black.
15—116
106—107
116—115
118—107
95—85
37—26
75—85
88—87
36—25
66—65
53—64
29—38
16—27+26
56—66
64—65
38—48
55—56
66—67
66—66
67—56+66
84—74+66
75—76
45—67+76
56—66+67
85—96
128—118
65—56
66—67
74—76
107—125
72—73
109—98
Here it is evident that if Whitens 72 could get up to 76, and then
jump over to 78, it would take Blacl^s 67 and 87 : though it would
be taken afterwards. He therefore tries it,
- Longo venit ille recessu
Qui stetit in speculis.
but is not so successful as in the game described by Bassus : for on
reaching 74 Black moves from 68 to 78, and thus stops him.
» 75-66.
>> 76— S5 and taking 96.
Digitized by VjOOQIC
60
THE GAME OF TAU.
mite.
Black.
WTiite.
Black.
73—74
68—78
44—55
58—67
115—124
19(»— 29
66—75
98—97
74—75
29—38
55—65
1290—129
105—116
38—16
95—85
97—87
27—17
16—27
117—107
129—118
56—47
27—38
107—96
86—97
47—46
38—47
75—86
76—66
116—126+125
47—45
92—83
119—108
46—56
48—47
47—57
69—68
25—34+45
67—45
65—75+66
68—58
56—46
47—57
57—66
87—88
34—44+45
57—67
85—95
118—107
46—57
59i»— 59
32—43
39<i— 49
75—76
59—58
86—87
77—86+87
57—47
119(»— 119
66—76+86
108—117
124—115
79(j— 69
96—106
117—116
126—117
107—116
106—126
116—106
117—127
77—86
126—117+106
1095— 109a
127—117+116
67—66+76
112—113
109a— 99
85—76+86
66—65+76
95—96
107—98
96—86
87—85
113—114
98—87
86—75
65—76
117—107
87—86
75—66
1295— 129a
107—98+97
88—97+98
115—106
85—86
^76— 87
2 97—106+96
106—95
78—77
75 85+86'
67—76
BlacVa men are now reduced to one half of White^a^ and so he
gives up the game.
The above being the first attempts to play the game,
exhibit no brilliancy of movement. On the contrary
they are full of oversights and mistakes, only two or
three of which are noted ; but they will serve to show
the genius of the game. The chief peculiarities of the
game are the leaping power of the pieces, and the
great facilities of att^ick and escape. The double capture
1 96-85. » 86—77 and taking 97.
Digitized by VjOOQIC
LUDUS LATRUNCULOBUM. 61
as shown in the beginning of the game,
and the pinning in of two pieces
as indicated in the last part, are -l--A-<{>-^
pretty moves. In the latter case if one of
the pieces moves, the other is taken captive. But
even from this first effort at a game, and with unprac-
tised players, it is evident that the game is not only
unlike any other game, but that it possesses great
variety of movement, and owing to the leaping power
of the pieces, these moves come upon us quite unex-
pectedly, like those of a thief, as indeed the name of
the game indicates, so that it requires the greatest
attention and circumspection to prevent an attack.
Cautaque, not stulte, Latronum F»Blia ludat.
And thus, as we have seen from Seneca, and as we
learn from the Scholiast in Juv. Sat. v. 109, people
were accustomed to stand round the tables to watch
the players, especially when men like Novius or Publius
or Cneius Calpurnius Piso played. Like all other
games of Oriental origin it is somewhat long : but this
agrees with what we are told by Macrobius — **Vultisne
diem sequentem, quam plerique omnes abaco et latrun-
culis center unt .... a prime lucis in coensB tempus."
The above game occupied about two hours : but no
doubt with the celerity with which Orientals play, it
might be accomplished in half that time, and indeed, it
would be wrong to play a game like this, as if one were
playing at chess, fearful of making a wrong move ; for
the game would then become very tedious : but the
players should be expected to play rapidly, as if at
Atep, or Mora ; and to laugh at the mistakes that are
made, instead of lamenting them^ especially when the
Digitized by VjOOQIC
62 THB GAME OF TAU.
ardour of conquest has so carried us along, that we
forget our own danger, and find ourselves taken captive.
But this does not invalidate the maxim we have just
quoted from Ovid : the game must not be played care-
lessly or ignorantly, but with quickness of eye, and
intelligently.
It is to be hoped that Egyptian students will now be
able to find some interpretation of the word 11^.0 J
aaseh, having connection with this game. It cannot
be, as Dr. Birch supposed lost, for the game as depicted
is not yet begun. RoseUini's interpretation, leisure^ if
correct, has some meaning, denoting it as a game of
leisure or recreation.
The game can be played, as an experiment, upon a
paper board, or paste-board, with thirty bone coimters
on each side of different colours, or with gun-barrel
wads, some left white, and others blackened over ; as
we ourselves have played the game.
Digitized by VjOOQIC
V.
I^J
THE GAME OF SENAT
TBI ANCIENT IGTFTIAN OAMB.
SnOA— THE MODEBN IGTPTIAK QAUE.
Dr. Hyde— De ludo dicto Ufuba Wa Hulana, - 1694.
£. W. Lane — ^Manners and Customs of the Modem
Egyptians, - - - 1846.
H. Carrington Bolton, PI1.D., Seega, in ** Field," June 1, 1889.
The modem Egyptian game of Seega has been lately
again brought to our notice by Dr. Carrington Bolton,
of New York. It is described by Lane more than forty
years previously, and is mentioned under another name
by Dr. Hyde, two hundred years ago. The Wa-Hulana,
1 Dr. Riou, of the BritiBh Museum, saya the word Seega is not notioed by
natiTe Lezioographera ; and that it seems to be a local name.
Digitized by VjOOQIC
64 THE GAME OF SEBGA.
or ^people of Hulana, appear to be natives of the lake
district in Equatorial Africa, like the TTa-Humas, Wa-
Tusi, TFa-Ima, TFa-Chevezi, TFa-Witu, TFa-Nyassa,
and other tribes mentioned by Stanley, who describes
them as being the finest race in Africa, and all speaking
the same language.
There can be no doubt that this was a very ancient
game. As the ancient Egyptian games of Draughts
and Robbers were very large games, and played with a
great many pieces, it is evident that such games would
be inconvenient and unsuitable to the common people,
who generally play at short and simple games : and it
is probable that this game, and that of Dabs, were
played by the lower orders among the ancient Egyptians.
Lane tells us that many of the fellaheen of Egypt
frequently amuse themselves with the game of Seega.
They dispense with a board by scooping holes in the
ground or sand : and stones, or beads, or beans, or
pieces of wood of different colours serve as pieces, which
they call Kelbs, or dogs, as the Greeks called the men
in their use of the game of Robbers or Latrunculi.
The mode of capturing a man also in Seega is precisely
similar to that of the ancient game of the latrunculi,
namely by confining him, or manacling him on each
side, and thus taking him prisoner. But here the
similarity ceases. There are no diagonal, or " wander-
ing " moves ; and the men are not arranged, at starting
the game, in two hostile bands.
The following is Lane's description of the game : —
" Seega consists of a number of holes generally made
in the ground, most commonly of five rows of five holes
in each, or seven rows of seven in each, or nine rows of
nine in each : the first kind is called the Khams-4wee
Digitized by VjOOQIC
THB GAME OF SEEGA.
65
Seega, the second the Seb-dwee, the third the Tis-
dwee/' We will take the first/
1
3
4
2
]
4
/
3
I
t »
10 20 30 40 60
" The holes are called * 'oyoon,' or eyes, in singular
eyn/ In this seega they are twenty-five in number.
The players have each twelve * kelbs/ similar to those
used in the game of * Tab.* One of them places two of
his kelbs in the 'eyns marked 1, 1 ; the other puts two
of his in those marked 2, 2. (1).* They then alternately
play two kelbs in any of the 'eyns that they may
choose, except the central 'eyn of the seega. All the
'eyiis but the central one being thus occupied, — most of
the kelbs being placed at random, (2) — the game is
commenced. The party who begins moves one of his
kelbs from a contiguous *eyn into the central. The
other party, if the 'eyn now made vacant be not next
to any one of those occupied by his kelbs, desires his
adversary to give him, or open to him, a way : and the
latter must do so by removing, and thus losing (3)
one of his own kelbs. This is also done on subsequent
occasions, when required by similar circumstances.
The aim of each party, after the first disposal of the
^ The notaUon of the board is that which we have giyen previoiwly : the ceUs of
each column starting from the base.
' See following page.
F
Digitized by VjOOQIC
M TAB GAME OF SEEGA.
kelbs, is to place any one of his kelbs in such a situa-
tion that there shall be, between it and another of his,
one of his adversary's kelbs. This, by so doing, he
takes ; and as long as he can immediately make another
capture by such means, lie does so, without allowing
his adversary to move. (4) These are the only rules of
the game, (5) It will be remarked that though most
of the kelbs are placed at random^ (2) foresight is
requisite in the disposal of the remainder. Several
Seegas have been cut upon the stones on the summit of
the Great Pyramid by Arabs who have served as guides
to travelleiTs."
Remarks on this description.
1. Dr. Carrington Bolton says the Bedouins usually
begin with 3, 3, and 4, 4 ; followed by 2, 2, and 1, 1.
2. They appear to be placed at random, and moved
at random ; but by experience and practice they know
which are the best positions, and which to avoid.
3. In the games which we have played we have not
met with this necessity : and we would suggest
reading — and the latter must do so by moving one of
his own pieces.
4. By studying Dr Carrington Bolton's example,
we are able to define this more clearly. On taking a
piece, the player may make another move with the
same piece, provided if, by so doing, he can take another
piece.
5. An additional rule suggests itself in the necessity
of not allowing a player to make the same move more
th^n twice, when it occasions a *' see-saw."
Digitized by VjOOQIC
THE GAME OF SEEGA. 67
The Rules therefore are : —
The first move to be determined by lot.
Each player places two kelbs alternately. It is desir-
able to place these two kelbs on opposite sides of the
board.
The central square is to be left open, and all the
other squares are to be filled in.
The kelbs move perpendicularly and horizontally, not
diagonally.
A kelb is taken by placing one on each side of it, as
if manacling it : but a kelb so placed in filling in the
squares before beginning the game, is not lost : and a
kelb can, in the game, go between two hostile pieces
without being taken.
On taking a piece, the player may make another
move with the same piece, provided if, by so doing, he
can take another piece.
If a player cannot move any of his pieces his oppo-
nent plays again.
When a see-saw takes place, another move must be
made by the attacking party.
A player surrounded by the enemy, and refusing to
come out, surrenders the game.
If both parties are blocked up, it is a drawn game.
It will be seen in playing this game that it is advis-
able to get command of as many outside squares as
possible : and Game III will show the advantage of
enclosing the enemy if possible. This is often done
even when each party has the same number of pieces.
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68
THE GAME OF SEEGA.
Dr, Camngton Bolton devised the following game in
order to show the moves, and to accomplish certain
ends : whereby " Whitens first move being most unfor-
tunate, gave Red the power of forcing nearly all
Whitens moves."
Gamb I.
Placing,
White.
Red.
34, 33
42, 52
12, 22
31, 30
23, 21
43, 41
63, 51
24, 40
44, 20
13, 11
10, 54
14, 50
Playing.
White.
Bed.
33—32
43-33+23,32
22—32+33
13—23
12—13
23— 22+32 and 12+13
34—33
24—34
33—23
14—24
23—33
42—32+33
53—43
32—42
54-53+52
42—52+51
43 33
81— 82+83, and 31+21
44—54
34—44
20-21
30—20
21—22
31—32+22
53—43
41—42+43
54—53
44—54+53
20—30
11—10+20. Game.
10—20
In this game White made several bad moves, in
addition to a bad starting : but the game was prepared
merely to show the moves. We will now accept the
placing — which we may presume is in favour of lied —
and play Whites men differently.
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THE GAMK OP SEEGA.
69
Game IL
White.
Bed.
22 32
12-22
11—12
21—11
31—21
82—31+21,
41 42—32+22, 31 : and 22+23
34—33+43
24—34 and 23+33
53—43
23—22
54—53+52
22—32+33
61—52
50—51
43-42
32—33
63—43
30—31
42—32
31—41
32—42
40—30
11—21
12—11
21—22
33—23
22—12+11
14—24
10—11
41 — 31 oveisight
42—41
31—32
41—40+80
32—33
40—50+51
23 22
20—21
24—23
52 42
33 32
43—33
32—31
42—32+22
31 41
50—51
41—40
11—10
40—30
21—31
30—40
61—50
23—22
31—30+40
22—21
12—11
21—31
60—61
34—24
33—23
24—14
51—41
31—21
41—31+21
14—24
44—34
24—14
34-24
13—12
23—13+12
13-12
14— 8
24—14—13
Game.
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70
THE GAME OF 8EB6A.
But we will now not only accept the placing of the
first game, but also Whitfis " most unfortunate first
move/' as it is described in the *' Field ;" and White
still wins the game : —
Game III.
White.
Red.
33—32
43—33+23, 32
22—32+33
13—23
32—22
23—13+12
22—12+11
13—23
12—13
23 33
44—43
33—32
54—44
32—33
13—23+33
14—13
63—54
42—32
43—42
32—22+23
64—53+52
13—12
10—11
22—23
44 43
23—13
43—33
13—23
42—32
23—13
32—22
31—32+22
21—81+32,41
12—22
31—32
22—12
63—52
13—23
52 42
23—13
42—41
13—23
41—31
23—13
31—21
13—23
21—22
23—13
33—23
24-14
34—24
40—41
32—31+41
30 40
31—41
40—30
41—40+30
40—30
50-40
51—60+40
11—10
12—11
22—12+11
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THE GAME OF 8ENAT.
71
White.
Red.
12—11
13—12
23—18+12
13—12
14—13
2i— 14+13 Game.
From the examples we have given it is evident that
the gcime is one of great variety and interest, and one
that requiras a quick eye and close attention.
We will now show the connection between this and
THE GAME OF SENAT.
Wo have seen in the description of the amusements
of the blessed in the future state, that among the
games they were then supposed to play were the Senat
and the Tan. The " Tau " means Robbers. We have
identified the Tau with the Lud\is Latrunculorum of
the Romans. The other game, represented on the left
hand of the tomb-painting at Benihassan, p. 44, and on
the Tomb of Rashepses, p. 10, has the name of Senat
attached to it.
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72 THE GAME OP SENAT.
The game '* Senat," (Birch, 1, 3) was at first trans-
lated chess^y and afterwards draughts. Certainly it
could not be chess : and there is no reason whatever —
except that it is not chess — for calling it draughts.
We will therefore merely call it Senat. In this game
we observe that the pieces are not separated, as in the
game of Tau, half on one side, and half on the other ;
but they are all mixed together. The pieces are repre-
sented as of different sizes alternately, and of different
colours. We cannot for one moment suppose that one
player played with tall pieces, and the other with short
ones : neither can we suppose that this difference of
size was merely to distinguish the different sides : for
the difference of colour would be quite suflBcient to
so distinguish them. This difference of size therefore
must have some other interpretation. We have stated
that the picture of the game of Tau, p. 44, represents the
position of the pieces before the game begins. It
follows that the picture of the game of Senat must also
represent the position of the men before beginning
the game. Instead then of placing the men in two
opposite camps as in the game of Tau, the pieces are
placed on the board, one by one, or two by two, alter-
nately, as in the game of Seega ; thus having a ccJnfused
and promiscuous appearance, as if seen in perspective ;
and the game is represented in the picture as it would
appear when all the pieces are thus placed, and the
game is about to begin.
Lane tells us that Seega is played by the fellaheen
on ''boards of five, seven, or nine rows of so many
squares." Now it is curious that in the sarcophagus of
Mentuhotop* we have boards depicted of nine, eleven,
> LepaiuB, J)ie AdU$U TcsU dcs TtjdUnbuchSy BerliD, 1867.
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THE GAME OF SENAT. 73
and thirteen pieces, representing the number of squares
in each board : under each of which is the word " Senat."
It will be objected — as we ourselves have already
stated — ^that in the smaller hieroglyphics the artist's
intention was merely to show a '' draught ''-board,
without indicating the exact number of squares. No
doubt this was generally the case ; and so on different
monuments we should expect to find that the artist
represented the board with a greater or fewer number
of squares, as he chose at the moment : but here we
find the same artist has represented boards of different
numbers of squares on the same sarcophagus ; and we
are justified therefore in attaching a motive for his thus
treating them.
JliilMr^
(1)
(2) (3)
1. On left hand, inside the sarcophagus.
Two others with checkered diaper under.
2 On inside, right and left.
8. On inside of lid of sarcophagus,
and on right hand inside.
These different representations of the game then
would seem to indicate that the ancient Egyptians had,
like the present fellaheen, boards of different sizes,
intended for more or fewer pieces, and consequently
for longer or shorter games, according to the time they
had to spare. Thus it is evident that while the full
game was played on a board having eleven or thirteen
squares on each side, the principle of the game consisted
only of having an odd number of squares, so as to
have a vacant square in the middle : and thus the same
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74 THE GAME OF SENAT.
game could be played with fewer pieces, and less
trouble, and less time, by reducing it to squares of
nine, seven or five cells. This proves the identity of
the two games.
We find a similarity between the two games of Tau
and Senat in the modt^of taking ; namely, by confining
a man on each side, as soldiers march off a deserter :
but in Senat we do away with the necessity of leaping,
in the game of Robbers, by placing the men promiscu-
ously on the board in starting.
There remains only the diflficulty of the board
appearing to be the same in each game, (Birch, 3 and
4,) though one game requires a board of an even
number of squares, and the other of an odd number.
But though we have supposed the boards to be repre-
sented by the men, the artist of the pictures considered
he could not give a greater number of pieces to one
player, than to the other ; so he was obliged to make
them equal in number, though the board itself had an
odd number of squares ; while the scribe who wrote the
hieroglyphics considered that he could not make the
figure of his board lop-sided by having a tall piece on
one side, and a short one on the other ; and thus in
the larger hieroglyphics we have given it will be seen
that the game is represented with an odd number.
Though the two games appear to be so much alike in
some particulars we have mentioned, in others they are
very dissimilar. In one the pieces jump, in the other
they do not ; in one the pieces are arranged in two
serried phalanxes, in the other they appear in a confused
mel^e ; in one the game is played with 60 pieces, in
the other with 24, 48, 80, 120, or 168.
But it will be asked — what sort of game would it be
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THE GAME OF SENAT.
75
if played with so many men ? So I thought I would
try : and I give the result. As I anticipated, the
greater number of pieces on the board gives an oppor-
tunity of taking a great many pieces at one move. On
examining the game it will be seen that the captures
were not only very frequent, but that two, three, and
even four pieces were sometimes captured at one move.
The game occupied an hour and three-quarters, including
scoring ; say an hour and a half without scoring.
There were about a hundred and thirty moves on each
side : whereas in the game of Latrunculi there were
about two hundred and twenty on each side, occupying
about two hours. The full game of thirteen squares is
1
2
3
4
5
6
7
8
9
10
11
12 13
' u
15
16
17
18
19
20
21
22
23
24
25 26
27
28
29
30
31
32
33
34
35
36
37
38 ! 39
140
-il
42
43
44
45
46
47
48
49
50
51 ' 62
1 58
54
55
56
57
5»
59
60
61
62
63
64 j 65
! 66*
67
68
69
70
71
72
78
74
75
76
77 78
, 79
80
81
82
83
84
85
86
87
88
89
90
91
02
93
94
95
96
97
98
99
IOC
101
102
103 : 1C4
105
106
107
108
109
110
HI
112
113
111
115
1161117
1
jlKS
119
120
121
122
123
124
125
126
127
128
129 1 130
131
182
133
184
J 36
136
137
188
139
140
141
142
143
144
145
146
147
14S
149
150
151
152
153
154
155
156
157
158
159
160
161
162
133 1 164
163
166
167
168
169
Digitized by VjOOQIC
76 THE GAME OF SENAT.
a very different game to the smaller one of five squares,
because the game of thirteen squares is played rapidly,
from there being so many pieces : whereas the game of
five squares is played very cautiously, step by step, and
with careful calculation. The smaller game therefore
will be the favourite in the present day when time is
more valuable than it was before the properties and
powers of steam and electricity were discovered.
Placing
THE Men.
Bed.
White.
Red.
White.
44, 128
157, 13
31, 146
81, 82
56, 125
79, 78
48, 161
102, 103
20, 136
1, 169
77, 92
139, 152
29, 114
105, 52
40, 117
56, 57
17, 110
27, 143
66, 130
120, 121
134, 9
4, 166
131, 24
142, 156
18, 126
7, 164
90, 91
135, 147
38, 148
11, 169
163. 168
42, 54
34, 122
104, 53
133, 150
45, 58
15, 154
132, 64
69, 60
123, 124
2, 127
43, 113
80, 97
21, 22
5, 115
118, 39
94, 10
6.' 8
67, 141
41, 129
138, 140
3, 23
30, 155
107, 37
119, 106
145, 93
16, 153
83, 74
68, 69
100, 101
14, 167
108, 62
49, 166
61, 63
19, 137
149, 151
76, 61
35, 36
12, 158
46, 47
70, 50
71, 72
26, 144
111, 112
162, 116
73, 95
28, 65
88, 89
75, 109
96, 84
160, 2ft
32, 83
99, 87
86, 98
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THE GAME OF SENAT.
77
The Game.
Bed.
White.
86— 85
( 100— 87+86
\ 100+99
87— 86
100— 99
74— 87
.• 62— 61+48,74
( 62+49
75— 74+61
60— 61
I 47— 60+69, 61
I 47+34
50— 49
62— 61
49— 50+63 »
63+64 /
1 6i_ 50+37
65— 64
78— 65
91— 78
104— 91+78,90
77_ 90+103
36— 37+24, 38
25— 24+37
102—103+116
115—116+103
101—102
116—103
91—104+103
90— 91 + 104
102—115+114
117—116
115—114
116—115
129—116+115
130—129
116—103
128—115
103-116+129,1]
127—128
142—129
) 28— 115
129—128
115—102+89
114 101
102—115+128
101—114+115
76— 89
116—103
89—102
114_101+102
140—127
/ 139— 140+153
j 139+126
\ 126+125
I 125+138
91—104
166—153
167—166
61— 48
1 Through some confusion Red plays here instead of WhiUf thus having three
Digitized by VjOOQIC
78
THE GAME OF 8BNAT.
Red.
White.
141_140+153 1
130+152 )
151—152
127—128
, 152—151 + 150
J 150+137
( 137+136
163— 150+ H9
164—163+150
10.-,— 164+168
123—136
128—115
/ 136— 123+122
j 122+109
'S 109+108,110
' 110+97
115—102+103
135—136
24— 37
35— 36
12— 25
r 39— 38+37
1 39+26
25— 12+11
62— 51
50— 37
39_ 38+37
143—135
147—148
135—122
136—123+122
146—147
1 159—146+147, 133
1 159+158
134—133+132
146+145 ]
/ 120—133+146
■j 120+119
1 119+106
144—145
159—158
145—144
107-108
94—107
(105-106+107
\ 105+92
160—147
81— 94
162—149+148
/ 82— 81+80
\ 82+69
( 69+70
139—138
137—186
149—150
79— 80+67
1 79+66
\ 66+53
I 53+40
appear to have been Red instead of White, by mistiike.
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THE GAME OF SENAT,
79
Red.
1501—37
147—134
12— 25
25— 26
63— 50
10— 11
11— 24
24— 25
25— 38+51
166—153
153—140
140—139
104—117
139—126
164—151
161—148
151—152+153
102—115
115—128
154—153
153—140
64— 51
128—127
117—116
116—103
127—128
152—151
128—127
127—114
148—135
114—115
151—150
135—122
150—151
151_-164
164—151
White.
\ 54— 67+68
I 54+55
136—149
: 149—150+137
I 151+138
38— 39+26
48— 49+50
23— 10+9
27— 40
13— 26
36— 37+38
40— 27+14
143—142
151—138
142—141
138—139+126
141—140
140—153
27— 14
101—114
65— 78
49— 62
62— 63
37— 50
113—126
123—136
114—115
115—102
125—138
39— 52+51
88—101
112—113
78— 91
124—137
110—123+122
137—150
139—152
152—153
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80
THE GAME OP SENAT.
Red.
151—164
155_-142
28— 27
142—129
164—165
165—152
152—165
129—142
27— 40
15— 28
2— 15
134—133
133—132
142—129
129—130
28— 27
15— 28
29— 28
28— 27
17— 16
31— 30
27— 28
30— 31
18— 31
28— 27
19— 18
27— 28
28— 29
131—132
130—129
White.
126—127+140
128+115
91—104+103
153—154
154—167+168
167—166
138—139
150—163
163—164+165
14— 27+40
27— 14
1— 2
121—134
158—145+132
134—133
104-117
53_ 40+27
2— 15+28
42 - 29+16
29— 42
4_ 17+16,30
3— 4+5
4— 5
43_ 30+31
30— 43+44
43— 30+31
32— 19+18,20
14— 27
27— 28+29
118—131 + 132,144
117—130+129
Game,
We have thus, we believe, not only discovered the
Ludus Latrunculorum of the Romans, which has hitherto
been the puzzle of antiquaries, but we have identified
this game and that of the supposed modern game of
Seega with the two Egyptian games depicted on monu-
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THE GAME OF 8ENAT. '81
ments of the earliest antiquity. And it is interesting
to see how an idle Egyptian caricature of a lion and a
goat, of the time of the Antonines, should enable us at
the same time to discover the origin of a forgotten
Koman game, and assist us to discover the meaning of
an obscure Egyptian hieroglyphic of the remotest anti-
quity, representing a game that the patriarch Joseph may
have played as an ancient game in his time : and again
how watching the fellaheen of the desert making holes
in the sand for a game with twenty-four stones, and
hearing the name which they called the stones, should
enable us to discover the meaning of another obscure
hieroglyphic representing a game played with 120 or
168 pieces, according to whether the board was a square
of eleven, or a square of thirteen.
In the accompanying gem, formerly in the possession
of the Due de Luynes, and published in the Bullet.
Archeol. di Napoli,^ we see two figures playing at a
game, the board of which has five squares in width,
and, owing to the diflficulty of perspective, only four in
length. It is evidently intended to represent a game
of five squares each way, and therefore the Senat. It
appears to be of the Grasco-Roman period, and thus is
interesting as representing a medium between the
fourth Egyptian dynasty, three thousand years B.C.,
from which all these games appear to date, and the
present time when the fellaheen of Egypt play the
game; and consequently showing how the game has
been handed down. It represents the ordinary and
favourite way of playing the game, on a board of five
squares. The interest attached to the game is indicated
by the two figures in the back ground intently looking
1 Tav. viii. 6.
G
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82 THE GAME OF SBNAT.
at the board. It will be seen that the squares are
marked by double lines, showing that the squares were
sunk in, to keep the pieces in their proper places,
similar to Dr. Abbot's board ; and that a bag is
suspended under the board, probably not merely for
keeping the men, but for holding the stakes in playing ;
and here again this gem affords another proof that the
pieces were placed on the squares, and not on the lines,
as has been supposed.
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VI.
HAB BU HAN.
THE GAME OF THE BOWL/
We have no extraneous aids for determining the
nature of this game, as we have for those of Senat and
Tau. We have indeed nothing but this picture, and
the name of the game. But however puzzling it may
look, we think the difficulty may be solved by com-
paring it with the other Egyptian games.
Evidently it was a game of great interest : for spec- .
tators are seen looking on, which we do not see in the
other Egyptian games, as represented in the tomb
paintings; though we find them represented in the
Koman intaglio at the end of the game of Senat, and
we find them referred to by the poets in their description
of the Ludus Latrunculorum, the Egyptian game of
^ThiB is generally described as the game of the Vase : but in the picture it is
represented as a bowl, for the greater facility of putting in pieces, and taking out
the stakes.
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84
THE GAME OF THE BOWL.
Tau. It always formed one of the supposed recreations
of those in the future state who had been " weighed
in the balances, and (not) been found wanting."
The artist has represented it upright, like a target,
with a bowl standing on the top of it, because he
could not represent it in profile as he represented other
games. It was played on a circular board, having a
bowl in the middle, containing the stakes for which the
game was played, as also the pieces which succeeded
in getting home ; and this would account for the
interest and excitement shown by the spectators who
are watching the game. As it was a game for money,
it was evidently played with dice. This is proved by
the hieroglyphic sign for this game, 0, the bowl for
holding stakes, appearing between the two games of
Atepf given us by Sir Gardner Wilkinson, as we shall
see in a following game.
The pieces were entered by throws of dice, and had
to begin at the outer rim, and to proceed gradually to
the centre as their home*
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THE GAME OP THE BoWL. 85
The pieces were taken, as in the games of Senat and
Tau — and we are justified in believing in this analogy —
by attacking them on each side. Being in a circle, a
piece ivould operate all round the circle^ whether to the
right or le/l.
We will suppose a player has entered one of his
pieces. On his adversary having the same throw, he
would enter a piece in the same ring on his side. Each
of these pieces would then attack the opposite one.
Whichever side next entered a piece in the same ring
would take the opponent's piece ; for he would have two
pieces to his opponent's one, and one of these would
attack it on the right side, and the other on the left.
But should his opponent have two pieces already
entered when he enters his first piece in the same ring,
he will not lose such piece, as he put it voluntarily in
that position : and his opponent must enter a fresh
piece in the same ring before he can take it. This
accords with the rule in the game of Senat, which we
are bound to consider.
We will now discuss the dice. The ordinary dice
and the tarsal bone, called a cube and an astragal by the
Greeks, and a tessei*a and a talus by the Romans, were
used for games of chance, for purposes of gambling,
and for divination and other purposes, from the earliest
antiquity. The astragal from its form may be regarded
as a double or elongated cube ; and among the Bomans
it was occasionally numbered 1, 3, 4, 6 ;* leaving the
ends unmarked. The dice which the Indians use in
their game of Pachisi are elongated cubes with the
^ Or it signified these numbers according to whatever side was uppermost, the
concave or bottom 3 ; the convex or upper, 4 ; the right side 1, and the left 0.
See Hyde, Hitl, NtrdUvdii, p. 143.
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86 THE GAME OF THE BOWL.
numbers 1, 2, 5, 6, on their four sides. But the astra-
gal of the Egyptians is not numbered, the flat or
concave side probably counting for one ; and the convex
side as two^ or vice versa. They were frequently
imitated in ivory, and one such is observable in the group
of " draught-men " of Queen Hatasu. We may con-
clude therefore that astragals were used in this game.
The pieces would enter, or move, two at a time, as
at Senate into the ring indicated by the throw of the
astragals. This would cause a constant state of excite-
ment, for if each of the two players had a piece in the
same ring, and each piece was getting near the centre,
they would each be in the greatest apprehensioa, lest,
having so many adversaries behind his piece, the other
should throw the exact number and take it up.
Thus the aim of each player would be two-fold. He
would endeavour to protect his pieces by getting
always two or three in the same ring, and then gradu-
ally moving them up towards the goal ; and he would
be constantly on the watch to take his opponent's
pieces.
It will be seen that several pieces would be t^ken on
either side. We cannot suppose that these pieces
would enter again, as in Pachisi and Backgammon ;
but that they would be slain as in Senat and Tau, and
Chess, otherwise there would be no end to the game, or
at least it would be too long. If this, however, were the
case, the game would then consist — as all the pieces on
each side would be in action, or expected action — in
getting out first, as in the games we have mentioned :
but we must assume rather that the game would
resemble the kindred games of Tau and Senat in
which the pieces are killed outright.
Digitized by VjOOQIC
THE GAME OF THE BOWL. 87
In the picture before us we observe that the left
hand player has seven pieces, the right hand player
only three. These are the pieces which have success-
fully reached the innermost rings, notwithstanding all
the dangers which beset them. There were therefore,
probably, twice as many at starting : so we may con-
clude that the number of pieces on each side originally
was a dozen. It would appear that the artist's inten-
tion was to represent the moment in the game immedi-
ately before taking off by entering the home. If so,
the player on the left has the advantage, although his
pieces are two rings further backward ; for the game is
determined, not by which side enters all his men first
into the home — for this might be the weaker side,
having the fewer number of pieces to take oflF, but by
which side has entered the greatest number of pieces,
and taken most men by the time one side is out ; or
in other words, by which side has the greatest number
of warriors come out safely from the battle, and which
has taken or slain the greatest number of the enemy.
As, therefore, the taking a prisoner counts the same
as the getting a man home, it is desirable to use every
endeavour to take pieces ; and this is done by keeping
behind the opponent s pieces, and so being able to take
advantage of any *'blot" he is obliged to make.
Having thus marked the enemy's pieces, he can now
push on his advanced forces to enter into the citadel
or home, before he can get there.
We have divided the board into sub-divisions of
three rings each, for facility of counting. No doubt
the Egyptians thus marked the rings, either by thick
lines, or by colours, as yellow, green, and red, alternately;
most probably the latter.
Digitized by VjOOQIC
88
THE GAMB OF THE BOWL.
The Game.
White.
Throws.
Enters. Moves.
1
1
2
2
1
1
1
1
Takes.
1
2
1
2
1
2
1
2
1
2
1
1
1
1
1
1
1—2
2 -
2 -
1—3
1—3 — 3
1
1
1
1
1 -
2 -
2
3—4
2—4 — 4
1—3
• 1—3
2 -
1
1
1
1
1—2
1-3
3—4
2—3
2—4
5—6
5—6
6—7
6—7
Blade.
Throws. Enten. Moves.
1
1
Takes.
1—3
1—2
1— ?.
2—4
2—3
1—3 — 3
1—3
3—4
2—4
3—4
1—3
1-2
2—3
1—3
3—4
3—4
1—3
Digitized by CjOOQIC
TflE GAME OF THE BOWL.
89
Thnm.
IF/hVc.
Mora. Takes,
Out.
Throws.
Moves. Takes. Out.
o
7— 8
7— 8
1
1
4— 5
4— 5
2— 3
2— 3
1
2
6— 6
6— 7
3— 4
3— 4
2
2
3— 5
3— 5
2
4— 5
3— 5
1
1
6— 7
4 5
1
2
3— 4
3— 5
1
2
7— 8
5— 7
2
2
4— 6
6—8 8
I
1
7— 8
7— 8
2
2
4— 6
6— 8
2
2
8—10
8—10
1
1
8— 9
8— 9
I
2
4— 5
3— 5
2
2
4— 6
4— 6
2
2
5— 7
5—7
1
2
5— 6
6- 8
1
2
4— 5
5— 7
1
1
6— 6
5— 6
1
1
10— 11
10—11
2
2
8—10
6- 8
1
2
5— 6
5— 7
1
2 ■
8— 9
6— 8
1
2
11—12
11 Out
1
2
10-11
9-11
1
2
12 Out
7— 9
2
2
11
11
- Out
- Out
2
2
7— 9
7— 9
6
+ 2
3 + 2
1
Digitized by Google
90 THE GAME OF THE BOWC.
White. Black.
Throws. Move*. Takes. Out. Thrown. Moves. Takes. Out
. 5 + 2 3 + 2
18—9 2 7—9
2 9—11 2 6—8
16—7 1 9—10
16—7 1 9—10
17—8 18—9
2 11 Out 1 9—10
1 9—10 1 10—11
2 8—10 2 11 Out
18—9 1 9—10
2 8—10 1 9—10
1 10-11 1 10-11
2 11 Out 2 11 Out
1 10—11 2 10—12
2 11 Out 2 10—12
1 9-«io 10 1 12 Out
2 9—11 2
1 10—11 2
2 11 Out 2
1 10—11 1 12 All Out
2 11 Out 2
6 + 7 — 13 3 + 6 = 9
On the boaid 2
15 Game.
This forms a very capital and original game, subjected
to uncertain but calculated dangers, and requiring
great caution.
Cowries can be used instead of astraofals.
Digitized by VjOOQIC
VTI.
THE GAME OF THE SACRED WAY.
THE HIERA GRAMME
OF THB GBBBK8,
LUDUS DUODECIM SCRIPTORUM
OF THE ROMANS.
^
irnm-iT-inririnn!.
I
ir^nrJi
JJCTJL
1
H —
1
As the Egyptian game of TaUy or Robbers, and the
Roman game of the Latrones or Latrunculi, or Thieves,
were incapable of solution when considered separately,
and resisted all attempts of the learned to explain
them ; though each has explained the otter when the
references to the Roman game were applied to the board
of the Egyptian game : so the Greek and Roman games
we are now about to consider have remained up to the
present time mere abstract ideas, known only by name ;
while the Egyptian game, when seen in our Museums,
was known only by form. But no sooner do we com-
Digitized by VjOOQIC
92 .THE GAMB OF THE SACttBD WAY.
pare the two together, than we find them one and the
same thing ; and are thus enabled to make each intelli-
gible ; and thus, as in the games of Tau and the
Latrunculi, in finding out one game, we discover two.
The Egyptian name of this game is not known, but
we have many examples of the board. One is in the
Louvre which was obtained from the collection of Dr.
Abbot of Cairo : it measures 28 ins. by 7 ins. and was
found in Thebes ; and has been published in the Revue
Archeologique in 18dG by M. Prisse d'Auvennes.
Another, which belonged to Queen Hatasu, was pre-
sented by Mr. Jesse Haworth of Manchester to the
British Museum. Another, which also belonged to
Queen Hatasu, and which, like it, has the squares
inlaid with green porcelain, in now in the Salle His-
torique of the Egyptian gallery of the Louvre,* and is
described by M. Paul Pierret, in his MusSe du Louvre,
1873. Another, which belonged to Amon-mes, an
officer in the Egyptian Court, who lived possibly in the
time of the Judges, about 1215 b.c.,^ is in the Salle
Civile of the Louvre ; and is published by the same
author in his Etudes figyptologiques.* Two others are
in the Museum at Boulak, and are published by
Mariette Bey in his '* Monuments Divers,"* one of
which we will give presently. Another has lately
been discovered by Mr. Petrie, the eminent exca-
vator of Egyptian monuments, in the Fayoum, and
was exhibited by him in London in 1889. Lastly,
an Egyptian Treatise on the game is said to exist
in the Museum at Turin. Evidently therefore, it
J 616, Armoire C.
^ The date of King Amon-mes.
3 BuUieme Livraiton, DeuxUme Partie, 1878, p. 81, 82.
* 1872, pL 51, 52.
Digitized by VjOOQIC
THE GAME OF THE SACHBD WAT. 93
was a very common game among the Egyptians,
The game, however, is not referred to in the Kitual
of the Dead, nor is it represented in any tomb-sculp-
tures, or in hieroglyphic inscriptions. In fact, like
all the Egyptian games, we have no description of
it whatever.
Nor, as we have mentioned, have we much informa-
tion except in name, of the Greek or Eoman games. We
are told however that they were played with dice,
(icu/3€cac>^ not the astragal), having numbers, 1-6, on
four sides only ; that the central line of the board was
called the Sacred Way (upa y/oo/u/un),' that the pieces
on this line were called kings, as in our game of draughts
pieces are said to qiieen ; and that pieces could be
taken off from this Sacred Way. This is all we knew
of it : indeed, so little did we know, that it was sup-
posed that the board consisted of six lines crossing six
lines, thus making twenty-five squares, or thirty-six
points.
Let us then begin by studying the Egyptian board.
The board has three columns. The side ones have
' Pollax, Onom. **Dice were used by the Egyptians in the reign of Rham-
sinitus ; that monarch, according to Herodotup, being reported to have played
with the Qoddess Ceres Plutarch would lead us to believe that dice were
a very early invention in Egypt, and acknowledged to be so by the Egyptians
themselves, since they were introduced into one of their oldest mythological fables :
Mercury being represented playing at dice with Selene (De Is. s. 12) previous to
the birth of Osiris, and winning from her the tive days of the epact, which were
added to complete the 365 dayH of the year." Sir Gardner Wilkinson, Anet, Egypt
ii,62.
Dr. Birch, however, contests this. He says, — " No dice have been found in
Egypt older than the Roman period ; nor have they been recognized in inscriptions
and texts : nor are there any representations of playing at dice in the earlier or
older sepulchres.*' Nota to ditto.
However, we have found the dice, as we shall see.
'Theocritofl, Ti, 18. 8ekoL
Digitized by VjOOQIC
94
THE GAME OP THE SACRED WAY.
only four cells, and the central one twelve. This
accords with all we know of the requirements of the
game of the Sacred Way. It has a central line, and
this central line has twelve cells; and as no other
boards comply with these requirements, and as other
of the Egyptian games were handed down to the Greeks
and Romans, we may conclude that this also is the
game which was played by those nations. All these
Egyptian boards we have described — like our backgam-
mon boards — consist of two games ; and each of these
games has three columns, and therefore a Sacred Way ;
and consequently they must be variations of the same
game. The principal game, which we have already
described, is the uppermost one, and is determined by
the position of the drawer which contains the pieces.
The lower game consists of three rows of ten cells.
In all these boards, with the exception of Dr. Abbot's,
one of the side columns has four cells marked JPl^My
with hieroglyphics. In Queen Hatasu's board, vllA
in the British Museum, the second cell has two men
marked on it ; the third has three men ; MyJRyAy
and the first and fourth cells are wanting. 1>^ m VI
"■
i
«s
««
(
Queen Hatasu's board in the Louvre, and that of
Amon-mes also, have two men in the second cell:
but the third cell has three birds, forming the
Digitized by VjOOQIC
THE GAME OF THE SACRED WAY. 95
word Baa (spirits), and the fourth has the sign of
water. In all the boards the fifth cell has the sign
nef€T ; the two latter boards having three nefevs
instead of one. Mr. Petrie's board, however, instead
of having hieroglyphics, has the simple numerals II
and III on the second and third cells, and the fourth
cell divided by two diagonal lines, to signify four.
There can be no doubt therefore that these four cells
were known as 1, 2, 3, and 4.
Queen Hatasu's board in the Louvre and that of
Amon-mes and those in the Boulak Museum are further
disting\iished by having all the plain surfaces, and even
some of the cells, filled in with hieroglyphic inscrip-
tions, precatory and laudatory. On one side of Queen
Hatasu s is her cartouche name, on the opposite her
throne name, Ra-ma-Ka ; and at one end is an embryo
figure of Ptah. On the corresponding space of Amon-
mes' board is a representation of himself playing the
game, and moving one of the pieces. M. Pierret states
that the first, fifth, and ninth cells of Queen Hatasu s
central way are marked with hieroglyphics, which he
thought had some " importance particuli^re :" but no
doubt they are of the same nature as those on Amon-
mes' board, on the fourth cell of which Mr. le Page
Renouf reads " Favoured by the good God ;" on the
eighth, " Commanding oflScer of the Royal Court ;" and
on the twelfth, his own name, ** Amon-mes ;" which is
also seen on the first of the right lateral row ; and on
the first of the left lateral the words, " che-en-hap^^^ the
signification of which is uncertain.
From these materials we have to construct the game.
Evidently it was a game for two players, who have four
pieces each, and the central column was common to
Digitized by VjOOQIC
90 THE GAME OF THE SACRED WAY.
both players. This was the Sacred Way, on entering
which each party would strive to take up the other's
pieces, and arrive at the goal. There being so few
men to start with, the game would soon come to an
end if the prisoners were not made use of by the victor.
Accordingly they were entered in the cells 1, 2, 3 or 4,
as those numbers were thrown by the four-sided dice.
It is this feature which gives interest to the game.
One of the players may be reduced to one piece, and
the game then be considered lost : but with this piece
he takes one of his opponent's, and then another, and
by entering these men as his own may eventually win
the game.
It v/ill be asked why the cells 2, 3, and 4 were
marked on the lower game, and not on the upper ? I
suppose it was because these four squares on the upper
board speak for themselves. Again, why only four
cells were thus distinguished on the lower game ? It
was probably because the earlier dice had only four
numbers ; and the nefer on the fifth cell did not mark
a number, but only the termination of the series of
re-entering cells.
Since this was written Professor Maspero has
directed my attention to the two boards in the Boulak
Museum, published by Mariette Bey, one of which has
the fourth cell of lower game divided off from the
remaining six cells by a broad line, thus seeming to
confirm this supposition.
But not only is there this broad line of separation,
but it will be observed that the cells beyond these four
are divided from each other by two lines, while the
four cells and all those of the central line are divided
by four lines. There were two forms of pieces found
Digitized by VjOOQIC
THE GAME OF THE SACRED WAY.
97
in the tomb of Ak-Hor, some of the ah shape, and
some of reel shape. Many of these, we are informed,
were stolen, and sold to travellers : but no " draught "-
board for the game of Tau or Senat was found. We
may suppose therefore that the reel-shaped pieces
stood upon the cells outside the four cells, and that
these reel-shaped pieces had not the power of re-
entering. This board is remarkable also for combining
in itself the two games for which all other boards
of this description were intended. It could be used
a c & o
■I J il ill .1 ft 1.1 L. ..I ill lU lil II ..I IB III ■! Ill IK
!■■ 11 J .U 11 II Hi f.l il. Ill IL III lU
iif m ni iif3 lg
o •
for the upper game of the usual board, and with four
a6 shaped pieces; or it could be used for the lower
game with both the aft-shaped and the reel-shaped
pieces : but in this case there would be twelve cells
instead of ten as usual. Fortunately one dice is pre-
served of this game, and this is highly interesting as it
is of oblong form having only four numbers, as we
Digitized by VjOOQIC
98 THE GAME OF THE SACRED WAY.
sqrmised was the case, in consequence of the cells
numbered 1, 2, 3 and 4.
As all games increase in interest as there is greater
opportunity for the exercise of skill and reasoning and
the calculation of chances, we will imagine that players
were not obliged to move unless they chose.
The game would consist, not in getting out first, but
in having the greater number of pieces at the end of
the game, whether home or on the board, or prisoners
as recruits not even entered ; and the end of the game
would be when one of the players has no more men to
play with.
It has been surmised, but on insufficient evidence or
consideration — for the word scribo may be equally
understood to draw spaces or squares, as to draw lines —
that the pieces were placed on the lines, not in the
squares: for we may take it for granted that the
custom in each country would be maintained through-
out. Thus, in China, both the game of Chess and the
game of Enclosing are played on lines. It is true that
in Japan they play Chess on squares, and their game
of Enclosing on lines : but the latter game was not
their own, but was borrowed from China. We may
therefore feel assured that the Greeks and Romans
would play this game as the Egyptians played it. Now
it is evident from Queen Hatasu's Taiz-board that the
game was played on the squares, and it is evident from
the Roman gem at the end of the article on the game
of Senat that that game was played on the squares ;
and it is evident again from the painting of the game
of Han, that that game also was played on the squares.
But independently of this analogy, it is certain that
this game was played on the spaces, from all these
Digitized by VjOOQIC
THE GAME OP THE SACRED WAY, 99
Egyptian boards having the hieroglyphics or numbers
painted on the squares, and not on the lines ; and still
more conclusively by Dr. Abbot's board having the
cells sunk in order to hold the pieces ; and if we accept
these boards as representing, and being identical with
the Ghreek and Boman games, then all doubt is at an
end ; for the " dnodecim '* of the latter is represented
by the twelve squares of the former.
We will DOW give an example of the game, which we
think will show that it is a very exciting game, exhibit-
ing great changes of fortune, and sometimes ending
with one player having all the eight pieces* The
unexpected way in which the pieces are often taken
up, or removed from the Sacred Way, accompanied by
the expression, kIvuv rov af Upa^y^ I remove this from the
Sacred (Way) passed into a proverb ; just as we should
speak of anyone being ^* removed from the stage of
life."
In the score of the following game the squares on
the sides 1, 2, 3 and 4 are lettered a, b, o and d ; and
the Sacred Way numbered from 1 — 12.
Game.
i it t ^ S i ^
^ Black, t S W^«^^- S S ^^^^^ S H W^^*^«- §
3 D— A 2 C— A 18—9 2 A— 2
1 C— B 4 A— 4 4 9 Out 2 2— 4
2 1 4—5 4 B— 3 3 A— 3 3
2 1 D— C 4 B— 3 3 3 C
4 A— 4 1 B— A 3 C 1 A
3 A— 3 4 A— 4 4 13—44 3 A— 3
1 3_ 4 4 3 5_8 2 4—6 13—4
4 4—88 2 C— A 16—7 4
The odds now are 6 to 2 in favour of Black.
' Kol r^v knh ypctfuiris icirc? \l$w. Theoa Id, vi.
Digitized by CjOOQIC
100
THE GAME OF THE SACRED WAY.
Black.
3 7—10
1 10—11
2 11
3 C
1 C— B
1 A
1 A
2 C— A
2 A— 2
15—6
2 6—8
1 A
18—9
2 9—11
8
1 11—12
2
2 A— 2
Out
Out
i
I White.
4 4—8
1 8— 9
4 9
3
2 C— A
2
1
3
3
The odds are still 6
1 10—11 11
1 11—12 12
B
12 Out
A
^ Black. ^
2
2
Willie. e2
4 2—6
4 6—10 1
1 10—11 1
4 A— 4 4
4 A— 4 4 1
4 4—8 3
3 B— 2 4
4 8—12 2
3 2—5 1
to 2 in favour of Black.
12—3 1
3— Ti
5— 7
7— 8
8—11
A
A
A— 3
3— 7
7— 9
9—10
12
4 4
Out
A— 4
4— 8
8—11
1 11—12 12
Black 2 out
2
2
1
3
4 —
1 11-
4 —
2 —
-12
B— 2
2— 3
3— 6
6— 7
7—10
C
C— 1
10—12 12
White 3 out
2 on board
1 prisoner
6
Game ends 6 to 2 in favour of White,
It will be seen that, owing to the uncertainty of
dice, there are great fluctuations in this game; and
that, like Croesus, being successful in the beginning is
no proof of being victor at the end.
Like so many other oriental games, it was a game of
war. The four squares on each side represent the
respective camps, and the Sacred Way the battle field,
in which the pieces fight like hostile kings or heroes ;
and the forces consist of victors, combatants and
reserves.
Digitized by VjOOQIC
THE GAME OF THE SACRED WAY. 10 1
The game at the hack, of three by ten squares.
This is merely a variety of the same game. The
central line is still the Sacred Way ; but as each player
has ten pieces instead of four, and the game thereby
lengthened, the Sacred Way is made to correspond.
The difference then between the two games would be,
that they chose either the short game or the long
game, according as they had a shorter or a longer time
to play in ; or, if there was no option of playing in
this game, they preferred a game more entirely of
chance. And this accords with what we have seen in
the game of Senat, and its modem name of Seega, in
wliich larger or smaller boards were used, as they were
disposed to give more or less time for their amusement.
The nefer or nefers merely mark, as in Queen Hatasu s
TVti^board, or the Ludus Latrunculorum, a division in
the board, and confine the entries of new men or
prisoners to the squares 1 to 4.
Digitized by VjOOQIC
Digitized by VjOOQIC
VIII.
THE GAME OF ATEP
DACfTTLOR BPALLAOB (Fmger-ohailging)— TBI ORUK OAMB.
MIOATIO, laOABS, DIGITD MIRABB^THB BOICAII OAMB.
MORA^THB ITALIAN OAMB.
This is another game invented by the Egyptians,
and handed down to modem times. We have shown
that the double group of Benihassan (p. 44), represents
two different games, the Senat and the Tau : so here
there are two varieties of the same game. One group
represents two women playing the double game, in
which both players throw out their fingers at the
same time, and each guesses ; the other represents two
men playing the single game, when one throws out
his fingers while the other guesses. The illustration
is from Sir Gardner Wilkinson; but unfortunately,
although he states it is from Thebes, he does not tell
us whether he took it from any other author, or
whether he copied it from the monument itself. The
women will be distinguished by their hair, by their
Digitized by VjOOQIC
104
THE GAME OF ATEP.
faces, by their tunics, and by their smaller stature, and
more delicate bodies ; the men simply wear drawers.
It will be observed that the attitude of the man with
folded arms is exactly similar to that of the two
spectators of the game of Han (p. 83) : thus showing that
he is merely guessing, and not operating with his fingers.
The vase in the middle shows that in each case they
are playing for stakes ; and thus confirms our conjecture
relative to the game of the Han. We cannot say
whether an inscription exists above the groups : but
Champollion gives us several other groups from Beni-
hassan, accompanied with inscriptions ; from which we
learn some fresh particulars of the game as practised
by the Egyptians. In one group we have, written
over the group, the words, " Let it be said" : or as we
might say — guess ; or how many V
In two other groups we have the name of the game,
ATP. In one a player who is operating with one
hand, conceals it behind the palm of the other which
he places on the forehead of the other player, to prevent
his seeing how many fingers he is stretching out : and
1 The tnuudation of these inscriptions has been kindly giTen me by llr. Renouf.
Digitized by VjOOQIC
THE GAME OF ATEP.
105
on his making a guess, withdraws his hand. The
inscription is, '* Putting the Atep on the forehead.'*
In the other the fingers are concealed as before in
the palm of the other hand, and then placed on or
under the opponent's band : and the inscription is,
" Putting HieAtep on (or under) the hand." Unfortu-
nately, the hand in this case is destroyed : so we
cannot see how it was placed.
^3 <g^
Digitized by VjOOQIC
106
THE GAME OF ATEP.
In another group we have the two players seated
back to back ; so that they cannot see how many fingers
their opponent stretches out. In this case a third
party would watch the game, and declare the odds.
Another group eidiibits a player prostrate on the
ground on his hands and knees, while two other players
thump hun with the fleshy part of their fists. In this
case the game is not played for stakes, but is played for
forfeits. The prostrate figure is evidently a defeated
player; for his hand is clenched with the thumb
extended, exactly similar to the hands of the other
players, and to those of other groups.^
1 Dr. Birch| faoweyer, gave a different interpretation of this group ; the
inscription over which however, ha ua em abqa^ he ooold not explain. He says,
" Analogous to the game of Odd and Even was one in whidi two of the players
held a number of shells or dice in their closed hands, over a third person who
knelt between them, with his face towards the ground, and who was oUiged to
guess the combined number ere he could be released from this position ; unless,
indeed, it be the Kottdbitmo» of the Qreeks (PoUux, Onom. ix, 7), in which one
person covered his eyes, and guessed which of the other players struck hiuL
Note to Sir Oard, WWciMon, vol. ii, 59.
It was possibly from their thinking of this last game that " The men that held
Jesus blindfolded him, and struck him on the face, and blasphemously asked Him,
saying, prophesy, who is it that smote Thee ? '* Luke zzii, 64.
Digitized by VjOOQIC
THE GAME OF ATfiP.
107
As the Thebes painting shows, the game was not con-
fined to men. In the accompanying playful illustration
Digitized by VjOOQIC
108 THE GAME OF ATEP.
we see two young Egyptian girls enjoying the game
with the greatest animation. They stand upon a
vase, to denote that they are competing for a prize.
The vase is chequered to show that, like the chequered
boards of Tan and Senat, it is a game of pleasure ; and
the whole is surrounded by a purse with an outside
pouch, in which to carry off the prize. It was, with
the game of the Sacred Way, already described, found
in the tomb of Ak-Hor.'
In the Greek game another feature is observable.
A long rod is held by each player in the left hand,
while the game is played with the right hand. It
appears from the following beautiful vase painting* that
the rod was pulled away by the winning side from the
opponent's hold. Possibly the rod was numbered with
divisions, and the finger was advanced or withdrawn
one mark or number at each correct guess or bad guess,
as the case might be. If so, the lady on the right is
evidently winning: for she is seated securely on her
vase, and holds the rod firmly, and has a considerable
length of it behind her. A cupid floats in the air
above, holding a tssnia or fillet, and having his head
adorned with a myrtle wreath ; and a female most
richly attired stands behind the winner with a corona
or wreath ; her rich attire showing the value of the
prize. The two vases ai^ indicative of stakes as usual ;
though the ladies appear to be playing for love or
honour.
Another beautiful vase painting represents a lady,
possibly the same lady, richly apparelled, reclining on
a rustic couch. She is evidently a celebrated player in
1 Mariette Bey, Monts, divers, 1872, p. 51.
* InBto. Archeologioo di Roma, Aunali, 1866, p. 326.
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THE GAME OF ATBP. 109
the game : for her hair is decorated with a chaplet, and
a cupid is flying towards her about to crown her with
a wreath, which is drawn in perspective so as to fit the
head. In front of her is a cupid sitting on a rock,
with wings extended on each side of him ; and facing
him is another cupid holding a wreath : while behind
the lady is a group of Eros and Anteros playing the
game.' They each hold the rod firmly with the left
hand : showing that their forces are equal. Their
placid and smiling faces are to teach us that as this
lady played, gentleness and sweetness should always
be present at games of play. They are crowned with
myrtle, and are sitting on rustic seats in imitation of
the feet of animals, covered with their clothes.
Another example, given in the Annali^ represents an
old man playing the game with a woman. The man is
standing, supporting himself with a staff; the object
of the artist apparently being to show that old age,
with failing eyes, dull perception, and stiff fingers, has
no cliance at such a game, against a woman's quick eye,
or the activity of youth. All three paintings are in
red on a black ground.
The Italian game of Mora is thus described by Mr.
Rich : " A game of chance, combined with skill, still
common in the south of Italy, where it now goes by the
name of Mora. (Varro, ap. non. s.v. p. 547. Suet.
Aug. 13, Calpurn. Eel. ii, 26). It is played by two
persons in the following manner. Both hold up their
right hands with the fist closed ; they then simul-
taneously extend a certain number of their fingers,
calling out at the same time by guess-work the collective
* Daboifl de MaisonneuTei Introduction d VHude des Vasa, 1817, p. xliv.
InaL Arekeol., p. 327.
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110 THB GAME OF ATBP.
number extended by the two together, and he who
succeeds in hitting on the right number wins the game.
. . . . If neither succeeds in guessing right, they
again close their hands, cry out a number, and open
the fingers, until one of them calls the right amount.
What appears to be so simple is most difficult to
execute with any chance of success, and requires more
skill and calculation than a person, who had not himself
made the experiment, would imagine. Each player has
first to settle in his own mind how many fingers he
will show ; then to surmise how many his opponent is
likely to put up, which he does by observing his usual
style of play, by remembering the numbers he last called,
and those he last showed ; he then adds these to his
own, and calls the collective numbers, thus endeavouring
to make the number he calls. But as all this, which
takes so much time in narrating, is actually done with
the greatest rapidity, the hands, being opened and
closed, and the numbers simultaneously called as fast
as one can pronounce them — eight, two, six. ten— it
requires great readiness of intellect, and decision of
purpose, for a player to have any chance of winning ;
as well as a quick eye and acute observation, to see in
a moment the aggregate number of fingers shown, so
as not to overlook his own success ; nor, on the other
hand, suffer himself to be imposed upon by a more
astute opponent ; whence the Romans characterized a
person of exceeding probity and honour, by saying that
one might play at Mora with him in the dark — dignus^
quicum in tenebris mices, Cic. Off. iii, 19."^
Although Micatio^ or Micare, is the latin name, it
1 Anthony Rich, Junr., B.A. The lUuUraUd Companion to the Latin DictUmaryt
and Oreek Lexicon. Lond. 1849, t.v. Micatio,
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THB GAME OF ATEP. Ill
18 evident from the accompanying gem, published by
Ch. Lenormant, m his TrSsor Numismatique de 1834/
that the name Mora was also an ancient name.^ M.
Lenormant fancied the marks on the left indicate a
vase on the top of a column, in which the stakes were
held.
^ Art. loonographie des Empereura RomaiDS, pi. z, med. 4.
' See also Calpumiai, £dog, ii, 25.
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CHESS.
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INDIAN CHESS-BOARt).
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CHESS.
The laws of European Chess are so well known, that
it is quite unnecessary to give the rules: we will
therefore proceed to describe the rules and peculiarities
of several of the oriental games, such as the Chatu-
ranga, Tamerlane's Chess, Chinese Chess, Japanese
Chess, and others. But before doing so, it is necessary,
in order to note the games, to give a system of notation
adapted to all such games ; and we think that this
system, from its simplicity, must eventually succeed
the one in present use.
The chess-board from which the photograph is taken,
was purchased at a pawnbroker's shop, so I cannot tell
where it came from. It is of a light-coloured wood,
like satin wood, but being of this colour it unfortunately
appears dai-k by photography; but nevertheless on
examining it, it will be seen to be of exquisite carving,
and having no two squares alike. One of the cells
represents a miniature chess-board.
I*
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IX.
CHESS NOTATION.
The established system of chess notation is liable to
the following objections. Each piece is distinguished
according to whether it is on the King's or the Queen's
side; and the squares are reckoned sometimes from
your own side, and sometimes from your opponent's
side. Two men may thus be in two adjoining squares,
but instead of being distinguished by two consecutive
numbers, one may be termed King's Bishop's 2, and
the other King's Knight's 7, designations which to the
uninitiated would imply no idea of propinquity. I
would therefore suggest the following system.
17
27
37
47
67
67
77
87
16
26
36
46
56
66
76
86
15
25
35
45
55
65
75
85
14
24
34
44
54
64
74
84
13
23
33
43
53
63
73
83
12
22
32
42
52
62
72
82
11
21
31
41
51
61
71
81
10
20
30
40
50
60
70
80
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CHESS NOTATION* 117
The Notation to proceed from one side only. The
first or back row to be distinguished by decimal
numbers, as 10, 20, 30, &c. The columns in front of
this row to be distinguished by units, as 1, 2, 3, &c.
Thus in the ordinary chess-board, the first row would
consist of numbers 10 to 80, and the columns above
them of 1 to 7. According to this method the four
middle squares would be described as 43, 44, 53 and 54,
and so with any others, and thus, instead of scoring
K's. B's . 2, and K's. Kt's. 7; we should write 61 and 71.
In order to score a game with celerity, I use the
following signs or ciphers.
O ^ King, as representing universal dominion, or tlie Sun;
and indeed the Japanese sign for King.
([ «=« Queen, or the Moon.
+ = Bishop, or the Cross.
2 =■ Knight, or horse's head,
D == Bukh, a castle or tower.
i. «» Pawn, a single man standing on a base.
*y =— Check.
In Tamerlane's chess we have castles of three powers.
D = Greatest power which we will call the Rukh.
e = Middle „ „ „ Castle,
ffl «« Least „ „ „ Vizir.
Bishops of three powers.
([ -=» Pherz, the Queen, moving only one square at a time.
T =« A piece we will call lame Bishop, moving or leaping
always two squares at a time, as if on a cnttch.
4- = Bishop.
And Knights of three powers.
2 =*- Knight, same as our Knight ; his horse's head.
^ =- Chevalier, moving one diagonal and two straight
squares, showing his spur.
=» Cavalier, moving one diagonal and any number siraighti
showing his lance and shield.
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118 CHESS NOTATION.
In Chinese ohess the only extra pieces are :
O »> The Gannon, representing the wheels of agon carriage.
G — Guards, or Mandarins.
In Japanese chess the names and moves of the pieces are so peculiar*
that we must leave them till we come to speak of the game itself.
\* Thus it will be seen that these signs are not arbitrary or
irrelevant signs, but signs significant of the pieces' movements ; and
thus, with these signs, we not only remember the name but the power
of the piece.
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CHATURANGA.
INDIAN 0HB88.
Sir William Jones, Asiatic Researches, Vol. ii. - 1788
Captain Hiram Cox, „ „ „ vii. - 1799
Professor Duncan Forbes, History of Chess • - 1860
Antonius Van der Linde, Geschichte und Litteratur des
Schachspieles 1874
The photograph represents an Indian set, which I
was fortunate to find in London. I have never met an
Indian who played Chaturanga, so cannot say whether
the game is still played. It will he seen that it has
four kings, and boats instead of bishops. The red
pieces appear black in photograghy.
The LudusLatrunculorum, the progenitor of draughts,
has been shown to have had its origin long before the
time of Moses. The various games of oriental chess
pretend to a like antiquity. The Chaturanga, the
progenitor of chess, was supposed to go back to a period,
according to Sir William Jones, of 3900 years, while
Professor Forbes put it at "between three and four
thousand years before the sixth century of our era," i.e.,
upwards of four or five thousand years ago. Like the
fables of other countries which attribute the invention
of chess to a time of war, the Chaturanga is said to
have been invented by the wife of Havana, King of
Ceylon, when his capital, Lanka, was besieged by
Rama.
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120 GHATURANGA.
This pretended antiquity has been set aside by
recent critics. The earliest* description of the game
is found in the Bhavishya Parana: and Dr. Van
der Linde asserts that some of the Puranas, though
formerly considered to be extremely old, are held, in
the light of modem research, to reach no further back
in reality than the tenth century ; while, moreover,
the copies of the Bhavishya Purana which are in the
British Museum and Berlin do not contain the extract
relied upon by Professor Forbes.* Herr Van der Linde
ascribes the invention of chess to the eighth century.
But admitting the judgment of Sanscrit scholars that
the Bhavishya Puranas are not of the great antiquity
which was supposed, and admitting, if need be, that
the copy in which this description of the game is given
was written later than the others, it is evident that
the account must have been taken from some ancient
record or tradition, and its antiquity may be greater
than is now supposed. The very fact of its referring
to the mythical and not historic characters of Yudhish-
thira and Vyasa, Mahadeva and Parvati, Draupadi,
Dhritarashtra, and Shakuni — as the Egyptian game, as
we have seen, is associated with Isis the wife of Osiris —
would denote an antiquity beyond record. Mahadeva
and Parvati are represented as " playing with dice at
the ancient game of Chaturanga, when they disputed
^ A later description by Alberuni has been recently discovered, which will be
given at the end of this article. He lived in 1000 a.d.
3 ** The best original account of this very ancient game to which we have yet
obtained access, is to be found in the Sanskrit Encyc. Shabda-Kalpa'Drwna,
published at Calcutta within the last twenty years (t.e. after 1840) in seven vols.,
4° (in Vol. i under art. '* Chaturanga "), also in a work published at Seramporcr
in two Vols., 8vo., 1834, entitled Jtaghu-Nandana-Tattoa, or Institutes of the
Hindu Religion, &c, by Baghu-Nandana (see Vol. i, 88). Forbes, BiO. of Cka»,
p. 13. There have been later editions since.
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CHATUBANGA. 121
and parted ia wrath."* Mahadeva is the Siva of the
Hindu Trinity — Brahma, Vishnu and Siva — and Par-
vata, or Durga, or Kali, was his wife. Dice naturally
were earlier than chess, and were used by the Hindoos
at a very early age, and the habit of gambling was
very prevalent, and was sanctioned by the Shastra.
Thus we find in the Mahabharata the story of Nala and
Damayanti, beginning with the fearful gambling by
which he lost his Kingdom, and everything except his
wife : —
Lived of yore a Raja Nala, Virasena's mighty son,
Gifted he with every virtue, beauteous, skilled in taming steeds,
Head of all the kings of mortals, like the Monarch of the gods ;
Over, over all exalted, in his splendour like the sun ;
Holy, deep read in the Yedas, in Nishada lord of earth :
Loving dice, of truth unblemished, chieftain of a mighty host.
Who to Nala, with all virtue, rich endowed would not incline ?
He who rightly knows each duty, he who ever rightly acts.
He who reads the whole four Yedas, the Purana too, the fifth.
In his palace with pure offerings, ever are the gods adored :
Gentle to all living creatures, true in word, and strict in vow ;
Good and constant he, and generous, holy temperate, patient, pure ;
His are all those virtues ever, equal to earth guarding gods.
Then follows a description of his bride :
Jn her court shone Bhima's daughter, decked with every ornament^
Mid her maidens like the lightning, shone she with her faultless
form;
Like the long-eyed queen of beauty, without rival, without peer.
Never did the gods immortal, never mid the Yaksha race.
Nor 'mong men was maid so lovely, ever heard of, ever seen.
Pearl art thou among all women, Nala is the pride of men:
If the peerless wed the peerless, blessed must the union be.
1 Lieut. Welford, AHatio Rtsearehu^ m^ 402,
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122 CHATURANGA.
A disappointed lover now vows vengeance :
Kali with his dark ally
Haunted they the stately palace, where Nishada's monarch ruled.
Watching still the fatal instant, in Nishada long they dwelt.
Twelve long years had passed ere Kali saw that fatal instant come,
Nala, after act unseemly, the ahlution half performed,
Prayed at eve with feet unwashen.
Kali seized the fatal hour :
Into Nala straight he entered, and possessed his inmost soul.
Pushkara hy Kali summoned, ''come, with Nala play at dice ;
" Ever in the gainful hazard, by my subtle aid thou'lt win,
''E*en the kingdom of Nishada, e'en from Nala all his realm."
Pushkara, the hero-slayer, to King Nala standing near : —
" Play me with the dice, my brother ?" thus again, again he said.
Long the lofty-minded Rajah that bold challenge might not brook.
In Vidarbha's princess' presence, seemed he now the time to play.
For his wealth, his golden treasures, for his chariots, for his robes.
These possessed by Kali, Nala in the game was worsted still.
He with love of gaming maddened, of his faithful friends not one
Might arrest the desperate frenzy of the conqueror of his foes !
Thus of Pushkara and Nala, still went on the fatal play.
Many a weary month it lasted, and still lost the king of men.
As by Pushkara is worsted, ever more and more the king,
More and more the fatal frenzy maddens in his heart for play.
Scarce Varshneya had departed, still the King of men played on.
Till to Pushkara his kingdom, all that he possessed was lost.
Nala then, despoiled of kingdom, smiling Pushkara bespake : —
•* Throw me yet another hazard, Nala, what is now thy stake ?
" There remains thy Damayanti, all thou hast beside is mine ;
** Throw we now for Damayanti, come, once more the hazard try."^
^ Story of Nala : nn episode of the Maha-bharata. By Monier Williams, Prof eeaor
of Sanscrit at Haileybury ; metrically translated by the Very Rev. Dean H. H«
Milmau. 8yo., Oxford, 1860.
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CHATUBANGA. 123
The overture was rejected with disdain; and Nala
and Damayanti then enter the forest, with only one
garment between them, and their adventures begin,
which I hope terminated happily : but T had not time
to read more ; so they may be still in the forest, for
what I know.
The story of Yudhishthira, the hero of this game, is
very similar. He loses his kingdom by dice, and last
of all his wife. On their being given back to him he
loses all again at chess ; and they retire to the forest.
" Yudhisht'hira first lost all his estates; then in
succession, all the riches in his treasury, his four
brothers, and his wife Droupudee. When Droupudee
was brought to be given up to Dooryodhunu, he ordered
her to sit on his knee, which she refused to do ; he
then seized her by her clothes, but she left her clothes
in his hands ; and as often as he stripped her, she was
miraculously clothed again. At length Dhritu-rashtru,
the father of Dooryodhunu, was so pleased with
Droopudee, that he told her to ask what she w^ould,
and he would grant it. She first asked for her
husband's kingdom, this was granted; and she was
permitted to ask for other blessings, till all that her
husband had lost was restored. Yoodhisht'hiru again
encounters Shukunee at chess, and again loses all.
After this Droopudee and her five husbands enter the
forest"* (her husband, and his four brothers).
All these names, whether relating to the gods, or
history, or legends, are mythical. It is evident there-
fore that those who have described this game must
have been satisfied that its origin was lost in the ages
* William Ward. A View of tfie HitUny, UUnUure^ and Mythology of thi
Hindoot. 4 Vols., Lond., 1820. Vol. iv, 488.
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124 CHATUEANGA.
of antiquity. But if we cannot date down from the
time of Yudhishthira and Vyasa, we can at least date
upward from the time when the more modern game of
Shatranj was played. Now we are told by Professor
Forbes that Masoudi, who lived about 950 a.d., says that
Shatranj was played long before his time. Abul Abbas,
who lived about a century earlier, wrote a treatise on
chess ; and the celebrated poet Firdausi, who flourished
in the tenth century, and wrote his Shahnama, or book
of kings, a poem of 120,000 verses, founded on the
Bastan-nama, or book of antiquity, gives an account of
the introduction of the game into Persia by an ambas-
sador of a Prince of India supposed to live about four
hundred and fifty years before the time of Firdausi.^
Whatever its origin, whether of an earlier or later
antiquity, Chaturanga was from the very beginning a
game of war. The king and his ally went to battle
with a hostile king and his ally. These forces were
naturally placed opposite to each other, each Bajah
occupied a central position, and had next to him his
elephants, then his horsemen, and lastly his ships;*
while his foot soldiers stood in front. The name
Chaturanga signifies these four divisions of the army.'
Chaturanga would also apply to the four armies, the red,
the green, the yellow, and the black.
The following is the description of the game as given
in the Bhavishya Purana. a portion of the great poem
^ Hist, of Cheit.
> The ships played an important part in the conquest of Cyprus, when the game
was supposed to have been invented ; and Professor Forbes points out that the
boat is used in the Punjab, in the plains occasionally flooded by the Qangee.
3 In the Amarak'otha^ where Nauka, the ship, had given place to HathOy the
chariot, the game is called ** Hasti-aswa-ratha-padatam," '* elephant, horse, chariot,
and infantry," Captain Hiram Cox. It is difficult to belieye that this could be a
common appellation of the game.
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CHATUBANGA. 125
Mahabharata, translations of which are given by Sir
William Jones, Professor Forbes, and later by Antonius
Van der Linde, who in his exhaustive history and
literature of the game of chess not only gives us a
translation by the eminent Sanscrit scholar of Berlin,
Dr. Weber, but appends the Sanscrit itself in the
Eoman character. It is from this German rendering
that I have endeavoured to offer the following transla-
tion, making such alterations as I considered necessary
from the requirements of the game, consistent with the
original, and putting it in the form of poetry, so as to
correspond better line by line with the original Sanscrit,
and thus give it a more exact and picturesque appear-
ance.^ It will be observed that the numbers of the
verses are not all consecutive. Whether they have
been dislocated in the original it is diflBcult to say: but
I think it will be seen that they follow naturally in the
order which I have assigned them.
Yudhishthira having heard of the game of Chatu-
ranga, applied to Vyasa for instructions concerning it,
Tudhislitliira said : —
1 Explain, supereminent in virtue, the game on the eight-
times-eight board :
Tell me, my Master, how the Chaturanga may be played.
Vyasa replied : —
2 On a board of eight squares place the red forces in front,
The green to the right, the yellow at the back, and the black
to the left
3 To the left of the Eajah, Prince, place the Elephant, then
the Horse,
Then the Ship ; and then four foot-soldiers in front.
^ I am indebted to my friend Mr. Bendall, the Profettsor of Sanscrit in
Universal College, London, for great assistance in the more difficult passages,
though it would be wrong to make him accountable for any mistakes which I may
have made.
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126 CflATURAKGA.
4 OppositOi place the Ship in the angle, Son of Kunti:i the
Horse in the second square,
The Elephant in the third, and the Eajah in the fourth.
5 In front of each place a foot-soldier. On throwing five,
Play a foot-soldier or the Eajah ; if four, the Elephant :
6 If three, the Horse ; if two, then, Prince, the Ship must move.
The Eajah moves one square in any direction.
7 Thefoot-soldiermovesonesquareforwards, and takes diagonally;
The Elephant can move at will — ^north, south, east, or west.
8 The Horse moves awry, crossing three squares at a time ;^
The Ship moves diagonally, two squares at a time, Yudhishthira.
10 The foot-soldier and the ship may take; or rim the risk,
Yudhishthira :
The Eajah, Elephant and Horse may take ; but must avoid
being taken.
1 1 A player should guard his forces with all possible care.
The Eajah, Prince, is the most powerful of all.
12 The most powerful may be lost, if the weaker, son of Kunti,
are not protected.
As the Eajah's chief piece is the elephant ; all others must be
sacrificed to save it.
36J Never place an elephant where it can be taken by another
elephant :
For that, Prince, would be very dangerous.
37 But if impossible to make any other move,
Then, Prince, Gotama says it may be done.
88 If you can take both of the hostile elephants.
Take that to the left.
(The following, Prince, are various positions and actions in
the game): —
He gives the mother*B name Kunti ; not the father's Pandu.
' We should call it two squares at a time, one diagonal and one straight or vice
versa ; but the Oriental way of looking at the move was like that of forked
lightning, one forward, one horizontal, and one forward again.
It might be supposed that the three squares include that from which the piece
started ; but this cannot be, for in the next line the ship is said to move two squares.
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CHATURANGA. 127
9 Sinhaaanay Ohaturaji, Nripakrislita, Shatpada,
Kakakashtha, Ynhannauka, Naokakrislitapracaraka.
Sinhasana (A throne).
14 If a Sajah enters the square of another Eajah, Yudhishthira,
He is said to have gained a Sinhasana.
15 If, when he gains the Sinhasana, he takes the Eajah,
He gains a double stake : otherwise a single one.
16 If a Sajah, Prince, mounts the throne of his ally,
He gains a Sinhasana, and commands both forces.
17 If a Rajah, in seeking a Sinhasana, moves six squares away.
He exposes himself to danger, however secure he thinks himself.
Chaturaji (The four Rajahs).
18 If you still preserve your Rajah, and take the other Rajeihs,
You obtain Chaturaji.
19 In gaining Chaturaji, and taking the other Rajahs,
Tou gain a double stake : otherwise, a single one.
20 If a Rajah takes the other Rajahs on their own thrones.
His stakes are fourfold.
13 To enable the Rajah to obtain Sinhasana or Chaturaji,
All other pieces, even the elephant, may be sacrificed.
21 If both a Sinhasana and a Chaturaji are obtained.
The latter only can be reckoned.
Nripdkriahta (Exchange of prisoners).
22 If you have taken a Rajah, and your ally has lost one of his,
Tou may propose an exchange of prisoners.
23 But if you have neither of the other Rajahs, and your ally has
lost one.
You must try to take one of the other Rajahs.
24 If a Rajah has been restored, and is taken again, Yudhish-
thira.
He cannot be again restored.
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128 CHATURANGA.
Shatpada (six squares' move).
25 When a foot-soldier reaches an opposite square, other than of
the Bajah or Ship,
He assumes the rank of the piece corresponding to such square.
27 If the Shatpada is reached on the square of the Eajah or Ship,
It has not the priyilege of a Shatpada.
28 When a foot-soldier, after many moves, gains the seventh
square.
The defenceless f orcea on the opposite Hide can easily be taken.
29 son of Kunti, if the player, however, has three foot-soldiers
remaining,
He cannot take his Shatpada. So decrees GK)tama.
30 But if he have only one foot-soldier and a Ship, the piece is
called GadhUf
And he may take his Shatpada in any square he can.
26 If Chaturaji and Shatpada, Prince, are both obtainable,
Chaturaji will have the preference.
Nauhakrishta (the Ships' move) :
Vrihannauka (the great Ship).
35 When three Ships come together, and the fourth Ship completes
the square,
The fourth Ship takes all the other three Ships.
36 This fourth Ship is called Yrihannauka.
EakakMhtha.
31 If a Bajah has lost all his pieces before being taken, it is
Kakakashtha,
So decide all the Bakshasahs. It is a drawn game.
32 If the Gadha, on gaining the Shatpada, and becoming a fifth
Bajah, is taken,
It is a misfortune : for the pieces which remain will have to
fight the enemy.
33 If this happens a second time.
The conqueror then sweeps oft all the pieces.
34 But if, Prince, Kakakashtha and Sinhasana occur together,
It is counted as a Sinhasana, and is not called a Eakakashiha.
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CHATURANGA. 129
We cannot suppose for one moment that the use of
dice^ as described in verses 5 and 6, would continue to
be applied to every move when the game became fully
established. The game, even in the primary stage of
chess, exhibited in Chaturanga, is too ingenious to be
subject to a chance which would render inoperative the
most brilliant conceptions, and by which the worst
player, having luck on his side, might defeat the most
skilful. Indeed, by being obliged to move some other
piece, the player might destroy his own game. Even
if we were to suppose that dice were merely used for
the first move on either side, this will be found to be
attended with a difl&culty, a difficulty for the solution
of which the description is not very clear ; for we are
told " If four be thrown, the Elephant must move," but
the Elephant cannot move till an opening is made.
But we will consider this further on, when we discuss
the openings of the game, in the last paragraph of this
description of Chaturanga, p. 134.
As to the stakes, we are told constantly by Oriental
writers that chess was played for estates, for princi-
palities, for petty kingdoms, and even for wives and
children or other relatives; and we find examples
of this gambling in the history of Yudhishthira and
others. Gaming is an amusement of the most primi-
tive races, and thus we find Mahadeva and Parvati
quarrelling over their dice ; we read of " dice-loving "
Nala, and we see Yudhishthira himself playing with
dice before he had learnt to play at chess. No wonder
then that chess was at this earliest period connected
with stakes on certain contingencies happening ; and
even when Chaturanga gave place to Shatranj a stake
was still very frequently dependent on the issue of the
K
Digitized by VjOOQIC
ISO CHATURANGA.
game. As our business, however, is confined to the
game itself, in order to bring it into harmony with
other games of chess, we will lay aside Sinhasana,
Chaturaji, and all other stake-contingencies of the
gamre, to which so much importance is given in the
poem, and proceed now with the game itself.
The Game.
Each player has a Hajah, an Elephant, a Horse, and
a Ship, and four foot-soldiers ; or, as we should term
them, a King, a Rukh, a Knight, a Bishop, and four
Pawns.
The partners' pieces occupy the opposite diagonals.
The pieces are placed in the order of Ship, Horse,
Rukh, and Eajah, beginning from the left corner. In
front are the four soldiers.
The players play alternately in the order of the sun,
red, green, yellow, and black, as described by Vyasa ;
but with two sets of ivory and box-wood chessmen the
colours would be red, buff, black and white ; the red
and black against buff and white. My Indian chess-
men are seen in the photograph, and are remarkable
as having ships or boats. Although the allied forces
are not distinguished from each other in colour, they
are known, like the Japanese chessmen, by the direction
in which they face.
The Rajah, the Elephant, and the Horse move as in
modern chess, the Ship always two squares diagonally,
hopping over an intermediate piece if necessary.
The Eajah was not checkmated in this early game ;
but is taken like any other piece. The Eajah may
remain in check, or may place himself in check, but at
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CHATUBANGA. 131
his peril ; and before dying or being taken prisoner, may
slay any piece he can, either personally, or by any of
his men.
When the Bajah is slain or taken prisoner, all his
forces, being leaderJess, may be taken by the enemy, or
even by his ally if they stand in his way.
When a Bajah sees that his ally's forces are not
properly handled, or that the allied Rajah is about to
be taken by the enemy, he may, if he can, take his ally,
either personally or by any of his men, and so obtain
sole direction of both armies. This power of taking
a partner's Rajah has been misunderstood, and sup-
posed to indicate a selfish Ishmaelitish principle,
whereby each player would look at all the other
three players as equally his enemy, and his lawful
prey ; but it will be seen from the above that it
results from consideration of the common interest,
just as in military and naval action it is expedient
and necessary that the imited forces should be under
one control.
When a Rajah on each side has been taken prisoner,
such Rajahs may, by the consent of both parties, be
restored, each Rajah being restored in the order of his
turn, and each Rajah choosmg any unoccupied square,
such restoration to count as a move.' This exchange
of prisoners can only happen once.
If all the Rajah's pieces are taken, the Rajah
^ In the original this power seems to be given only to the last victor, and to
be compulsory ; but independently of the unfairness of the second victor being
entitled to a greater privilege than the first, and of an obligation to restore the
Rajahs, when one has lost all his forces, and the other none — we must remember
that the game represented real war : consequently, an exchange of prisoners would
only be by mutual consent. This exchange of prisoners has a slight resemblance
to the enrolling of prisoners in Japanese chess, for in each case the chances of the
game may be materially altered by the sudden irruption of an unexpected force.
K»
Digitized by VjOOQIC
132 CHATURANGA.
remaining alone, he retires with all the honours of war.
It is a drawn game.
The Elephant being the most powerful piece, and
being so blocked in, it is expedient to get it out as soon
as possible, and to prevent the opponents getting out
theirs.
The Ships, operating on different squares, can neither
attack nor support each other : but should the four
Ships come together, the last Ship takes the rival
Ships.
The Foot-soldier moves and takes as our Pawn.
When two Foot-soldiers are taken, either of the
remaining may become an Elephant or a Horse, on
reaching the opposite side, according as it reaches the
square opposite the Elephant or Horse, or the Horse's
or the Elephant's square of the ally's quarters. But
if only one Foot-soldier remains, and a Ship, he is
called a Gadha, and is entitled to become a Kajah, an
Elephant, a Horse, or a Ship, according to the square
he reaches.
The game must naturally, at first sight, strike
everyone as being very similar to the modern Double
Chess. But the resemblance is onlv outward ; there
being only half the number of men, the board being of
only half the number of squares, there being no Queen,
and the Bishop being lame, all this constitutes a great
difference in starting. But in addition to this, the
genius of Double Chess is to attack the last player,
hoping that the partner will follow up the attack, and
thus assist in the capture of a piece ; but in Chaturanga
the chief attention is given to the next player, to
paralyze his action. Agreeably with this is the precept
Digitized by VjOOQIC
CHATXTRANGA. 133
of Vyasa, v. 38, which, looked at by a player of Double
Chess, would seem to be a mistake.
It is a good game, and superior to Double Chess in
its being more convenient for two players, owing to its
smaller size, and being a shorter game through having
only half the number of pieces ; but, like it, requiring
constantly a calculation of four moves in advance.
It will therefore naturally be regarded as a new game,
although older than any other game of chess. Unless
played by experts, when played by four the partners
on each side should be permitted to consult together,
although by so doing they reveal their plans: as other-
wise the best player would find himself beaten, and his
pieces lost, through his partner not understanding his
tactics. More especially should it be so in this game,
it being a game of war, when the allied forces would
naturally consult and act together.
It will be seen at starting that the Rajah is in a
place of danger, while the Elephant is shut in and
powerless. The first thing to do, therefore, is to get
out the Elephant, and to put the Rajah in a place of
safety. Two ways of accomplishing this present them-
selves. One is to bring out, say, the Red Rajah,
diagonally from 14 to 23, and at next move to bring
out the Elephant behind it from 15 to 13 ; and taking
the Rajah back again at next move to 14. But White
may prevent this, if not otherwise engaged, by moving
out his Foot-soldier 21 to 22, which would drive back
Red's Elephant before his Rajah could get behind it.
The other way is by moving the Foot-soldier from
25 to 35, and at next move to 45, when the Elephant
could come out. Two other openings, however, may be
made. One by Ship's Foot-soldier 27, being moved to
Digitized by VjOOQIC
134
CHATURANGA.
87, which will prevent Buff's Eajah coming out ; or the
Ship itself might come out and check Buff's Kajah :
but this is not advisable, as it should be regarded as a
Reserved Force, to be used only at a critical moment.
The other by Horse's Pawn being moved from 26 to 36,
and then bringing out the Horse ; or the Horse itself
might be moved first.
As, therefore, there are four openings, it is probable
that the throws of the dice on starting meant one of
the principal pieces, or its pawn, and this seems
supported by the Rajah and its Pawn being mentioned
together for the first throw, v. 5. If this be so, we
should not only have a variety of openings in the game
at starting, but we should get over the difficulty of the
Elephant not being able to move when four is thrown.
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CHATUBANOA.
135
Red.
O 14—28
— 23—34
D 16—13
+ 17—35
D 13—63
O 34—33
± 24—34
+ 35—63
2 16—35
O 33—42
— 42—52
— 52—62
2 35—66 X
O 62—52
— 62—42
— 42—32 D
^/
V
Buff.
O 67—46
a 67—47
O 46—57
— 57—67
y
66—65
77—85
76—75
67—76
76—74
47—44
85—73
74—63
44—64
54—53
86—85
63—54
63—64
O 76—75
□ 54—44
O 76—66
□ 44—43
Oame.
2
±
O
±
D
2
Gahb I.
Black.
2 81—62
— 62—54
+ 80—62 y
X 70—60
+ 62—44
D 82—80
O 83—82
— 82—81
X 71—61
+ v/ — 61—51
Xv// O 81—82
D — 82—73
— 73—63
+ //_ 63—64
X 72—62
y O 64—63
D 80—84
— 84—81
— 81—71
X 51—41
2
White.
X 31—32 y
— 11—12
— 40—31
X 41—42
— 42—43 /
— 48—54 2
— 12—13
O 31—40
2 20—41 /
O 40—50
2 41—33
X 64—55
2 33—41 /
X 32—33
D 30—32 /
+ 10—32 O
O 60—61
— 61—50
2 41—60 X
X 13—14
v/
Id this game the danger is shown of neglecting the
counsel of Vyasa, v. 17 — not to move the Bajah too far
from its base.
Ga» n.
+ 17—35 /
O 14—23
D 16—13
O 23—14
D 13—63 v/y
X 26—36
O 14—13
O 67—46
— 46—65
X 86—85 y
□ 67—47
O 55—65
— 65—76
O 83—74
D 82—84
O 74—83
+ 80—62
□ 84—64 v/
O 40—51
2 20—12
□ 30—70 X
— 70—71 X
O 51—42
2 81—60 + 10—30 /
D 47—43 ^ U 64—44
Digitized by CjOOQIC
136
CHATURANOA.
The Bed and Black Elephants form a very strong position : each
Elephant being defended by its own Ship, and after Bed's next
moTO the White Bajah seems in a hopeless condition : but though
relieved by his Elephant, the Bed Ship nearly robs him of his
victory.
Red.
D 53—43 D/
+ 35—57 /
Buff,
+ 87—65 /
— 65—83 O
Black.
2 70—81 D
Wldte.
U 71—81 /
O 42—43 D
O 44—53 +
The Red Rajah now surrenders in despair.
A well-fought game.
This game shows the advantage of not checking the
Eajah prematurely with the Ship, but of keeping the
power of check for the right moment, as a Keserve
Force,
Gahb III.
Red. Buff. Black.
O 14—23 i. 66—65 i. 72—62
D 15—11 ± — 65—64 — 73—63
— 11—12 D 67—65 O 83—72
O 23—14 — 65—75 / — 72—61
— 14—15 2 77—65 i. 62—52
+ 17—35 / — 65—73 / O 61—60
White.
i. 21—22
2 20—32
— 32—44 /
+ 10—32 y/
2 44—23 y/
A bold play — all four Rajahs being checked in four successive
moves — and each attacking, instead of guarding against its own danger.
2 53—61
+ 87—65
D 75—85
X 76—85 D
+ 65—83
X 64—63
— 63—62 ±
O 50—61
— 61—60
D 82—85
J. 63—52
O 60—51
± 70—60
O 51—52 i.
D
2 23—15 O
D 30—20
O 40—30
J. 41—52 J.
+ 32—54
O 30—21
+ 54—32
D 20—60/
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CHATUBANOA.
137
± —
JRe^l Buff,
— 56—55
— 55—54
— 85—84
— 54—53
— 63—62
O 57—56
Black's pawn is now a Gadha, but can do nothing
— 56—55
— 55—64
— 64—73
— 73—82
— 82—72
Black.
— 52—62
— 62—72
2 81—62
O 72—82
+ 80—62
O 82—81
White.
15—34
50—53
53—73
34—42
42—63
— 81—80
— 80—70
X 60—50
O 70—80
+ 62—84
± 2
v/
D 73—71 ±v/
71—41
63—42
41—51
51—71
42—61 y/
Game,
This game shows the power of opening by Elephant's
pawn and Horse's pawn.
Gamb IV.
Red.
+ 17—25 v/
2 16—37
O 14—23
— 23—34
— 34—45 /
Buff.
O 57—46
X 86—85 /
— 56—55 /
— 55—54 y/
46— 45
Black.
O 83—74
— 74—64
— 64—63
— 63—54 X
— 54—45 O
White.
40—51
D 30—70 X
X 11—12 /
+ 10—32 v/
X 21—22
Nripakrishtiu or an exchange of captive Rajahs is here made.
O 16
+ 35—53
— 53—31 X
X24— 34
+ 31—53
X26— 36
— 25— 34X
D15— 45 v/
— 45—25
— 25—20 2
— 20—40
O 86
D 67—47 ^
+ 87—65
— 65—87
X 66—65
D 47—37 2
— 37—67
X 76—75
— 75—74
— 65—64
D 67—65 /
X 72—62 v/
O 45—36
— 36—35
D82— 84
2 81—60 /
35— 46
X 73—63
D84— 83
— 83—82
46— 35
— 35—26
O 51—52
+ 32—54 y/
X 22—23
D 70—30
52— 42
X 23—34 X
D 30—34 X
O 42—33
□ 34—44 /
33— 43
D 44—14/
Digitized by VjOOQIC
138 CHATUfiAKOA.
The Bed and Black Rajahs being in contiguous squares, Black
might take his ally's Bajah and so gain Sinhasana, and have command
of both forces ; but it is not expedient to do so, as both would be lost
Bed. Buff. Black. White.
_ 40._4i j^ / 2 77—56 ± 65—54 + v/^ O ^3— 54 ±
+ 53—36 — 56—36 + / 2 60—52 D 14—16 O /
J. 64—63 O 26—25 — 16—17
2 35 -47 / — 25—24 — 17—27 ± /
□ 65—35 — 24—14 O 54—46
— 35—36 ± — 14—15 — 46—64
2 47—86 2 52—33 y/ —54—56
D 36—16 /
Oame.
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CHATURANGA. 139
Alberunis description of Chaturanga.
Alberuni's name was Abu-Raihan Muhammad. He
was born at Khiva (Khwarizm or Chorasmia) in 973,
and lived in Hyrcania, on the southern shore of the
Caspian Sea ; and dedicated his Description of India,
from which book* this account is taken, about the year
1000, to the Prince of that country. He died in 1048.
**In playing chess, they move the Elephant straight
on, not to the other sides, one square at a time, like
the pawn, and to the four corners also one square at a
time, like the Queen (firzan). They say that these five
squares — i.e. the one straight forward, and the others at
the comers — are the places occupied by the trunk and
four feet of the Elephant.''
This does not in the least agree with the foregoing
description, and indeed seems to have been taken from
the Japanese game ; for Alberuni travelled about every-
where, and indeed the move he describes is that of the
Japanese Ohin. Evidently therefore he was not a chess-
player, and this seems implied by what he himself
says immediately : ** I will explain ivhat I know of it"
It is probable however that many of his accounts were
collected from other travellers, and so became mixed
together.
1 Alberunti India, By Edward C. Sachau, Prof. R. Univ., Berlin, 2 vola 8S 1888.
Triiboer'a Oriental Striei,
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140
OfiATURANGA.
" They play chess, four persons at a time, with a pair
of dice. Their arrangement of the figures on the chess-
board is the following': —
Shah.
Ele-
phant
Horse
Tower.
Pawn.
Pawn.
Pawn.
Pawn.
" As this kind of chess is not known to us, I shall
here explain what I know of it.
" The four persons playing together sit so as to form
a square round a chess-board, and throw the two dice
alternately. Of the numbers of the dice the five and
six are blank. In that case, if the dice show five or
six, the player takes one instead of five, and four
instead of six, because the figures of these two numerals
are drawn in the following manner :
6 5
4 3 2 1
so as to exhibit a certain likeness of form to four and
one in the Indian signs.
" The name Shdh or King applies here to the Queen.*
' In the Oernian or English translation the diagram is revereed by mistake,
probably by taking it from a tracing.
< What does the good man mean ?
Digitized by VjOOQIC
CHATUBANOA. 141
" Each number of the dice causes a move of one of
the figures.
"The one moves either the Pawn or the King.
Their moves are the same as in the common chess.
The King may be taken, but is not required to leave
his place.
" The tux> moves the Tower. It moves to the third
square in the direction of the diagonal, as the Elephant
moves in our chess.
"The three moves the Horse. Its move is the
generally known one, to the third square in oblique
direction.
"The four moves the Elephant. It moves in a
straight line, as the Tower does in our chess, unless it
be prevented from moving on. If this be the case, as
sometimes happens, one of the dice removes the obstacle,
and enables it to move on. Its smallest move is one
square, the greatest fifteen squares, because the dice
sometimes show two fours, or two sixes, or a four and
a six. In consequence of one of these numbers, the
Elephant moves along the whole side on the margin of
the chess-board ; in consequence of the other number it
moves along the other side, on the other margin of the
board, in case there is no impediment in its way. In
consequence of these two numbers, the Elephant, in the
course of his moves, occupies the two ends of the
diagonal.
" The pieces have certain values, according to which
the player gets his share of the stakes ; for the pieces
are taken, and pass into the hands of the player. The
value of the King is five, that of the Elephant four, of
the Horse three, of the Tower two, and of the Pawn
one. He who takes a King gets five, for two Kings
Digitized by VjOOQIC
142 CHATUKANGA.
he gets ten, for three Kings fifteen, if the winner is no
longer in possession of his own King. But if he has
still his own King, and takes all three Kings, he gets
fifty-four, a number which represents a progression
based on general consent, not on an algebraic principle." *
This account is interesting from being the only other
description of the game handed down to us, but it is
wholly unintelligible. The King is said to be the
Queen ! The Elephant is first described as moving like
the Ghin in Japanese chess ^ and as representing the
four feet and trunk of the Elephant : afterwards as
having the move of our Rukh. Again, the " Tower " or
" Rukh " has the move of the Oriental Elephant (our
Bishop), but moving always two squares only ; and
finally, although stakes are mentioned in both descrip-
tions, the accounts of them do not agree. He evidently
makes a mistake both in the names and the powers of
the pieces. The confusion arises from Alberuni not
understanding the game. But whether he saw the
game played, or whether it was described to him by
somebody who played the game, the description he has
given us shows if such were the case, that about the
year 1000 a.d. the moves were directed by dice, and
the game was played for money ; unless indeed, as is
more probable, he borrowed the account from the
Purana, but did not thoroughly understand it.
1, 188—186.
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Digitized by VjOOQIC
Q
<
o
a
to
w
X
o
o
J
4
I
1
Digitized by VjOOQIC
XI.
CHINESE CHESS.
Triganthius, De Christiana Ezpeditione apud Sinas - 1616
Purchas, His Pilgrimes ... 1625
SamedOy Belatione della grand Monarchia della China 1643
De la Loubere, Belatione du Bojaume de Slam - 1693
Hyde, De Shahiludio Chinensium - - 1694
Ejles Irwin, Trans. Boy. Irish Academy - - 1793
Hiram Cox, Asiatic Besearches - - - 1801
Silberschmidt, Lehrbuch des Schachspieles - 1845
The Chinese game of Chess is said to have had its
origin about two hundred years before the time of our
Lord.* The usual story is given of the game being
invented during a state of siege. In this case the
honour is given to Hong Cochu, king of Kiangnan, who
is said to have sent an army to invade the Shense
countiy. On the approach of winter his general Han-
Sing invented the game in order to amuse his soldiers
and keep them together. When operations were
renewed in the spring the King of Shense was defeated,
and he killed himself in despair.
From one of its names, Choke choo-hong-ki — game
of the science of war — it is considered to have had its
origin in an imitation of actual war : and thus we find
in this game not only elephants, cavalry, infantry, and
war-chariots, but a fortress in which the king and his
counsellors are intrenched, and from which they direct
operations ; a fortress belonging to the enemy, which
they have to storm, and a wide river between the two
^ " Two hoDclred and Beyenty-nine yean after the time of Confudut."
Digitized by VjOOQIC
144 CHINESE CHESS.
armies, winch can only be crossed with difficulty. The
elephants, being supposed to be unable to cross, are
left behind to protect the field against any of the
enemy who might get across ; and we see them moving
slowly and heavily up and down with measured tread.
And lastly, we have the introduction of artillery, in
the shape of a gun and a catapult, which send their
missiles over the heads of intervening forces and indeed
across the river. The military character of the game
is further seen by the king taking the command of his
forces, and calling himself general or governor, and his
two councillors acting as his lieutenants or guards.
Next to these, on either side, are the elephants,
then the cavalry and the war-chariots in the wings,
while the artillery and infantry are placed in advance.
The river dividing the two forces is called Kia-ho^ the
dividing river, and is supposed to be the Hoang-ho, or
the Yellow River, one of the great rivers of China,
which flows into the Yellow Sea, dividing China proper
from Manchouria and the Corea, a tributary of which
has its source in Shense.
The Chinese chess-board is only a paper board, which
can be folded up and carried with the chess-men, or a
new one can always be bought and thrown away when
the game is over. The Chinese game of Enclosing is
also commonly played on a paper board, with a margin
attached at top for making notes. One chess-board in
my possession has an inscription on the river — Fung-
chang-tso-ching : Ku-seu-po-Whei : which may be
translated — " An amusing game for friendly meeting:
Touch a piece, move it." * The chess-board consists of
two halves, each of eight squares by four, which are
^ Prol Douglas, British Museum.
Digitized by VjOOQIC
CHINESE CHESS. 145
separated from each other by a river, the width of
which is equal to one square, thus forming one move
for the pawn, and half a move for the knight. The
pieces are placed, not in the centre of the squares, but
on the intersection of the lines : so there are nine men
in a row instead of eight. In the centre of each side,
50, is the King or General, with a Guard on each side,
40 and 60. They occupy the fortress, a square of nine
points, having diagonal lines running through it, the
King moving along the perpendicular and horizontal
lines, and his Guards along the diagonal lines. They
never quit the fortress, but other pieces may enter, or
pass through it. Next to the Guards are the Elephants,
30 and 70, then the Horse, 20 and 80, and in the
corners the Chariots, 10 and 90. In front of the Horse
are the Guns, on the third line, 22 and 82 ; and on
the fourth line are five Soldiers, 13, 33, 53, 73 and 93.
The men are circular in form, and flat, like draught-
men, and have their names engraved on each side.
I have an ivory set, and a wooden one ; in each case
the engraving of one player's men is filled with blue,
and that of the other's in red, but the colours cannot
be shown in the photograph. The red writing appears
black, and the blue inscription disappearing altogether
had to be filled in again with ink and re-photographed.
Some of the corresponding pieces of the opposite
players have difierent names. Thus the General of the
blue becomes the Governor of the red : the Elephant
of the blue the Assistant of the red ; the Catapult of
the blue the Cannon of the red ; and the Soldiers or
pawns of the different colours are written differently,
though pronounced alike. The following are the names
of the pieces: —
L
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146
CHINESE CHESS.
M
*
Tsiang
Ssu
Sang
Ma
Tche
Pao
Ping
Name.
(General
Mandarin
Officer
Ghiard
Elephant
Horse
Chariot
Catapult
Footsoldier
Equivftlent
King
Sign.
O
Ghiard
G
Bishop
Knight
Castle
Cannon
®
Pawn
Digitized by VjOOQIC
CHINESE CfHESS. 147
The red pieces have the following distinctions: —
m
Seu
49
Sang
m
Pao
*
Tsu
Governor
(Oeneral)
AflsiBtant
(Elephant)
Cannon
(Catapult)
Footsoldier
The King's moves we have already described. The
game is won when the king is checkmated. Wo-t6 is
check, and Tsumda is checkmate.
The Elephants have the move of the ship in Chatur-
anga — two squares diagonally : but they cannot jump
over an intermediate piece, neither can they cross the
nver.
The Horse has the move of our Imight, but may not
jump over an intermediate piece; it may cross the
river, the river forming one half of the knight's move.
L*
Digitized by V^OOQIC
148 CHINESE CHESS.
The Chariot moves as our rukh, and may cross the
river.
The Catapult and Cannon move like the Chariot,
except that they cannot move without jumping over
one piece ; but they cannot jump over two.
The Soldiers move and take one point at a time in a
forward direction; they can cross the river, the river
itself being one move ; when across they can move and
take either in a forward or a lateral direction; on reaching
the opposite end they can move and take only laterally.
The Kings may not face each other without inter-
vening pieces. He who moves away his only inter-
vening piece between the two kings, would place his
own King in check by so doing.
The most characteristic piece of the game is evidently
the Catapult or Cannon ; and as its move is so compli-
cated it is at the same time most dangerous in its
attack, and yet constantly liable to capture. It should
never be left without support, for if then attacked it
has no means of escape. For this reason great caution
is requisite in moving into the enemy's field, relying
solely on some one of his pieces over which to vault at
the next move : for if this piece be moved the Cannon s
escape is cut off, and its capture is inevitable.
On the other hand, the King should be very watchful
against its attack : for when the Cannon is opposed to
it, without any other piece intervening, it is latent
check, and so cannot put any piece between.
The prettiest checkmate is with two Cannons in
a line, in which case the second Cannon gives the
checkmate ; and if the enemy insert another piece,
the first Cannon would checkmate, should the King
not be able to move away.
Digitized by VjOOQIC
CHINESE CHESS.
149
This hidden power of the Cannons, and the character
they give to the game, makes them dangerous pieces
in the hands of a lady whose quick eye and ready wit
would enable her to take advantage of their power of
sudden and unexpected attack, and of the means of
obviating it. Indeed owing to the lightness and
brilliancy which distinguish this game as compared
with the solidity and deep-thinking of ordinary Chess,
it might with great propriety be designated Ladies'
Chess.
Game. I.
Red.
27—97
2 89—68
® 97—37
+ 39—17
J. 16—15
G 49—58
37—34 J.
— 34—37
D 99—97
J. 56—55 J.
G 58—49
® 37—32 2
White.
82—12
2 20—32
12—14
J. 33—34
14—54 v/
— 54—51
± 53—54
2 32—53
J. 54—55
51—55 Xv/
2 53—32
22—52 Maie.
Checkmate by the two Gannons in one lino.
Game II.
27—99
— 99—37
— 37—33 X
— 33—73 J.
G 49—58
73—77
G 58—49
2 29—37
Checkmate by the two Camions in one line.
2 80—72
— 20—32
82—52
_ 52—54 /
— 54—51
— 51—56 J. /
— 22—52
— 52—55 Mate.
Digitized by VjOOQIC
150
CHIKESB CHESS.
Game III.
Bed.
27—97
— 97—37
_ 37_33 X
— 33—73 J.
— 73—33
2 29—48
G 49—58
2 48—56
Checkmate from elephant's square.
WhiU.
® 22—92
— 92—72
— 82—52
2 80—92
® 52—56 J.
_ 56—61 y/
— 51—54 /
— 72—79 + Mate.
Gamb IV.
2 29—48
® 87—80 2
D 99—98
80—88
2 89—68
G 69—58
2 68—89
— 89—68
G 58—47
J_ 56—55 ±
G 49—58
D 98—97
O 50—60
D 97—67
— 67—65 D
® 27—97
2 89—68
® 97—37
+ 89—17
j_ 16—15
G 49—58
— 58—49
O 59—58
— 58—48
Gamb V.
D 90—91
® 82—12
D 91—81
— 81—87
_ 87—57 /
J. 53—54
□ 57—87
— 87—85
± 54—55
® 12—52 y
D 85—55 X
— 55—65 v/
® 22—62
— 52—82
— 82—89 Mate,
® 82—12
2 20—32
® 12—14
J. 33—34
14_54 /
_ 54—57 y
— 22—52
— 57—54 y/
— 52—12
Digitized by VjOOQIC
CHINESE CHBSS.
151
Sed.
X 56—55
+ 17—39
37—34 JL
— 34—37
2 68—56
37—97
— 97—47
All moves, except four, by the cannon.
Wldte
— 64—62
— 12—42
— 62— 66 JL
— 56—52
— 52—54
2 32—44 y
— 44—66 2 /v/3fa<«.
2
+
D
±
2
D
1
2
0'27— 97
_*97_37
— 37—33
— 33—37
89—77
39—67
99—89
76—75
29—48
19—29
29—21
21—71
71—21
56—65
77—65
48—56
56—68
68—76
49—68
69—87
Gamb VI.
G
D
87—17
2 29—48
— 89—97
® 17—37
— 27—77
Gauk VII.
® 22—92
— 92—62
2 80—61
+ 30—12
® 82—32
□ 90—80
32—72
X 63—54
— 54—55
— 73—74
2 61—42
62—22
± 74—75 X
— 75—76
D 80—82
22—52
— 62—57 +
— 67—52 v/
D 82—87
72—79 + Mate.
22—92
— 92—72
— 82—52
2 20—41
72—74
AtUcka 2 61; and ® 37 tbiMteiie 80 y/ and then taking D 10.
Digitized by CjOOQIC
152
CHINESE CHESS.
Game VII-
Bed.
2 97—85
— 85—73 X
— 73—52 ®
D 99—97
— 97—47
G 69—58
D 47—77
2 48—67
G 58—69
+ 39—57
D 77—79
± 16—15
O 59—58
— 58—59
— 59—58
+ 57—79 ®
® 27—97
O 58—57
'Coniinued,
White.
2 80—72
® 74—77 ®
+ 70—52 2
® 77—73
— 73—79 +y
D 90—80
— 80—89
79—49 G v/
— 49—19 D / '
— 19—69 G
— 69—19
D 10—20
— 20—28 /
28—29 v/
® 19—79 D
D 89—99
— 99—98 y
— 29—27 Mate.
® 27—97
— 97—37
2 29—48
— 48—27
J. 16—15
2 89—77
+ 79—97
® 87—57
— 57—55
J. 76—75
D 99—89
J. 96—95
® 55—58
+ 97—75 ±
2 27—35
® 58—55
Game VIU.
v/
* D 20-27 2
® 82—12
2 20—41
D 10—20
2 80—72
® 22—92
1 _ 92—94
± 73—74
2 72—64
G 60—51
j_ 74—75 ±
2 64—76
® 94—92
— 92—95 X
2 76—68
95—35 2
— 25—27 ®
' To guard 47 fronl checkmate.
Digitized by VjOOQIC
CHINESE CHESS.
153
o
D
O
Red.
59—58
19—18
58—57
— 57—67
— 67—68
D 89—87
® 55—58
— 58—98
— 98—18
O 68—58
® 19—48
+ 75—97
® 48—98
+ 97—79
J. 36—35
O 58—48
— 48—58
— 58—68
® 27—97
J. 56—55
® 97—95
2 89—68
® 95—35
— 35—75
D 19—17
® 75—72
+ 39—57
2 29—48
D 99—97
— 17—27
2 68—76
® 87—67
D 27—21
G 69—58
2 76—64
— 48—69
Gamb IX.
White.
2 68—47
_ 47_39 + /
D 20—27
® 37—77 2 y
2 39—18 D
D 28—27 v/
— 27—28
— 90—92
— 92—62 /
— 27—28 v/
® 12—72
D 28—27
— 62—67
® 72—79 +
D 27—57 v/
— 57_47 /
_ 67—57 -/
— 47—48
Game,
y
2 80—72
® 82—52
□ 90—80
J. 93—94
+ 30—12
X 53—54
® 52—55 X
— 55—52 y
— 22—72 ®
X 73—74
— 74—75
_ 75—76 X
® 72—77
— 77—72
_ 72—79 + v/
— 79—72
D 80—89 v/
® 52—57 +v/
Digitized by VjOOQIC
154
CHINESE CHESS.
+
Bed.
G 68—47
2 64—72 (9
67—17
D 21—22
— 22—12
® 17—57
— 57—53
G 49—58
D 12—42
— 42—12
® 53—57
2 69—77
— 77—69
2 72—84
— 69—57
— 84—92
D 12—13
— 13—33
O 59—69
Gahb IX — (kmiinued.
White.
— 57—97 n
— 97—47 Q
2 20—32
* D 10—30
2 32—44
+ 70—52
G 40—51
® 47—43
n 30—40
43—23
a 89—86
— 85—55
2 44—65
— 65—67 ®
n 56—57 2
— 40—42
® 23—53
D 57—68 G v/
_ 42—49 Mate.
> 2 32—41.
' Next move checkmate.
Digitized by CjOOQIC
CHINESE CHESS-BOARD.
Digitized by VjOOQIC
o
a:
<
o
X
o
u
w
z
<
<
Digitized by VjOOQIC
XII.
JAPANESE CHESS.
SHIO-OHI'THB QKNEBAL*8 GAME.
Chinese Repository - - - 1840
Games with Natives - - - 1872-1888
Shio-ghi is played chiefly by the intellectual classes ;
Go is the popular game, and Sugorochu, or Double-six,
a game of chance, is the favourite of the lower orders.
Japanese Chess diflfers from all other games of chess
in having the men all of one colour, and thus the same
pieces serve for the player and his adversary. The
pieces are punt-shaped pieces of wood of different sizes,
lying flat upon the board, not upright, and slightly
incluied towards the front ; the direction of the point
determining to whom the piece belongs. Any piece
taken np may be entered by the adversary in any
vacant place he chooses, and at any time he thinks
it desirable to enter it, such entry constituting his
move. The consequence is that the loss of any piece is
a double loss: for not only do you lose a piece, but
your adversary gains one whenever he is disposed to
make use of it. And another consequence is that
the game can never be judged of by the appearance
of the board; for fresh pieces can be entered in at
any moment— if you have taken prisoners — which
may change the whole character of the game. Another
Digitized by VjOOQIC
y
156 JAPANESE CHESS.
kJ' peculiarity is that the pieces gain increased power on
arriving at a certain portion of the board, or if a piece
be a conquered piece, and re-entered in this portion of
the board, it acquires this increased power after it has
made one move. Consequently a conquered piece
frequently becomes more formidable than it was before.
Another peculiarity of the game consists in the board
being constantly covered with men : for as soon as any
are taken ojff they can be replaced on the board.
But a still stranger peculiarity, if possible, is exhibited
in the fact that while the game is begun with one set
of men, it may be finished with another set. Indeed,
it is possible that while beginning with a King, a Hisha,
a Kaku, two Kins, two Gins, two Kas, two Yaris, and
nine pawns, it may finish with a King, a Nari-Hisha,
a Nari-Kaku, and seventeen Kins on each side.
Like all other games of chess, it has a military
character ; it is called the Game of War, The King
General has at his side a gold commander, and a silver
commander, he has infantry and cavalry, and lancers
or spearmen, he has swift chariots, and reserved forces:
for the prisoners are compelled to fight for their
y conqueror. In one respect it resembles war more than
any other game of chess, for the general has not
merely to calculate the chances of the armies in the
field, but the contingency of other forces coming up.
The board consists of a square of nine, or 81 cells,
which are of a slightly oblong form for the greater
convenience of placing the pieces. The pieces are
placed in the cells, not on the intersections as in
Chinese chess. The cells are all of one colour. The
portion of board containing the nine central cells has a
dot at the four comers, the use of which is to mark the
Digitized by VjOOQIC
JAPANESE CHESS.
157
seventh, eighth, and ninth rows of squares which form
that portion of the board on which pieces on arriving
acquire their increased power.
The following are the names and positions of the
pieces. It will be observed that the Yari and Hio
or Fu are narrower in shape than the other pieces, to
distinguish their perpendicular movement.
Names of the pieces.
In print. Pronunciation. Tranfilation. Equivalent Sign.
I
^
or
Sho
AH
Hisha
Nuri
Hisha
Kaku
Nari
Kaku
Kin
.g
King
General
King
Flying Dragon
Chariot King ! ^^"^
Diagonal Dragon
Moving Horse
Gold
General
Bishop
Kin
I
D D
+ +
' The maker's name is often written at the bottom of the King. In this set it is Shei-Sei.
' The chariot in Giinese chess alsOi Tchtf is the castle.
Digitized by VjOOQIC
158
JAPANESE CHESS.
In print. Prouundation. Translation. EquivtJenL Sign.
t^
»
t
Ghin Kin
Ka
Ma
Kin
Yari
or Kin
Kioshia
Fu
or
Hio
Kin
Silver
General
8
Kin
Horse
Kin
Spear.
Fragrant Kin
Chariot
Foot
Soldier
Kin
Ghin
Knight
Yari
Pawn
These names are written differently by different
writers, and at different times, so the writing does not
always agree. I have three sets, but only one table,
which is shown in the photograph, and this suits the
smallest set. This table is only 5f by 6^ ins. square,
and 3^ high ; my largest set has only a yellow paper
with the squares printed on it, measuring 10^ by 12^ ;
for the squares are somewhat elongated in order to
contain the pieces. The pieces here represented are of
the middle size, and they also had originally only a
folded paper board inside the box. The nine squares
Digitized by VjOOQIC
JAPANESE CHESS. 159
in the centre are distinguished by round points at the
four angles, so as to mark the line of increased power.
O, the King, written king general, stands in the
centre of first row. He moves one square in any
direction ; and loses the game when checkmated.
Check is called 0-t6, check to the king ; and check-
mate is Tsumu, or Tsumda, finished.
Kiuy written Kin-sho, gold general, stands on either
side of the King, and moves one square in any direction,
except the two back diagonals.
Gin (pronounced Ghin), written Gin-sho, silver
general, stands on each side next to the Kin, and
moves one square in every direction, except sideways
and backwards.
Ka-McCy^ a horse, stands next to the Gin, and has a
knight's move, but only forwards.
Yariy spearman, occupies the extreme ends, and
moves any number of squares, perpendicularly only.
ffisha, flying chariot, stands in front of the right-
hand Ka, and has the move of our rook.
KdkUy diagonal-moving, stands in front of the left-
hand Ka, and has the move of our bishop.
HiOy or Fuy soldier. These, nine in number, occupy
the third row, and move and take one square forwards
only.
The King, and the Gold General hold their full
honours, but all the other pieces look forward to
promotion immediately on entering the enemy's camp,
which comprises the three furthest lines of squares.
The Gin, the Ka-Ma, the Yari, and the Hio or Fu
can all attain the rank of ELin.
The Hisha, now called Nari-Hisha, dragon-king, has
^ Ma U a hoifle, boUi in Japanese and Chineee. In Burmese it is Mbee.
Digitized by VjOOQIC
160 JAPANESE CHESS.
increased rank, and the privilege, in addition to his
former power, of moving one square diagonally like the
Kaku.
The Kaku, now called Nari-Kaku, dragon-horse, has
increased rank, and the privilege, in addition to his
former power, of moving one square forward, sideways,
or backwards, like the Hisha.
Prisoners are forced to enter the army, but are not
obliged to begin from the ranks. They may be placed
in any open square, even if desired, in the enemy's
camp ; but, if placed within the enemy's lines they do
not get their promotion till they have held their
position sufficiently long to make one move ; but when
re-entered go back to their original power. Thus,
though the Gin, the Ka, the Yari, or the Fu may have
acquired the rank of Kin before being taken, they are
re-entered only according to their original power. In
like manner the conquered Nari-Hisha, or Nari-Kaku,
becomes a simple Hisha, or Kaku.
A captive pawn may not be entered in a peipen-
dicular line with another pawn.
The Gin, the Ka-Ma, the Yari, and the Hio or Fu,
on becoming Kins, have the name Kin on the other side
written in a more or less negligent way, according to
the original value of the piece. The Kin itself is ^^
the Gin is written rapidly '^, the Ka ^, the Yari ]^, and
the Hio or Fu J or | , thus enabling a player to perceive
the original power of a piece should it be turned over.
We fear that this account of Japanese chess,
interesting though it may be, will appear too confused
and intricate to be made available for our use, and will
be given up as hopeless : so we will endeavour to
simplify it by calling the pieces by names we can
Digitized by VjOOQIC
JAPANESE CHESS. 161
understand, and by changing the punt-shaped pieces,
with their, to us, unintelligible writing, to an arrange-
ment of ordinary chessmen. To do this we must make
use of parts of three sets of chessmen, two of ivory— a
medium and a smaller set — and one of box-wood of
larger size. The pieces and their signs will now be: —
Ivory Che^men
Ivory Chessmen
Box-wood Chessmen
Small site.
Medium $iu
Large size.
O King
...
... o
D Hisha (Castle)
..
... D
+ AaA-tt (Bishop)
...
... +
K Kin
... X
a Ghin
+ on
becoming a Kin
... X
2 Knigbt
2
»>
»♦
... ±
Y Yari
D
99
99
•• ±
X Tawu
±
99
19
... J.
9 Nari'HUha,,.
...
...
... D
i Nari-Kdku ...
..
...
... +
But on using a wooden pawn for the kin, it will not
be known whether the piece was originally of lower
value; and as it has to return to that lower value
when taken, it is necessary when a piece becomes a
Kin, to put a small piece of paper under the Kin, or
a label over it, giving the name of the original piece.
Gin, Ka, Yari or Hio ; the Nari-Hisha and Nari-Kaku
will not require it, as they would go back to their
original ivory.
A pawn is used by the Japanese to determine the
first move, and in throwing for it you ask your opponent
whether it is a Hio or a Kin ? just as we say heads or
tails ; or, as in tennis, rough or smooth ?
In opening the game the first thing to be done is to
clear the way for the Hisha and the Kaku ; but as the
opponent will naturally do the same on his side, care
M
Digitized by VjOOQIC
162 JAFANESB CHESS.
must be taken to prevent the opposite HisWs attack
on the left: but a defensive game is not a safe game ;
and victory will generally follow the first success. If
the Hisha and the Kaku are prevented from operating
by the defences of the enemy, the Gin and the Ka can
be brought out to break the outposts, and form a
breach for the entry of the superior pieces, thus, at
the end of Game I, although White had two Hishas, it
was unable to pierce the intrenchment, till the Gin
came up in six moves and did so. The Ka would
reach the intrenchment in three moves, and the Hio in
four. As the Hios have only half the taking power of
our Pawns, and cannot support each other, their use is
not so much to force the intrenchment, as to support
other pieces in doing so.
As in war victory often follows the unexpected
entry of fresh troops, so in Japanese chess, the great
danger to be constantly kept in view is the entry of
captive pieces, forming the reserved forces. The eye
must be ever fixed on the captives in the possession of
the enemy, and on what points they may possibly
enter. An example of this occurs in Game I, in
White's moves 17, 18 and 20. Two captive Gins are
suddenly brought in, in two successive moves, thus
causing the loss of a Hisha ; and this Hisha is as
unexpectedly entered in the innermost line of the
enemy's intrenchment, giving check to the king,
and at the next move becoming a Nari-Hishaj and
soon giving a checkmate. In like manner in Game II,
the Hisha is lost by the entrance in two successive
moves of the Yari and Kama, and checkmate follows
in four moves afterwards. The loss of a piece there-
fore is not merely the loss of such piece, but, as we
Digitized by VjOOQIC
JAPANESE CHESS. 163
have said, the conqueror thus gains an extra piece
of the same value. Nor is this all : for this exti-a
piece, instead of being placed where such piece would
stand in the beginning of a game, can be placed
anywhere on the board, and, if placed within the
enemy's line, will gain its increased power at the
next move — a result resembling that of an Indian
game of cards, Shataro (seventeen), in which after
every deal, the winners take at chance as many cards
from the hand of the loser as they have won tricks,
and give back to him in return as many of the worst
cards they have in their own hands; and thus at
every deal he is worse off, till he is happily out of
the game. For this reason, when two pieces are
en prise J it is advisable to examine carefully whether,
if the pieces are exchanged, the new piece can be
entered in a more commanding position, or whether
the opponent can improve his position ; and in either
case to be the first to exchange, so as to be the first
to enter the new piece, and then perhaps obtain
another piece, or even lead to a checkmate; and
thus give no opportunity for the opponent to enter
his piece. This also is seen in Game I. In his seventh
move Bed opened a way for his Kaku, and White
opened his Kaku five moves afterwards. Red should
have immediately exchanged Kakus : but neglecting
to do so. White made the exchange, and thus at
the next move entered a new Kaku, forking the
Hisha and Gin, taking two Gins, and, as we have
already seen, with these two new Gins taking the
Hisha.
Owing to the necessity of carefully and continually
watching the number and powers of the captive
Digitized by VjOOQIC
164 JAPANESE CHES&
pieces belonging to the enemy, and how they may
affect the game ; and of not neglecting to make use
of one's own captive pieces as occasion offers ; it is
advisable that they should be placed carefully on
each side, so as to be seen by both players. When
each player has taken a piece of the same value,
the prisoners should be exchanged, so as to enter
the right colour on each side.
This is a very intricate game, indeed the most so
of all varieties of chess, owing to the complicated
nature of the moves, the imexpected importation
of new pieces, and the constant changing of the
power of the pieces : but for this very reason, and
from the fact of its being so peculiar, it becomes a
game of great interest. The game requires great
practice, before a novice however experienced in
European chess, can recollect the powers of the
several pieces, present or prospective ; and can grasp
at a glance the effect produced by the advent of
new pieces, and understand where to place them.
The result ia each such case must be a lamentable
and disgraceful defeat. This circumstance therefore
proves that Japanese chess is no weak variety of
ordinary chess; but that it is a game of great
originality, and of high intellect.
The examples of games which follow were played
' by different Japanese of various degrees of efficiency,
but however weak the play in some instances, they
all show the nature of the game. The men being
all alike, except in size, and not having any difference,
in colour, as in the Chinese, it must be very difficult,
even for the Japanese, to distinguish one man from
another merely by the writing; and even this writing
Digitized by VjOOQIC
JAPANESE CHESS. 165
though it is upright for one's own men, is upside
down for one's opponent's ; and of course it is as
necessary, or even more so, to distinguish the adver-
sary's men than one's own, for though it takes a
long time to make a successful attack, a single
advei-se move by one's own may be fatal. Owing
to this difficulty, although Japanese, and indeed all
Orientals, unlike European chess players, play very
rapidly, from their quicker preception,' they occasion-
ally make mistakes or oversights relative to the
pieces; and it is astonishing that such mistakes are
not more frequent. If anyone doubt this, let him
write the names of the pieces in English on flat
counters, and see what he would make of it.
From the games which I have seen played, they
do not always observe the rule — "Touch a piece,
move it." On the contrary, I have seen them touch
one piece, and then another, and then go back perhaps
to their first move. The pieces were turned over
also on entering the seventh line of squares, without
directing attention to the fact by saying Kin, Nari-
Hisha, or Nari-Kaku ; taking it for granted that the
opponent would perceive that it was all right ; and
in like manner new pieces would be entered without
comment. Some players did not even call out O te,
check, when checking the King ; and I have seen a
game finished without saying Tsumu, or Tsumda,
checkmate, or finished : so that I had to ask whether
it was checkmate.
Game IV, notwithstanding its mistakes, is interest-
ing as exhibiting a well-fought game. It is curious
^ In a chess tournament played recently, I see it was provided that fifteen
moves be made in the hour. Game iv. occupied one hour exactly, and there were
109 moves : so the Japanese play was more than seven times as rapid.
Digitized by VjOOQIC
166 JAPANESE CHESS.
to see how Red, in 95, had won the game if he had
played the right piece; and how a second time he
had the chance of doing so in 99, in two moves, but
failed to see it, and how by not doing so, and making
a false move through the temptation of taking a Kin,
he thus allowed White to get the move, which being
skilfully followed up by entering his reserved forces
unexpectedly, ended in checkmate.
Owing to the intricacy and length of Game IV, and
the mistakes which arose from errors in following the
score, which obliged me to begin several times all over
again, I found it necessary to take account of the game
fi'om time to time, as bankers cast their balance every
day, to prevent having to go back. The result will be
seen in the score of the game, and will show how
available the notation I employ is for noting down
the condition of a game from time to time throughout
the game. This repeated record of the score will
also be found of use to the reader who wishes to
learn the game by playing it out according to the
score: for if at any of tliese breaks he finds his
game does not accord with the score, he will be
obliged either to begin again, or to start afresh from
one of these scores.
The following announcement in the Times will be
read with pleasure by chess players : —
" The Japan Maily referring to attempts now being
made to revive chess in Japan, says that during the
long peace enjoyed by that country under the rule
of the Shoguns the game of chess flourished. Once
every year, on the seventeenth day of the eleventh
month, the masters of the game met in Yedo and
fought a grand tourney in an appointed place within
Digitized by VjOOQIC
JAPANESE CHESS. 167
the precincts of the palace. Judges, umpu'es, strict
rules, and all things necessary to the combat were
provided, and after the fight was over the ranks of the
various combatants were officially fixed. The number
of ranks was seven in all, the seventh being the
highest.' Rarely did any player attain the distinction
of reaching this, but the sixth generally had one or
two representatives. There appears to have been a
certain element of heredity in the game as played in
Japan, for certain families took the lead for many
generations, and the contests between their champions
were a salient feature of every tourney. To this time-
honoured custom, as to many another of even greater
merit, the Eevolution of 1867 put a stop. A long era
of neglect ensued for chess players ; but it did not fall
into disuse because Court patronage was wanting.
Its votaries still studied their gambits and elaborated
their variations, and now once more the science
promises to resume its place of importance. In
October last a grand meeting of all the principal
chess-players in Japan was organized in Tokio. Over
200 players assembled, all boasting greater or less
degrees of skill, from the first up to the sixth. Count
Todo, the former Daimio of Tsu, who has the honour
of belonging to the sixth rank, is among the chief
promoters of the revival. Another meeting took place
on the 18th of January, when a ceremonial in honour
of the revival of chess was performed. There appears
to be a considerable chess literature in Japan : one
^ The early Arab and Persian chess players were divided into five classes. The
first were called *Alii/(Uf or grandees. Frequently it consisted of only one player,
seldom of more than three. A grandee gave a pawn to a member of the second
class, a Queen or Ferz to the third dass, a Knight to the fourth dass, and a Rook
to the fifth class. ForheB, HitU of Chett.
Digitized by VjOOQIC
168 JAPANESE CHESS.
leading work contains pi'oblems, the solution of which
is said to make the player worthy to be placed in
the sixth rank." *
Game I.
Red.
While.
;
1
X
26—25
K
40—31
2
—
25—24
X
82—83
3
K
68—77
—
83—84
4
X
21-23
—
22—23
X
5
a
27—23
X
X 22
6
—
23—25
X
12—13
7
X
76—75
—
81—85
8
—
86—85
X
D
81—85
X
»
X 86
—
85—81
10
G
78—67
G
70—71
11
X
56—55
X
32—33
12
G
67—56
+
21—87
+
13
K
77—87
+
+ 34
14
D
25—35
—
34—56 G
15
K
48—57
—
56—38 G (Xari-Kaku)
16
D
35—25
K
31—32
17
+ 47
G 31
18
—
25—26
— 25
19
+
47—38
+
G
25—26
D
20
+ 54
D 78
V
21
O
58—47
D
78—75
X(Nari-lIi8ha)
22
X 76
D
75-55
X
23
+
54-05
U
71—82
24
K
57—56
n
65—64
25
X
76—75
G
82-73
26
K
87—76
—
73 84
27
X
86—85
— .
84—85
X
28
K
76—77
—
85—86
(Kin)
20
—
77—78
D
64—75
X
30
—
78-68
K
80—77
' Timet, 10th April, 1890.
19 White $ Nari-Kaku captured by Red is eDtere<l ia the following move, but
being a captive, goea back to its first estate, viz., a Kaku.
Digitized by VjOOQIC
JAPANKSE CHESS. 169
Sed.
While.
31
O 47-58
— 77—68 K
32
— 58-68 K
D 81—88 2 v/(Nari-nUUa)
33
— 68—57
a 75—77
31
G 67
— 88—68
35
— 57—47
— 77—67 K Mate.
In move 12 Red ought to have exchanged Kakus
first, 87 — 21. Nedecting to do so White had the first
exchange 21 — 87, and entered his prisoner in the
following move, which took two Gins in the two
following moves, and became a Nari-Kaku. Hed
entered his Kaku in move 17, which took Whites
Nari-Kaku in move II), but in the same move While
immediately took lied'ff Hisha, which he entered in
the following move, and which eventually gave the
checkmate.
32 In like mAnner W/iUe*s Kin taken by Red U entered in 34 as a Gin.
Game II.
White.
Red,
1
± 32—33
K 68-77
2
K 40-31
G 78—67
3
X 82 -83
X 26—25
4
— 83—84
— 25—24
5
— 84-85
— 86—85
6
D 81—85
A.
X 86
7
— 85—83
— 24-23
8
X 22—23
±
— 96—95
9
K 31—22
(i 38-37
10
X 72—73
— 37—26
U
(} 70-Cl
— 26-35
12
X 52—53
O 58-57
2 Bed O should have stopped to protect +
8 Rtdnn- 23 ±
Digitized by VjOOQIC
170 JAPANESE CHESS.
Gaub it — Continued.
White.
Red.
13
G 61—52
X
66—65
14
O 50—61
K
77—66
15
X 85
X
86—85 X
16
D 83 85 JL
+
87—96
17
— 85—88 2 (Nari-Hisha)
X 24
IK
X 23—24 X
G
35—24 X
19
+ 21—43
—
24—33 X
20
X 26
D
27—26 X
21
X 25
—
26—27
22
K 22—23 G
X
26-35
23
G 26
D
27—47
24
G 26—35 X becomes K
X
46—45
25
X 25—26 becomes K
—
45—44
26
+ 43—25
—
44—43
27
X 42—43 X
X 36
28
K 26 36 X
2
28—36 K
29
G 35—36 2 becomes K
D
47—45
30
+ 25 34
—
45—15
31
K 33—24
—
15 55
32
g 88—98 Y
X
65—64
33
— 98—96 +
D
55—75
34
Y 74
—
75—65
35
2 46 y
—
65—45 2
36
+ 34—46 D
2 37
37
+ 35 v/
O
67—58
38
D 96—98 y
G
67—78
39
— 98—78 G McUe.
18 Rtd blocks up his own -]-
n BedU 27—24 ±
20 Good play.
25 This is a mistake. The J. must make another move, being a captiTe piece,
before it becomes a K.
26 Q 67—- 78 : as Q 88 could not take 98 without being ultimately taken, and
if it moved to 86> + would move to 87, and so drive it away.
84 Courtiog capture, in order to draw away D 75.
Digitized by VjOOQIC
JAPANESE CHESS. 171
Gamb III.
Bed. White.
K 40—31 i. 76—75
D 81—41 — 26—25
50—61 — 25—24
± 32—33 + 87—21 +
G 30—21 + X 24—23
± 22—23 ± D 27—23 ±
JL 22 — 23—27
— 42—43 K 68-77
— 43—44 G 78—67
K 31—32 — 38—37
X 44—45 ± 46-45 JL
D 41—45 JL X 46
— 45—75 ± — 76
— 75—73 +64
— 73—63 + 64—20 2(Nari.Kaku)
X 22—23 + 20—21 G
K 32—42 D 27—23 X
— 42—53 — 23—22 (Nari-Hisha)
X 72—73 + 21—10 Y
G 70—71 g 22—21 v/
O 61—72 2 75
a 63—64 D 21—41
X 82—83 X 66—65
□ 64—65 X Y 66
— 65—25 D 41—42
K 53—63 Y 66—63 K
X 62—63 Y -h 10—54
D 25—27 — 64—63 X /
O 72—82 g 42—52 X /
— 82—91 2 75—83 X Clieckmaie.
The Japanese who played Bed was evidently only
a beginner, who " knew the moves, but that was all:"
for when once the game was fairly opened every move
he made was a bad one. But White's play shows
some new points, especially in the power of the Kaku,
Digitized by VjOOQIC
172 JAPANESE CHESS.
and the skill in bringing in new pieces ; whereas Red
never used his captive Kaku, and only brought in a JL,
and even in the last move he might have avoided
checkmate by entering his Kaku at 72, or placing
his 2 there ; and instead of using his Hisha, he placed
it out of the way where it could be of no use.
Gamb IV.
White.
Red.
1
K
40—31
X
76—75
2
±
82—83
K
68—77
3
—
83—84
G
78—67
4
—
84—85
X
86—85
X
.5
D
81—85
X
G
67—76
6
—
85 81
X 86
1
G
70—71
X
26—25
8
O
50—51
o
68—57
9
G
71—82
X
96—95
10
±
92—93
—
25—24
11
—
12—13
—
16—15
12
G
82—83
G
76—85
13
K
60—61
X
24—23
U
X
22—23
X
a
27—23
X
15
X 22
—
23—24
16
G 30—41
K
48—47
17
X
52—53
G
38—37
18
6
41—52
—
37—26
19
K
61—71
—
26—25
20
X
32—33
X 23
21
+
21—87
+
K
77—87
+
22
X
22—23
X
D
24—23
X
23
i. 22
—
23—33
X
24
X 32
—
33—35
25
+ 44
—
35—65
26
+
44—26
(Nari-Kaku)
G
25—16
2r
X
72—73
+ 45
28
G
83—72
X
75—74
29
X
73—74
X
G
86-74
Digitized by
X
Google
JAPANESE CHESS.
173
White.
Red.
30
a 81—84
— 74—73
31
G 72—63
— 73—84
D
33
— 53-51
+ 46—54
G
33
J. 53 54
D 65—75
34
X 72
G 84—83
35
+ 26—53
D 75—78
36
X 54—55
X 56—55
X
37
+ 43
G 54
38
X 43—54 G
X 55 54
+
39
+ 63 54
X
X 76
40
X 55
D 84
41
G 52-63
G 83—82
42
G 73
D 84— r)4
±(+)
43
G 63 54
D
G 82—71
K(K)
Condition of the game as at present.
White, O 51 : K 31 : G 54.73: 2 20.80: Y 10.90: i. 13.22.32
42.55.62.72.93.
Red, 57: D 78: K 47.71.87 : G 16 : 2 28.88: Y 18.93 :
X 15.36,46.66.76.86.95.
Prisoners or Reserved Forces.
White, Q. Red, + + : K : X ± ±.
Red lias tlio best of Ihe game by + + : KKK: JLJL: including
Reserved Forces.
Continiuxtlon,
44
45
46
47
48
49
50
51
52
White.
G 73—64
O 51—52
— 52—53
G 54—63
— 64—73
X 42-43
G 63—74
— 73—74
O 53—64
X
a
Red.
+ 60 v/
+ 70 v/
+ 60—51 (Nuri-Kaku)
K 71—61
X 76—75
— 75—74
□ 78—74 G
K 61—62 X
+ 70-43 X(Nari-Kaku)
81 An overeigbt G 72—73 0.
Digitized by VjOOQIC
174 JAPANESE CHESS.
WhUe.
Red.
53
U 78
G 65 v/
54
O 64—75
G 65—76 y
56
— 76—64
X 66—65 v/
66
— 64—73
K 62—63 y/y
67
— 73—82
± 51—61
58
D 58
v/
O 57—66
59
D 78—68
v/ (Nari-
Ilisha)
K 67
60
G 74—63 K
(G)
K 67—68 D (t
61
D 58—68 K
/(ITari-Hishn)
G 76 57
62
G 54
+ 61—60 v/
63
O 82—73
— 43—70
64
± 75
O 66—75 X
65
G 63-74
— 76—66
Condition of the game aa at present.
White, O 73 : D 68 : K 31 : G 54.74 : 2 20.80 : Y 10.90 : J. 13
22.32.55.72.93
Bed, O 66 : + 60.70 : K 47.87 : G 16.67 : 2 28.88 : Y 18.98 :
J. 15.36.46.65.86.95.
Prisoners or Reserved Forces/
White, K Red, D X±±±±±
Relative Value.
White, D Red, U ++ ±±±±±±: so still has the best of
the game.
Continuation,
White. Red,
66 G 74—65 X / O 66—75
67 D 68—67 G X 95—94
Here White might have won the game at the next move L}- playing
G 66—75 checkmate.
68 O 73—63 ± 64 /
69 — 63—53 + 60—71 /
70 G 62 "" D 62 /
71 o 53—44 + 71—62 G /
72 — 44—33 D 62—53 / (Nati-hibha)
73 K 43 + 62—51 /
Digitized by VjOOQIC
JAFAKBSE CHESS.
175
White.
Red.
74
33—23
+ 70—43 K
76
D 67—66 /
O 75—85
76
G 54—43 + (+)
D 53—43 G /
77
O 23—12
+ 51—40
78
X 42
D 43—53
79
+ 58 /
G 76
80
G 65—76 G /
O 85—74
81
D 66—65 /
— 74—63
82
G 30
X 15—14
83
O 12—21
— 14—13 X
84
+ 58—47 K (Nari-Kaku)
G 16—25
85
+ 47-56
D 53—51
86
K 41
K 87—76 G
87
K 41—51 D (D)
+ 40—51 K
88
n 65-68
G 12 v/
89
Y 10—12 G
X 13—12 Y
90
2 20—12 J.
Y 18—12 2
91
+ 56—12 Y
2 24
92
— 12—23
X 12 /
93
— 23—12 X
2 24—12 + (+)
94
O 21—12 2
Y 14 /
Condition of the game as at present.
TTAtYc, 012: D 68. K 31 : 30: 2 80: Y 90: ±22.32.42
55.72.93.
Redy O 63 : + 51 : K 76 : G 25 • 2 28.88 : Y 14.98 : ± 36.46
64.86.94.
Prisoners or Reserved Forces.
White, D G 2 Y±± Red, +KKG ±±±±±
Relative Value.
White, D D R^d, + + KK ±±±
At this period of the game each player made several mistakes.
In 95 White went into a trap, but Red neglected to checkmate him.
In 96 White should have opened an escape. In 99 White should
have opened another escape, by taking Nari-EIaku 52 ; and Red
should have moved up JL to become a K, and given check, and at
next move entered K at 22, and given checkmate.
Digitized by VjOOQIC
176 JAPANESE CHESS.
Conclusion,
White. Bed.
95 O 12—21 X 12
96 K 31—41 G 10 v/
97 O 21—31 K 21 /
98 G 30—21 K G 10—21 G
99 o 31—21 G ± 51—41 K
100 D 61 / O 63—52
101 K 62 / — 52-42 JL
102 G 53 y — 42—43
103 D 61 -41 + v^' goes buck to + — 43—34
104 — 41—44 v/ — 34—35
105 D 68—28 2 O 45
106 — 44—64 X K 44
107 + 26 v/ O 35—34
108 G 23 v/ — 34—43
109 X 42 ChecK-nmie.
95 WhiU O 12— 28 : SidKU cLeckmate next move.
96 WhiU ± 22— £3.
97 WhiU O 21 could not take G 10, for X 12 would move to 11 and bcccnie
K, and give checkniate.
99 White K 41—61 + : Jied ± 12—11 and become K y/, and entering K 21
checkmate.
Digitized by VjOOQIC
Digitized by VjOOQIC
p
<
o
m
CO
CO
Ui
X
o
W
w
u
D
Digitized by VjOOQIC
XIII.
BURMESE CHESS.
CHIT-THABBBN| OF the Geuerars game.
Major Sjmes, Embassy to the Kingdom of Ava .... 1800
Capt. Hiram Cox, Trans. Bengal Asiatic Soc 1801
Shway Yoe (James Oeorge Scott), The Burman.
His life and notions 1882
Professor Forbes thought this game common to the
regions situated between India and China, viz., Tibet,
Burmah, Siam, and Cochin China.
The names of the pieces are, according to Captain
Cox:—
Meng— The King, or General^ which we will call King, O
Ghekoj — Lieutenant General,
Hatha — ^War Chariots,
Chein — Elephants,
Mhee-^Cavalry,
Yein — ^Poot Soldiers,
„ Queen, ([
„ Eukhs, n
„ Bishops, +
„ Knights, 2
„ Pawns, J.
The King has the same move as with us.
The Queen moves diagonally only, but only one
square at a time.
The Eukhs have the same move as with us.
The Bishops move one square diagonally, but are
able to move, but not to take, one square forward,
being thus able to change their colour. They are
therefore like the Japanese Ghin, except that this
latter is able to take, as well as to move, one square
forward.
N
Digitized by VjOOQIC
178
BURMESE CHESS.
The Knights move as our Knights.
The Pawns also move and take as our Pawns, and
queen on arriving at the diagonal line.
The Board is a square of eight cells, and has a line,
or is supposed to have a line running diagonally from
top of right side to bottom of left side.
□
D
o
+
2
2
/
+
d
±
±
J.
±
±
±
J.
±
±
±
±
±
±
/
J.
J.
d
+
2
2
+
O
/
□
Although this is the ordinary disposition of the men,
either party may adopt another line of battle ; but the
pawns must not be altered. The board is very large,
and stands bigh, for the convenience of the players,
who sit upon the ground; as will be seen from the
photograph which Mr. Scott of St. John's Collie,
Cambridge, obligingly allowed me to take of the table
and men in his possession.
It will be seen on examining this game that there is
only one line of squares dividing the combatants, and
that the battle must begin immediately. Further,
that as the diagonal line shows the line of queening,
the pawns would soon queen were they not opposed
Digitized by VjOOQIC
BURMESE CHESS. 179
by hostile pawns. The power of queening is confined
to the three* advanced pawns on right hand side ; and
thus the first pawn queens in four moves, the second
in three, and the third in two moves. But we will
speak of this presently.
As the game is peculiar in the pawns being put in
fighting position, and in strike of each other : so the
defensive position of the King is equally remarkable.
The King stands in a strong intrenchment. He fights
as it were '* with his back to the wall," being close to a
corner, and thus protected on one side and the rear,
while he has guards to protect him on the other side
and the front. Of these guards the Elephants, being of
the same colour, defend each other, and three diagonal
points each, the Queen protects three diagonal points,
and the King protects all those in the rear, besides
giving support to his guards. Thus all the surounding
squares are protected from attack.
^ Captain Cox giyes the privflege of qaeening to the Jive right hand pawns : but
this ia a mistake. Were it so, each player would be enabled to queen at his
first move, if placed originally as in diagram ; for if all five were to be in the
advanced line, one would be already on the line. This, therefore, is eyidently a
mistake, in writing five for three.
Mr. Scott — who, of course, is a great authority—says that the/otir pawns to
the right may queen, but this seems unlikely, as the fourth pawn would be at
striking distance if placed in the advanced row, and so might as well not be
placed on the board.
Digitized by VjOOQIC
180 9UBMESE CHESS.
As all these pieces move oiily one square at a time,
they often remain in much the same position all
through the game, unless the King, in the ardour
of battle, thinkjs more of attacking his opponent than
of defending himself.
Owing to this strong position there is no sudden
checkmate at an early period of the game, or so long as
piost of the pieces are in the field ; and when the
principal pieces are much reduced, it becomes very
difficult, unless an additional piece can be obtained by
queening a pawn, to get a checkmate.
A good way of getting into the fortress is to place a
Castle opposite each Bishop, at a and B, and then
taking one of the Bishops with some other piece*
This move will be seen in Game I, move a, where 2
takes d 35, being protected by □ 30 ; and + 46 being
prevented from moving by □ 66.
Other peculiarities of the game are exhibited in the
power of the Bishops of changing their colour ; and in
the facility with which the Castles are enabled to
support each other, and to force a passage.
The distinctive peculiarity of the early queening of
the pawn would invest this game with interest, if the
pawns on reaching the diagonal could exchange as in
other games for one of the superior pieces : but not
only is the increased power limited to that of the
Chekoy, or Queen ; but after all the difficulties of
obtaining this position have been overcome, they
cannot acquire even this privilege, unless the Queen
has been previously taken ; but have to wait, at
constant risk of capture, till such event occurs. Mr.
Scott, indeed, gives a still further limitation of privi-
lege : for he says — " he must be placed on one of the
Digitized by VjOOQIC
BURMESE CHESS.
J81
eight squares around the King/* but he does not state
whether these squares are those around the original
position of the King, or whether they must be in a
square contiguous to the King, wherever he may be.
It cannot be supposed that a game Uke this — where
the King is so securely intrenched behind his guards ;
where the Castles and Knights, and these matched
against others of their like, are the only formidable
pieces — can be a very brilliant one. Indeed, where
the players are pretty equal, it must be a heavy,
wearisome, uninteresting game. Even the queening of
the pawns is of such trifling advantage, being allowed
only when the Queen is taken, that it scarcely enters
into consideration. We give, however, two examples: —
Game I.
Red.
i. 65—64
— 85—84
— 64—53
— 45—44
— 44—53
2 56—64
([ 35—24
— 24—35
2 46—65
D 17—47
2 64—85
J. 34—23
— 23—32
— 32—31
2 85—73
+ 36—45
D 47—67
O 26—36
D 87—57 2
2 73—65 i.
White.
X 73—74
— 52—53
— 42—53 i.
— 12—13
2 41—53 i.
i. 13—24 X
D 10—50
2 53—65
jL 74— 65 2
d 62—63
X 22—23
2 61—43
— 43—62
D 40—30
2 62—54
— 54—66
_ 66—45 + y
— 45—57 D /
D 80—50
+ 61—62
Digitized by VjOOQIC
182
BURMESB CHKSS.
Bed.
± 14—13
O 36—26
± 13—12
+ 25—24
j^ 75—64 J.
_L 55—64 ([
D 57—67
2 65—44
— 44—63 /
— 63—44
O 26—25
X 64—63 v/
□ 67—77 v/
— 77—37
O 25—26
— 26—25
X 12—11
D 37—36
O 25—14
— 14—25
— 25—14
i. 63—62
D 36—35 +
i. 11 — 10 becomes ([
O 14—23
— 23—32
— 32—33
— 33—22
— 22—11
([ 10—21
— 21—12
O 11—21
— 21—31
— 31—21
— 21—22
White.
D 30—31 X
+ 72-61
D 31—41
X 63—64
([ 53—64 X
D 41—45
— 50—55
— 55—85
O 71—72
D 85—86 y
— 86—85
O 72—71
— 71—81
D 45—44 2
— 85—86 /
— 86—85
— 44—40
+ 62—53
D 40—30
_ 85—84 X
+ 53—44
— 44—35 1
D 30—35 D
— 35—34
— 34—24 + v/
— 84—44
— 24—34 y/
— 44—43
— 43—23
_ 34—14 y/
— 23—13
„ 13—12 a
— 14—44
— 12—17
— 44—46
and soon wins the game
Digitized by VjOOQIC
BUBHESE CHESS.
183
±
+
2
+
Sed.
A. 65—54
— 75—64
2 56—64
D 17—77
2 64—52
— 52— 7a
D 77—73
± 65—64
— 54—43
— 24—33
2 46—64
87—77
45—44
35—46
36—45
54—66
45—36
— 25—24
D 73—77
O 26—25
+ 36—45
2 66—74
— 74—53
— 53—72
J 46—55
□ 77—17
— 17—12
— 12—11
+ 45—54
64—63
11—10
34—33
26—36
24—33
D 10—11
— 11—15
+ 33—32
O 36—25
— 25—26
— 26—37
» + <6— 64.
±v/
+ /
JL
+
±v/
±
a
±
o
+
v/
2
Gamb IL White.
± 63—64
_ 73—64 ±
+ 72—73
— 61—72
O 71—61
C 62—73 2
J. 83—84
— 42—43
— 32—33
— 22—33 JL
2 61—63
□ 80—82
j^ 33—44 J.
— 44—45
2 63—44
— 41—33
— 44—65
— 65—77 □
— 33—14 JL /
— 14—22
D 82—83
— 83—63
O 61—62
D 10—70
— 70—72 2
2 22—41
O 62—61
— 61—60
D 63—62
— 72—75
O 50—61
D 76—55 d /
2 41—33 J.
□ 65—54 +
O 61—70
D 62—63 J.
— 63—66 y/
— 66—65 y
— 64—66 y/
— 66—67 Checkmale.
* Would " queen " next move.
Digitized by CjOOSlC
tSi BURMESE CHESS.
BURMESE CHESS,
No. II.
The following variety of the game agrees better with
other games of Chess, where the Pawn in queening
takes the power of one of the superior pieces, which
the Queen in Oriental chess never is. The only
difference in this game is that it allows the three
right hand Pawns to become Castles when they reach
the diagonal line : and the game becomes one of some
interest. Every attention has now to be given to
these three Pawns : for when one of them reaches the
diagonal, the player has immediately three Castles to
his opponent's two, and can then afford to exchange
Castles, indeed, it is to his interest to do so, for by
such exchange the proportion of strength in Cafitles
becomes 2 : 1, instead of 3 : 2.
The following are examples of this game . —
Game I.
White.
± 12—13
— 32—23
— 63—64
— 73—64
a 62—53
i. 83—84
+ 61—62
— 72—73
i. 42—53
D 80—82
— 10-^20
O 71—72
2 41—33
^d 53-1
Digitized by VjOOQIC
Bed.
± 55—54
— 24—23
— 34—23
±
— 75—64
1
D 17—77
— 77—73
X 45—44
D 73—76
X 44—53
a
□ 87—77
2 46 34
a 35—46
2 34—42
■62 would have been better.
BX7BMESE CHESS.
18^
Sed.
WhUe.
— 42—34
D
20—21
— 34—53
Xv/
+
62—53
2
□ 76—73
+ /
O 72—62
+ 36—35
• 2
33—54
±
± 65—54
2
±
64 — 66 becomes D
+ 35—44
+
.W— 64
D 73—74
±
52—53
+ 44—35
D
6.")— 85
X
' 2 56—64
+
±
53—64
2
D 74—64
j.y
O
62—52
— 77—67
D
85—86
— 64—66
—
86—66
□
— 67—66
□
±
84—85
— 66—86
2
51—72
O 26 36
—
72—53
d 46—55
—
53—74
D 86 87
±
85—86
i 55—44
D
82—62
± 54—53
—
62—66
v/
+ 35—46
O
52—43
([ 44—35
D
21—81
D 87—57
±
86 — 87 becomes □
— 57—87
D
D
81—87
D
X 53 52
—
87-80
— 52—51
—
80—30
— 51—50
2
74—62
O 36—26
—
62—54
26—36
a
54—35
a
— 36 45
D
66—65
s/
— 45—36
2
36—14
±v/
— 36—27
D
65—25
+ v/
— 27—16
—
25—24
— 16—15
—
30—34
— 15—16
—
34—84
— 16—15
—
84—87
— 15—16
—
87—47
— 16—15
—
47—17 CfieckmaU.
1 A good move. * A bad exchange,
1 though followed up by
a check.
' See iutfoductory remarks.
In this game White "queens" two pawns.
Digitized by VjOOQIC
186
BURMESE CHESS.
Gaub II.
Red.
X 55—54
— 54—63
— 85—84
— 75—84
— 45—34
— 24—23
— 14—23
66—64
87—77
17—12
23—12
64—43
25—14
43—31
14—23
81—43
77—57
34—43
65—64
57—53
46— €5
65—46
46—34
23—34
43—42
34—23
23—24
34—43
35—44
44—33
33—42
26—35
36—45
35—44
44—55
2
D
±
2
+
2
■ +
2
D
±
D
2
+
J.
+
<L
O
+
O
2
2
D
2
2
O
2
d
2
±
2
□
([
White.
42—43
52-63
73—84
43—34
32—33
12—23
61—52
62—61
41—53
10—12
51—32
53—41
80—10
10—11
32—51
71—82
51-43
62—71
41—62
62—60
33—34
50—42
42—34
11—12
22—23
12—42
42—52
52—42
61—62
62—53
53—42
71—62
4^-51
51—42
62—53
2
' To pwyent J. 12 " qneeniiig."
'To drew away + 23 from defending ± 12 which is
'The object was to get rid of X J. 64 and 84, and so
about to " queen."
to "queen " with X88.
Digitized by CjOOQIC
BUBMESB OHESa
187
Red.
± 64—53
O 55—66
+ 45—54
O 66—65
+ 64—45
— 45—54
O 65—66
+ 54-63
O 66—65
+ 43—54
— 54—45
O 65—66
+ 45—66
O 66—65
+ 56—67
— 67—76
O 65—66
— 66—65
— 65—66
— 66—67
+ 76—87
O 67—57
— 57—67
— 67—57
— 57—66
— 66—65
— 65—66
— 66—67
— 67—66
— 66—67
— 67—56
— 56—65
— 65—74
v/
/
While.
+ 42—53 J.
± 63—64
O 82—71
— 71—62
— 62—63
— 63—62
+ 72—63
O 62—63 +
+ 53—62
O 63—53
+ 62—63
— 68—74
_ 74—75 v/
_ 75—84 J.
— 84—73
i. 83—84
O 53—63
+ 73—82
O 63—74
i. 64—65
O 74—75
X 84—85
+ 82—71
O 75—86
— 86—87 +
j^ 85—86
+ 71—72
— 72—73
— 73—74
— 74—75
O 87—77
+ 75—76
J. 86 — 87 becomes D
and ChecknuUe ecMy follows.
A see-Baw game.
Digitized by VjOOQIC
us
BDBMBBA C£t£SS.
Gamu III.
White.
^ 83—84
□ 80—84 J.
± 63-^64
— 42—53 X
2 51—63
jL 53—44 ±
O 71—62 2
2 41—53
— 63—44 2
— 53—65 J.
± 52—53
— 73—74
— 74—75
O 62—63
2 65—77
J. 75 — 76 becomes D
— 22—53
+ 61—62
± 23—34 J.
D 84—85 i.
+ 72—73
_L 64 — 65 becomes Q
2 77—56
— 56—35 ([
D 10—40
± 12—23 ±
D 40—45
— 45—35 D
— 65—66
_ 66—36 +
— 36—26 /
— 26—22 X
— 76— 16 y
— 85— 15 + Checkmate.
This game was begun by White in order to
Red.
j^ 75—84 J.
— 55—54
— 64—53
2 46—54
X 45—44
2 54—62 ([
_ 56—44 X
D 17—57
([ 35—44 2
D 57—54
([ 44—35
D 87—47
_ 47—42 y/
— 54—56
56—57
— 42—32 X
— 32—33
— 57—47
□ 33—34 X
— 34—32
— 47—41
— 41—61
— 61—31
— 32—35 2
X 24—23
— 14—23 X
+ 25—24
— 24—35 D
O 26—25
X 23—22
O 25—14
+ 35—24
— 24—15
This game was begun by White in order to " queen " by pawn 63,
first getting rid of pawn 75. White subsequently ••queened" both
pawns 63 and 73 ; thus having four castles on the board at the same
time»
» To bring out 2 » " Queens '' next move.
Digitized by VjOOQIC
SURMESB CHBSS.
189
1
+
Bsd.
+ 65—54
— 64—63 X
— 34—43 i.
2 56—44
_ 44—56
X 45—54
— 65—54
— 75—64
D &7— 77
i. 64—73 ([
D 77—75
2 46—67
□ 75—76
2 67—55
□ 76—66
± 73—72
2 56—64
D 66—76
— 76—75
2 64—43
([ 35—44
— 44—53 2
D 75—73
O 26—17 D
2 55—63 /
+ 36—45
O 17—26
□ 73—76
_ 76—56 2
2 43—22 J.
— 22—34
D 56—76
2 34—53 v/
□ 76—86 D
O 26—35
2 53—32
Game IV.
White.
i. 42—43
+ 72—63 X
i. 32—43 X
— 52—53
— 53—54
— 43—54 X
+ 63—64
X 73—74
([ 62—73
2 41—53
— 51—72
X 83—84
— 74—85 X
2 53—65
— 72—53
+ 61—72 X
X 85—86
— 84—85
□ 10—60
2 65—77
X 86—87 becomes D
2 77—56
D 87—17 D
X 85—86
O 71—61
X 86 — 87 becomes D ^
D 87—83
+ 72—63 2
— 63—52
□ 83—53 ([
— 53—83
— 83—86
O 61—50
D 80—86 Dv/
— 86—83
O 50—61
1 White BAcrifices 4- and ([ , in order to "queen " a X
• X 86-76 D better.
Digitized by VjOOQIC
190
BURMESE CHESS.
Red.
J. 14—13
— 24—23
— 13—12
+ 25—34
— 34—25
O 35—44
+ 25—36
O 44—35
_ 35—46
_ 46—47
— 47—37
— 37—26
+ 36—25
— 45—36
O 26—27
— 27—26
+ 36—27
O 26—36
— 36—45
— 45—34
OiveB up the game.
D
Whi
60-
'te.
-30
±
12-
-23
±
D
30—32
2/
—
32-
-12
±
—
83—33
v/
—
33—83
—
12-
-14
y
—
83-
-33
v/
—
14—15
33—83
—
83—87
/
±
23-
-24
D
87-
-86
/
+
52—53
D
86—87
/
+
53—44
—
44-
-35
v/
D
87-
-86
/
—
15-
-25
+
—
25-
-27
+
Digitized by VjOOQIC
XIV.
SIAMESE CHESS.
The following particulars of this game have been
procured for me from Prince Devawongse, Minister of
Foreign Affairs of H.M. the King of Siam, through the
kindness of E. B. Gould, Esq., H.B.M/s Consul at
Bangkok, August, 1889.
*' British Legation,
Bangkok,
Oct. 22, 1889.
"Dear Sir,
I took an opportunity to make enquiries of
Prince Devawongse, the King of Siam's Minister for
Foreign Affairs, and a keen chess player, both at the
native game, and our European one, on the subject of
your letter of the 23rd of April. I left your letter
with the Prince, who appeared to take much interest
in the subject, and promised to supply me with a
record of a game played by good Siamese chess players.
This he ultimately did, and I now forward a copy of
the rough record the Prince gave me.
Yours faithfully,
E. B. Gould.''
Digitized by VjOOQIC
192 SIAMESE CHESS.
Names of the pieces.
King — Khun (Lord),
Queen — Met, no meaning.
Bishop — Khon, no meaning.
Knight — Ma (Horse).
Castle— i?«a(Boat).
Pawn — Bia (Cowrie shell) generally used for the Pawns.
The King moves one square in any direction : but
in his first move he can move as a Knight.
The Queen has the usual Oriental move of one
square diagonally : but in her first move she can t^e
two squares, if desirable. The Queen is placed on
the right hand of the King.
The Bishop has the move of the Kin in the Japanese
game : one square diagonally every way, and one
straight forward.
The Knight's move is the same as ours.
The Castle's move, also, is the same as ours.
The Pawns stand on the third row, and " queen " on
the sixth.
Siam, being a maritime country, appears to have
taken the game partly from India and Burmah, and
partly from Japan. From India she adopted the name
of boat ; and from Burmah and Japan the Bishop s
move ; the only difference between the two being that
in the Burmese ganie the Bishop only moves in the
straightforward line, whereas in the Japanese game it
both moves and takes. The Pawns stand on the
third row, as in the Japanese game. The name of the
Bishop, Khon in Siamese, seems a corruption of the
Burmese Chein, and the Chinese Sang : while the
name of the Knight, Ma, a horse, is taken from the
Chinese and Japanese.
Digitized by VjOOQIC
SIAM£SB CHESS.
193
In the following game Chong Kwa and Coy took the
white pieces, and Nai Chang took the black. The game
is played upon our chess-board, and the numbers refer
to those given in our chess notation, p. 116.
White.
JL 52—53
— 62—63
2 70—62
— 20—41
([ 50—61
— 61—52
+ 60—61
O 40—51
+ 30—31
10—60
12—13
22—23
31—22
60—70
13—14
— 42—53
+ 22—31
JL 72—73
— 63—74
— 82—83
2 62—74
— 41—53
— 74—53
— 5:t— 41
+ 61—62
_L 83—84
— 73^74
— 74—75
a 75—64
D 80—70
2 41—62
J. 84—85
a 85—74
2 62—43
2
Queetis
+
D
a
Queens
Black.
1 j_ 55—54
2 + 67-66
3 _ 66—55
4 _L 65—64
5 2 77—65
6 + 37—36
7 D 87—77
8 j_ 35—34
9 O 57—66
10 + 36—35
11 2 27—46
12 ([ 47—36
13 o 66—56
14 J. 25—24
15 _ 64—53 J.
16 — 34—33
17 D 17—37
18 JL 75—74
19 _ 85—74 J.
20 — 45—44
21 _ 44—53 J.
22 2 66—53 2
23 + 35—44
24 a 36—45
25 D 37—67
26 O 56—47
27 + 55—64
28 J. 54—53
29 D 77—70 D
30 JL 53—62 + Queens
31 D 67—64 ([
32 O 47—36
33 + 44—53
34 D 64—54
Digitized by VjOOQIC
194
SIAMESE CHESS.
White.
([ 74—63 35
□ 70—75 36
2 43—64 37
□ 76_76 38
O 51—41 39
2 64—72 40
+ 31—40 41
_ 40—51 42
<i 52—43 43
□ 76—74 44
J 63—54 45
_ 54—45 ([ y 46
+ 51—52 47
□ 74— 7G 48
O 41—51 49
— 51—62 50
+ 52—63 51
— 63—64 52
□ 76—75 / 53
_ 75—45 54
+ 64—53 55
□ 45—85 56
O 62—63 57
2 72—64 58
O 63—52 59
2 64—72 60
□ 85—86 61
([ 43—54 62
O 52—63 63
2 72—64 64
_ 64—43 65
O 63—64 66
2 43—35 +y 67
(J 54—43 68
-|. 53—44 69
O 64—74 70
_ 74—63 71
2 35—56 y 72
p 86—66 73
v/
Black.
D 54—56
+ 53—44
□ 56—55
O 36—47
D 55—65
— 65—85
— 85—55
-h 44—53
O 47—37
— 37—36
+ 53—44
O 36—45 ([
— 45—35
D 55—65
— 65—55
— 55—65
— 65—55
— 55—50
O 35—26
+ 44—35
O 26—36
— 36—26
D 50—70
— 70—60 y
O 26—36
□ 60—65
O 36—47
□ 65—55
O 47—37
— 37—47
D 55—75
— 75—72
O 47—37
D 72—70
— 70—60 y
_. 60—70 v/
2 46—65
O 37—46
D 70—60 /
Digitized by VjOOQIC
SIAMESE CHESS.
195
WhUe.
O 63—74
+ 44—53
2 56—64
a 43—54
2 64—43
— 43—51
([ 54—43
+ 53—44
2 51—63
— 63—75
— 75—83
— 83—75
— 75—54
O 74—65
— 65—56
2 54—66
^ 43—34
— 34—25
O 56—55
2 66—45
+ 44—35
i 25—36
2 45-64
O 55—46
i 36—25
2 64—56
([ 25—34
O 46—36
([ 34—25
2 56—44
O 36—46
2 44—36
— 36—15
— 15—36
— 36—44
J. 14—15
2 44—56
O 46—56
+ 36—36
v/
/
y
Queens
D
Mate
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
109
110
111
112
^ Good move.
Black,
2 65—53 y/ 1
□ 60—66 D
O 46-^5
D 66—86
O 55—46
D 86—82
O 46—45
— 45—46
D 82—87
— 87—80
O 46—56
— 56—46
— 46—36
D 80—85 y/ •
_ 85—86 y/
— 86—76
— 76—86
O 36—26
D 86—82
O 26—17
D 82—86
O 17—16
D 86—82
— 82—87
O 16—17
D 87—07
O 17—16
D 67—27
O 16—17
D 27—57
— 57—77
O 17—27
— 27—17
— 17—27
D 77—75
— 75—76 y
— 76-56 2 y
O 27—37
O'
Digitized by VjOOQIC
/
XV.
TURKISH CHESS.
The Turks generally make their " board " of cloth,
embroidered over to form the cells, several of which,
and sometimes all, as in this example, have ornaments
or flowers in the centre. Such a chess-cloth with the
men can easily be carried about in a bag, and so be
always ready to be placed on the divan or carpet.
The photograph represents such a board in my posses-
sion with the ivory men, the powers of which will be
seen by the order in which they standi
The King is placed on the right of the Queen, and
can take one Knight's move at any time of the game,
but only one.
The pawns move one square at a time.
In castUng, the King can be placed on the Rukh's
square, or on any other within that distance.
The other rules are the same as those of the
European game.
This is the game as played by the author in Asia
Minor in 1845. The variations from our game are
unimportant, and not sufficient to rank Turkish chess
as a distinct game, like several other Oriental games
of chess, but is interesting only from the form of the
pieces^ and from its embroidered cloth,
Digitized by VjOOQIC
X
H
O
O
W
o
X
s
Digitized by VjOOQIC
Digitized by VjOOQIC
XVI.
TAMEELANE'S CHESS
OR
GREAT CHESS.
MS. 260— Eoyal Asiatic Societ}',
Hyde — ^De ludis Orientalibus - - 1694
Bland— Persian Chess - - - 1850
Forbes— The History of Chess - - 1860
As we are indebted chiefly to the poem of Saleius
Bassus for the Ludus Latrunculorum ; and to the
Bhavishya Purana solely for the Indian game of
Chaturanga; so for the knowledge of Tamerlane's
chess we are indebted exclusively to the anonymous
author of the Persian MS. 260 belonging to the Royal
Asiatic Society. Professor Forbes, who gives us a
most detailed translation of this, gives us also the
following extract from the preface of this MS., in
which we see that the author believed that his work
would give him the reward of Paradise, and that God
himself assisted him in his play. Another celebrated
chess player, Alau el Din of Tabriz, called Ali the chess
player, declared that he once saw Mahomet in a
vision^ who presented him with a bag of chess-men,
Digitized by VjOOQIC
198 Tamerlane's chess.
by using which afterwards he was ever victorious.
All these chess players write in a very vain-glorious
style. This anonymous author says : —
" Many a one has experienced a relief from sorrow
and affliction in consequence of this magic recreation ;
and this same fact has been asserted by the celebrated
physician Muhammad Zakaria Razi in his book entitled
^The Essences of Things/ and such is likewise the
opinion of the physician Ali Bin Firdaus, as I shall
notice more fully towards the end of the present
work, for the composing of which I am in the hope of
receiving my reward from God, who is Most High, and
Most Glorious.
" I have passed my life since the age of fifteen years
among all the masters of chess living in my time : and
since that period till now when I have arrived at
middle age, I have travelled through Irak-Arab and
Irak-Ajam, and Khurasan, and the regions of Mawara-
al-Nahr, and I have there met with many a master in
this art, and I have played with each of them, and
through the favour of Him who is Adorable and Most
High, I have come off victorious.
" Likewise, in playing without seeing the board, I
have overcome most opponents, nor had they the
power to cope with me. I, the humble sinner now
addressing you, have frequently played with one
opponent over the board, and at the same time I have
carried on four different games with as many adver-
saries without seeing the board, whilst I conversed
freely with my friends all along, and through the
Divine favour I conquered them all. Also in the
Great Chess I have invented sundry positions, as well
Digitized by VjOOQIC
Tamerlane's chess. 199
as several openings, which no one else ever imagined
or contrived.
" There are a great number of ingenious positions
that have occurred to me in the course of my
experience, in the common game as practised at the
present day ; and many positions given as won by
elder masters, I have either proved to be capable of
defence, or I have made the necessary corrections in
them, so that they now stand for what they were
originally intended to be. I have also improved and
rendered more complete all the rare and cunning
stratagems hitherto recorded or invented by the first
masters of chess. In short I have laid before the
reader all that I have myself discovered from experi-
ence, as well as whatever I found to be rare and
excellent in the labours of my predecessors/' *
The author's description of the game is rather prolix,
so we wUl give it in other words : —
The game played by Timur the Tartar, called after-
wards, when wounded in the leg, Timur lenk, lame
Timur, and, as corrupted by us, Tamerlane the Great,
consisted of a board of eleven squares by ten, with
two outlying squares,* making a total of 112 squares.
In this game the principal pieces occupy the second
row. In the middle is the Shah, 1, having on his right
his Vizir^ 2, and on his left his Ferz^ or General, 3.
Next to these on either side is a Zarafah^ Giraffe, 4 ;
then a TcUiah, advanced picket, 5 ; then an Asp,
Horse or Cavalry, 6 ; and lastly the Eukh, Chariot, 7.
Behind the Rukh is a Pil, or Philj Elephant, 8 ;
behind the advanced picket is a Jamal, Camel, 9 ;
I Forbes^ Hitiory of Chtn, p. 80, 81. ' Outaide of squares, 18 and 111.
Digitized by VjOOQIC
200 Tamerlane's chess.
and behind the Vizir and Ferz are Dahhahahs^ war
engines, 10. These occupy the first line, a PiyodCy
Pawn, occupies each square of the third line.
The Ferz, and each of the pieces on the right of
the Shah, has its proper Pawn, 15 ; but the left hand
Giraffe has an Elephant's Pawn, 14, in front; the Picket
has a Camels Pawn, 13 ; the Horse has a War engine's
Pawn, 12 ; and the left hand Rukh has the Pawn of
pawns, 11.
As these names and the respective powers of the
pieces are very diflBcult to be remembered, I adopt
names which are more intelligible to Western ears, so
that the name shall at once enable us to determine the
power of the piece.
The principal pieces are divided into three classes,
according to their moves, which are the Straight, the
Diagonal, and the Mixed.
Of the Straight moves are the Vizir, the Dabbabah,
and the Rukh. As the moves of the pieces are all
analogous, and varying only in power, we will change
the names to others which will better remind us of
their moves ; and call them the Vizir^ moving only one
square forwards, backwards, or sideways; the Dabbabah
we will change to the Castle, moving always two
squares in the same directions, and hopping over the
first if covered ; and the Rukh, moving any number of
squares, as our Rook, but without jumping. For the
Castle I employ an ivory Castle of the ordinary size ;
for the Vizir one of smaller size ; and for the Rukh a
boxwood one of larger size.
Of the Diagonal moves are the Ferz, the Pil, and
the Taliah. In like manner, and for the same reason,
Digitized by VjOOQIC
Tamerlane's chess. 201
we will retiiin the name of the Ferz^ moving only one
square diagonally; but will change the Pil to Lame
Bishop, moving always two squares, and leaping over
the first when occupied ; and the Taliah to Bishop,
having the full power of our Bishop, but which has not
the move of the Ferz, nor the privilege of leaping.
For the Lame Bishop I employ an ivory Bishop of the
ordinary size ; for the Ferz one of a smaller size ; and
for the Bishop a box wood one of a larger size.
Of the Mixed moves are the Asp, the Jamal, and the
Zarafah. The Asp we change to the Knight, having
the same move as our Knight, one diagonal and one
straight ; the Jamal or Camel to the Chevalier, having
one diagonal and two straight ; both these have the
privilege of vaulting ; and Zarafah or Giraffe to the
Cavalier, having one diagonal and any number straight,
or any number straight and one diagonal ; but without
the moves of the Knight or Chevalier, or the privilege
of vaulting. For the Chevalier I employ an ivory
Knight of the ordinary size ; for the Knight one of a
smaller size ; and for the Cavalier a box wood one of a
larger size.
It will be seen from the above that the privilege of
leaping is confined to the pieces in the first or back
row, all of which move two squares at a time, and to
the Knights; and that by using box wood for the
principal superior pieces in the second row the eye will
at once be able to distinguish them.
We will now place the men in their proper position
according to their new names : —
Digitized by VjOOQIC
202
tamert.anb's chess.
11
12
13
14
15
15
15
15
15
15
15
7
6
5
4
3
1
2
4
5
6
7
8
9
10
10
9
8
First Row.
Second Row.
Third Row.
8
Lame Bishop
7
KUKH
11
Pawn of pawns.
6
Knight
12
Castle's pawn
9
Chevalier
5
BISHOP
13
Chevalier's „
4
OAVALTEK
14
Lame Bishop's
M
10
Castle
3
Ferz
15
Ferz's
)
1
The Shah
—
Shah's
1
10
Castle
2
Vizir
—
Vizir's
>
4
OAVALTTIK
—
Cavalier's ,
>
9
Chevalier
5
BISHOP
—
Bishop's ,
9
6
Knight
—
Knight's ,
>
8
Lame Bishop
7
EUKH
—
Enkh's
1
It will thus be seen that there is a Pawn repre-
senting each superior piece whether of the first or
second line, and capable of becoming a piece of such
power, on the loss of the piece itself, on reaching the
opposite end. There is, moreover, one extra Pawn,
called the Pawn of pawns, which has peculiar privi-
leges. All the Pawns move and take as in our chess ;
but the Pawn of pawns on reaching the further end
can be transferred, at will, to any (vacant) square of
the board, and on reaching the further end a second
time may be transferred again ; and on reaching the
further end a third time it acquires the moves of the
Shah, and like the Shah's pavra may replace the Shah
when slain.
We have yet to speak of the Shah. This piece
moves one square at a time in any direction. When
in distress the Shah may make his way to the opposite
Digitized by VjOOQIC
Tamerlane's chess. 203
outlying space, where he is safe from any attack ; and
can be driven out of it only by a stale-mate, But it
also has the privilege of exchanging positions with
any other of his pieces : but this can only be done
once.
These privileges, however, of the Shah and of the
Pawn of pawns are so peculiar, and the opportunity of
availing ourselves of them occurs so seldom — not once,
indeed, in any of the games which we have played —
that in giving the rules of this ancient game we may
suppose them to have never existed. Their introduc-
tion would appear to have been merely to spin out the
game, and thus by omitting them we bring the game
more in imison with other games of chess.
The most formidable piece in this game is the
Cavalier. The power of this piece for sweeping across
the board is about equal to that of the Eukh ; but
having two lines in every direction instead of one, and
its attack being more insidious, this piece becomes
much more dangerous. Like the Knight, its chief
power consists in its being able to fork two pieces: but
while with the Knight these pieces are contiguous,
with the Cavalier they are at a considerable distance ;
consequently the difficulty of evading it is greatly
increased. As it requires half the width of the board
to be able to make a move, so its power of acting is
only developed when the board becomes more and
more cleared. Another advantage of the Cavalier is
that if it can place itself on the same line with the
hostile Shah, and the Shah is not supported by other
pieces in its vicinity, it cannot move to the right or
left without going into check, in which case it becomes
easy to follow up the advantage with another piece.
Digitized by VjOOQIC
204 Tamerlane's chess.
and so procure a checkmate. This piece therefore is
by far the most powerful on the board when once it
has a free motion : for while it commands almost as
many squares as the Bukh, the Eukh commanding
nineteen, and the Cavalier from fourteen to twenty-
two, according to its position, being an average of
eighteen, its power of forking makes it a most fearful
engine in the hands of a skilful player: for while the
Bukh threatens in only four directions, the Cavalier
threatens in eight.
The Cavalier being thus powerful, it is evidently to
the interest of a player to bring out his own Cavaliers,
and to prevent his adversary from moving his. In the
one case, he advances his Bishop's pawn sufficiently
far, if not stopped, to enable him to bring out his
piece; in the other he advances his Cavaliers pawn
one square, which will then command the only two
squares to which his advei-sary's Cavalier could move
if the way were open, and will thus make him a
prisoner. But he must not be content with making
him a prisoner, he must endeavour to capture him
while he is thus blocked up. This is best effected by
means of the Knights, moving one from 21 to 13, 34,
15, and 27 ; and the other from 101 to 113, 94, 115
and 107. Examples of these moves vnil be found in
the games which follow.
On turning our attention to the Shah's position, we
find him surrounded by seven pieces which mutually
defend each other while protecting the Shah, thus
forming an impregnable fortress around his person.
In front are three Pawns, the centre one of which is
defended by the Shah and Ferz : that on one side is
defended by the Shah, Vizir, and Castle ; that on the
Digitized by VjOOQIC
Tamerlane's chess.
205
other by the Shah and Castle; while the Castles
mutually protect each other. As one's own Pawns are
required to protect one's own Shah, it follows that the
enemy's fortress can only be forced by the sacrifice of
two or more superior pieces.
Our first attempts at plajdng the game were to leave
the Shah unmolested, and to bring out the superior
pieces to attack those of the enemy. The result in
every case, owing to the number of pieces and their
formidable character, was a terrific fight, which lasted
till, from mutual losses, neither party was strong
enough to force the position of the enemy and obtain a
checkmate.
It is of the first importance therefore in this game,
so soon as the side pieces are prepared for action, to
force the centre. Even when this is attended with
considerable sacrifice an easy victory can be achieved,
if only the side pieces follow up the advantage which
is obtained without delay. The pieces which can be
best sacrificed for this work are the lame Bishops.
Their moves are 10, 32, 54, 76, which either bring out
the Pawn 67, or capture the Vizir 58; and 110,
92, 74, 56, which either bring out the same Pawn 67,
or capture the Ferz ; but if these fail, it is advisable to
sacrifice even the Bishop or Chevalier, if necessary,
either to break the opposite centre, or to make way
for the play of the Cavaliers.
The two prettiest checkmates are by the Cavalier
and Rukh in one line.
D
O
Digitized by VjOOQIC
206 tamerla.ne's chess.
Or the two Cavaliers side by side.
O
The pinning in accomplished by a single Cavalier,
when the checkmate can be given by any other piece.
o
Game I.
Red.
WhiU.
2
28— 16
±
32— 33
±
37- 36
—
33— 34
2
108— 96
—
34— 35
T
19— 37
—
42— 43
2
16— 24
—
43— 44
—
24— 45
—
82— 83
T
37— 15
2
101—113
±
27— 26
±
35— 26
—
17— 26
±
2
113— 94
—
36— 35
±
44— 35
—
26— 35
±
2
21— 13
D
18— 28
—
13— 34
T
15— 33
±
22— 33
2
45— 33
±
41— 55
D
28— 24
2
34— 15
±
47— 46
55—114
—
35— 34
2
15— 36
' D
24— 22
—
36— 48
B
58— 48
2
±
83— 84
±
107—106
114— 33
+
38— 16
±
84— 85
^ Useless move.
Digitized by VjOOQIC
TAM£BLAN£'S CHESS. 207
Bed.
Wliite.
2
96—115
' 2
94— 75
±
46— 45
33—114
—
45— 44
2
75— 56 y/
—
67— 56 2
114— 73 y/
(L
78— 67
73— 22 D
+
16— 49
—
81— 75
±
87— 86
—
75—114
—
34— 33
—
22— 19
+
49— 16
—
19— 20
—
16— 38
*
30— 43
±
77— 76
±
85— 76 J.
+
98— 76 X
D
11— 21
—
38— 16
—
21— 28
±
106—105
—
28- 48 a v/'
a
67— 58
114— 73 y
o
68— 78
—
20— 16 +
—
78— 89
*
43— 56 J.
±
44— 43
—
56— 63
2
115— 94
—
63— 76 + /
O
89— 78
D
48— 58 ([ v/
—
78— 87
*
76— 83 v/v/
—
87— 98
D
58— 88 0y/
—
98—109
*
83— 96 Mate.
In this game the object of White was to bring out
his Cavaliers as early as possible by making an opening
in front of them, while the Knight 21 advanced rapidly
to capture the hostile Cavalier 48, before it had a
possibility of moving. The Hed lost the game, in
addition to other bad play, by opening his centre ; the
Vizir 58 taking Knight at 48, the Pawn 67 taking
Knight at 66, and advancing Pawn 77 to 76, when it
was immediately captured, thus forming a breach in
his own lines. It thus became easy for the White
Cavaliers to check the Shah, which was uncovered, and
' Refuses to take 2 115, in order to attack centxe-
' Wrong to open centre*
Digitized by VjOOQIC
208
TAMERLANES CHESS.
SO lead to the checkmate. The White Cavalier's move
from 114 to 73, forking Shah at 68, and Rukh at 22,
shows the great power of these pieces. The Chevalier's
move 76 to 83 was pretty, giving double check by reve-
lation with the two Cavaliers.
Game II.
Med.
±
47— 46
87— 86
1
2
28— 36
±
17— 16
27— 26
16— 15
D
18— 17
2
36— 44
+
98— 54
38— 16
*
±
15— 14
+
16— 34
±
a
17— 14
±
+
34— 12
±
2
44— 23
23— 35
a
14— 44
2
35— 54
±
—
54— 62
±
D
44—104
—
104—105
I
105—104
104—100
±
2
108— 87
—
87— 95
—
95—103
*
D
118— 88
2
—
100—103
±
±
26— 25
m
58— 48
2
D
2
+
2
2
±
2
IFhite.
42— 43
82— 83
32— 33
33— 34
21— 33
33— 45
30— 23
23— 54
43— 54
22— 23
23— 14
101—113
113— 94
94—115
11— 21
45— 33
31— 13
33— 12
51— 62
102—103
103—104
112—113
90—103
115—107 J.
107— 88
92—103 2
12— 24
24— 36
36— 48
13— 40
+
2
' To preyent opposite Cavaliers from ooming out.
Digitized by VjOOQIC
tamerlanb's chess. 209
Bed.
White.
D
103—106
+
40— 22
—
105— 75
T
110— 92
*
39— 26
—
92— 74
O
75— 76
+
22— 77 ±
—
76— 77 +
T
74—66
J.
37— 36
+
91_ 46 J.
T
19— 37
—
46- 82
*
26— 55
41— 37 T
—
55— 62 ([
O
61— 62 «
O
68— 69
+
82— 55
±
67— 66
—
55— 33
*
99— 68
37— 43
D
77— 73
T
56— 78 C
—
88— 78 T
43—114
—
73— 77
D
21— 61
A.
97— 96
O
62— 51
—
96— 95
+
33— 66 J.
—
67— 66 +
D
61— 66 J.
D
77— 17
114— 53 v/
ffi
48— 58
e
50- 30
D
78— 73
63—114
—
17— 11 /
o
51— 42
J.
95— 94
X
83— 94 ±
D
11— 12 /
o
42— 31
—
73— 93
'
114—108 /
O
69— 78
108— 93 D
□
12— 11 y/
o
31— 20
—
11— 71 Q
e
30— 50
*
68— 97
D
66— 86 J.
a
71— 61
93— 12
—
61— 64
a
86— 66 /
o
78— 89
12— 73 Mate.
In this game WTtite sacrificee both his Bishops, two of his
principal pieces, in breaking the enemy's centre and his Knights
take each of .fi^# Cavaliers ; while each side breaks the opposite
centre. The checkmate is given by two Cavaliers, one of which
has never moved.
' This more showf tke power of the
P
Digitized by VjOOQIC
210 Tamerlane's chess.
Gamb m.
Bed. White.
± 47— 46 2 21— 13
2 28— 16 — 101—113
± 97— 96 X 32— 33
— 107—106 4& 90—103
_ 117—116 2 113— 94
T 119— 97 X 42— 43
± 87— 86 T 10— 32
— 106—105 2 94— 73
^ 99—106 T 32— 54
± 37— 36 2 13— 34
— 27— 26 T 54— 36 J_
D 18— 28 — 36— 58 S
O 68— 58 T ± 82— 83
2 16— 35 — 22— 23
+ 38— 65 * 103— 74
D 28— 38 -« 74— 45 /
O 58— 49 — 45— 38 Q
— 49— 38 * 2 73— 54
± 46— 45 — 54— 35 2
— 26— 35 2 — 34— 55
O 38— 37 — 55— 67 J. y/
— 37— 47 — 67— 88
± 35— 34 X 43— 34 ±
— 45— 34 X — 23— 24
^ 39— 26 <[ 51— 42
+ 65— 32 — 42— 51
— 32— 14 41— 35
— 98— 65 2 88— 76
T 97— 75 35— 40
a 78— 87 2 76— 68 Maie.
In this game 7F%tV< lame Bishop breaks the centre at 58, and
the Bed King leaving its centre, the Cavalier 40 pins in the King,
and the Knight coming up at 68, gives it the coup de grace. In not
one of these ^mes has Red been able to brin^p out his Oavaliers.
Digitized by VjOOQIC
TAMBRTiAWB's CHBS8« 211
Qakb IV.
RtdL
White.
±
47— 46
2 101—113
— .
97— 96
« 90-103
—
87— 86
2 113— 94
—
37— 36
94—116
T
19—87
— 115—107 ±
±
86— 85
— 107- 88
T
37— 66
J. 82— 83
«
99— 86
2 88—107
±
85—84
— 107— 86 «
T
66— 73
« 103— 74
+
38— 74
«
JL 83- 74 +
±
77— 86
2
— 42— 43
T
73—91
+
□ 111— 91 T
±
46— 46
+ 31—86 J./
e
79—77
— 86—113
«
39— 46
2 21— 42
±
36— 35
— 42— 63
2
28— 36
— 63— 84 J.
«
46— 75
— 84— 63
—
76— 62
±
([ 61— 62 «
±
36— 34
2 63— 75
2
36— 65
+ 113— 77 e
±
34— 43
±
— 77— 66 2
—
43— 62 J. /
e 60— 62 ±
2
108— 89
41— 36
D
18— 38
— 36— 96 J.
±
45— 44
+ 65— 82
-.
44— 43
— 82—104 •
O
68— 69
* 80— 43 J.
+
98— 43
«
j_ 82— 43 +
D
118— 88
T 10— 32
—
88—84
+ 104— 59 B
O
69 69
+
2 76— 67 ± •
<[
78— 67
2
± 92— 98
D
84— 74
Jl
81— 98 •
—
74— 78
•^ 96— 80
—
78— 88
1
lOVMi^t
D 91— 81
P*
Digitized by VjOOQIC
212
TAMBKLANBS CHESS.
Bed.
o
88— 98
o
69— 68
48— 89 D
D
38— 36
o
68— 69
D
36—106
([
67— 78
m
58— 69
D
106—109
—
109—107
J.
117—116
o
69— 68
White,
D 81— 89 2 /
80— 98 D
— 98—104
— 104—119 T/
T 32— 54
D 11— 31
— 31— 39 y/
— 39— 37
119—104
D 37— 39
104— 53 y/
D 39— 38 Mate.
A well-fought game, and Bed would not have lost it if three
moves before the end Q 109 had taken 104 : and it might then
have possibly won the game.
Gamb V.
Red.
White.
A.
47— 46
X
42—43
—
87— 86
—
82— 83
2
28— 16
—
43— 44
X
37—36
—
44 45
—
36— 45
±
—
22— 23
+
88— 66
—
92— 93
T
19— 37
T
110- 92
+
66— 38
+
31— 13
X
97— 96
^
13— 46 J.
*
39— 46
+
—
91— 46 4t
T
119— 97
—
46— 73
—
37— 15
41— 55
—
16— 33
2
21— 33 T
48— 33
2
D
11— 41
J.
86— 86
X
12— 13
*
99— 86
66—104
33—104
X
93—104
*
86— 73 +
—
62— 73 «
1 To open oentra, but oyerlooked i^t ^ 99 ooold take it,
Digitized by VjOOQIC
tameblanb's chess.
213
Bed.
Wh^e.
2
16— 37
D
41— 44
+
98— 64
±
23— 24
±
17— 16
*
30- 23
—
16— 16
' J.
24— 25
2
37— 25
±
D
44—46
±
—
25— 33
—
45— 43
—
33— 62
±
e
60— 62
2
+
64— 98
o
43— 47
2
108—116
±
112—113
J.
86— 84
—
73— 84
±
+
98— 66
D
47— 27
±
±
107—106
T
92— 74
+
65—109
D
27— 47
±
96— 96
T
74— 56
—
16— 14
*
23— 36
D
18— 16
—
36— 49
—
16— 46
O
47— 46
a
±
57— 46
D
T
56— 38
+
—
96— 94
—
38— 66
—
94— 83
±
«
90— 83
±
88— 94
—
49 78
(t
—
94— 66
v/
<L
61— 62
O
118—108
J.
104—105
J.
67— 66
T
*
78— 47
o
108— 88
±
106—116
2
—
88— 84
J.
81— 97
T
m
68— 57
*
47— 18
56-116
±
—
83—112
o
84— 44
—
112—106
—
44— 46
A.
113—114
e
79— 99
97— 80
—
99— 79
a
111—113
±
77— 76
80—94
D
46— 42
D
113— 63
V
116— 67
94_109 +/
O
68— 78
*
18—49
/
■ —
78— 69
—
105— 76 J. Mate.
■ m 28-54 + better.
Digitized by VjOOQIC
214
The Bed Q nght go into 89 instead 6f 69, in which case the
game would end thus: —
Xed.
O 78— 89
— 89— 99
D 42— 52 e
White.
109— 90 y/
a 63— 83
— 83— 89 Mate.
In this game each side brings out its Cavaliers^ and each side
breaks the opposite centre. The mate is obtained by a Cavalier and
two Cheyaliers.
Gamv VI.
Red.
WkOe.
±
97— 96
± 42— 43
—
47— 46
— 32— 33
•^
37—36
— 33— 34
—
36— 36
T 10—32
2
28— 16
2 21— 13
T
19— 37
J. 82 88
—
37— 66
* 30-23
2
16— 24
— 23— 30
±
87— 86
2 101—113
T
119— 97
— 113— 94
— .
97— 76
— 94—116
2
24— 32
T
— 13— 32 2
+
98—43
±
^f 80_ 43 +
38— 66
— 43— 66
—
66— 32
2
2 116—107 J.
±
46— 46
1 34- 46 ±
—
67— 66 «
41— 66 T
2
108— 87
2 107— 88
D
118— 88
2
66—114
±
35— 34
± 92-93
—.
66— 46
X
114— 46 J.
2
87—66
— 45—114
+
32— 64
J. 83— 84
J.
34— 33
— 22— 23
2
66— 74
— 84— 76 T
*
39— 26
._ 76— 76
±
86— 86
114— 73 •
Digitized by Google
TAMERLANlfs OHBSS. 215
Hed. White.
2 74— 66 + 31— 97
+ r>4— 76 X 81— 96
([ 78— 67 — 95— 44
* 99— 86 _ 7a— 114
2 66— 74 T 110— 92
— 74— 62 J. ([ 51— 62
48— 54 4& 90— 83
-- 54— 49 D 11— 41
D 18— 48 a 62— 53
± 33— 32 D 41— 51
O 68— 69 4^ 83— 76 + /
(L 67— 76 * 44— 30
D 88— 68 / ([ 53— 62
— 48— 42 D 51— 31
* 26— 33 O 61— 51
At this point Xed was within one move of giving checkmate, bat did not see it:
£ed. White,
D 42-52 ±/y O 51-61
— 68-62 ([ Mate,
—
33- 62
<L
—
61— 42 D
—
62 31
D
+
97— 79 e
e
59— 79
+
—
91— 46
±
67— 46
+
o
42—31 «
—
96— 95
30— 46
—
96— 94
114—109
o
69—78
±
102—103
D
68— 64
—
103— 94 J.
—
64— 44
46—39
—
44— 41
/
o
31- 30
—
41— 11
D
111—101
—
11— 10
v/
O
30- 31
—
10— 12
±
39— 26
*
86— 73
a
101—108 •
O
78—87
—
108— 68 Q
*
73— 60
y
o
31— 20
±
17— 16
26— 39
—
32— 31
/
O
20— 21
D
12— 32
D
68— 38
Digitized by Google
216 tameblanb's ohbss.
Xed,
White.
D
82— 42
±
94— 86 J.
a
76—67
—
86— 86
o
87— 86 ±
109—90 y
--
86— 96
±
93— 94
a
42— 41
—
23— 24
—
41— 44
a
38-48
49— 33
_
48— 98 Mate.
In this game each side breaks the opposite centre, and Rsd was
on the point of winning. The dose of the game exhibits a striking
form of checkmate, the Oavalier 90 and the Bnkh 98 being opposite
each other, and having the Shah and two other pieces between
them.
%* We hare not availed ourselves in these games of the
privilege which the Shah possesses of exchanging his position with
one of his pieces when in danger of being checkmated. Such
power might be exercised in playing the game, but it was
considered unnecessary and tedious to exhibit it in these examples.
Digitized by VjOOQIC
XVII.
GAME OF THE MAHARAJAH
AND THE SEPOYS.
In this game the Eang or Maharajah is invested
with the powers of all the other pieces : it has the
combined powers of the Rukb, the Bishop, and the
Ejiight; and plays against all the pieces of the
opposite colour. At first sight it would appear that,
being alone, it would be impossible for it to checkmate
its adversary : but not only can it do this by a sudden
checkmate when its adversary is blocked up by his
own pieces, but when the board is clear it has even
lees difficulty in giving a checkmate. But though it
has the power of checkmating its adversary, it has very
little chance of so doing against a cautious player : for
all that the latter has to do is to advance his pieces
gradually in a solid line, so as to hem in the Maha-
rajah, and prevent his breaking through, and never to
advance a piece without a support. Although success
is thua certain on the side of the cautious player, the
Maharajah is by no means an adversary to be despised.
It is a good game of surprise to be played against a
Digitized by VjOOQIC
218 GAME OB THE MAHARAJAH
good chess-player for the first time, before he has learnt
the caution necessary to be observed. As the Maha-
rajah stands alone, he is evidently at a great disadvan-
tage : for he has no pieces with which to conceal his
own movements, but every move he takes is narrowly
watched, while every weak point is strengthened to
prevent his making a surprise. When he breaks
through therefore, it is not due so much to his own
cunning, as to the negligence and incaution of his
opponent ; moreover, even after a long fight, when
he has taken several of his opponent's pieces, say his
Queen and two Castles, he cannot win the game if the
enemy gathers his remaining pieces round the King,
so as to prevent the Maharajah giving check ; and it
thus becomes a drawn game.
The Pawns may move one or two squares on start-
ing, but do not queen on reaching ihe opposite end.
Owing to the quickness of moving in this game,
mistakes firequently occur.
In the two foUowing games the Maharajah wins
easily from his opponent's inexperience of his power.
GauL
MahoTc^oh,
'Hie Sepoys.
Maharc^ah.
The Sepoys.
52
J. 26
34
([ 45 y
43
— 86
43
± 64 y
63
— 36
41
— 64
43
— 24
61
<[ 34 y
63
— 44
83
2 66
43
— 14
75 /
O *7
34
— 13
66 Cheekmate. \
43
D 15
Digitized by
Google
AND HEB SXP0Y8. 219
Oahi n.
Mahanyak. The Se^aoyg. Maharcfjah. The Sepeyt.
60 J. 66 42 2 63— 34/y
10 C 66 v/ 32 JL 74
11 J. 46 61 — 73
71 +46 81 + 67
31 — 36 21 D 74
11 ±76 32 — 84
14 O 46 21 — 82
22 2 16 10 + 85
72 +86 70 C 63
82 € 64 / 61 a 80
32 2 66 65 / O 37
21 D 87—77 56 / — 27
32 2 53 / 47 Mate.
The two fdUowing are hard-fouglit gamee, bat won by the
UUi&r&jfth.
Oahb HL
53
J. 44 y 54
([ 45 y
13 ^
— 35 52
2 16
34
— 26 25 JL
([ 47 y
32 — 14 62 JL 55
There would have been a stalemate liad fche Maharajah taken
D 17, and the ([ moved to 86.
62 JL 65 40 + 63
84 / — 75 70 2 11
40 ([45 '82 i. 33
31 JL 34 70 — 74
22 +46 25 ([ 27
14 JL ([ 36 v/ 61 +54
41 + 85 v/ 41 i. 85
61 ([54 62 — 73 /
73 ± 64 v/ 41 2 23
83 2 23 60 D 12
50 D 13 80 JL 84
Should hATe been 15, to guard X 84.
Should bATe been ± 84. An OTenight
Digitized by VjOOQIC
220 OAMB OF THE UArTATtA.tATT
tarcyah.
The Sepoys.
Mahartff'dh.
3%ei89Wti«.
83
+ 65 y
25
y
([ 36 y
76 /
O *7
70
— 72 y
67 y
— 36
y
34
— 36 y
34 /
— 47
67
y
+ 67
61
a 72
y
55 A.Mate.
QAxa TV.
60
J. 45
16
O *6
10
+ *6
27
y
— 65
80
— 35
36 ±y
— 64
10
2 16
25
([ 22 y
20
— 85
47
— 82
70
± 76
67
— 46 y
10
D 70
76
y
X 65
30
2 64
75 j.y
O 66
74
— 34
76
y
— 64
86 X
— 85
67
+ 86 y
74
+ 76
76
y
O 66
52
D 87
73
y
2 64
12
2 64
77
y
O 64
30
D 83
75
y
— 63
74
— 43
73
y
— 42
30
+ 85
y
76
D 71 y
70
— 44
86
— 76 y
60
C 46
67
a 65
10
— 13
y
17
-77 y
60
— 40
y
15
±
D 73
32
O 46
24
y
— 33
82
D 87
21
y
O 63
32
O 47
61
y
— 54
21
+ 74
61
y
D 53 y
61
<( 62
y
62
y
O 66
21
□ 80
80
D
a 72
24
— 13
84
— 77
21
<( 22
y
40
D 63
61
— 62
y
51
y
— 53
21
□ 11
y
24
O 64
23
± 14
y
32
y
D 43
24
2 43
y
61
y
+ 52
Digitized by Google
AKD THE SBPOTS. 221
Maharc^ah, The Sepoys. Mdkarajah. The Sepoys.
84 C 74 / 56 i. ± 64 y
81 /
O 65
50
i 63 y
21
([ 71
/
40
/
D 73
25
— 41
45
±
([ 52
47 /
O 54
67
O 83
87
D 83
/
64 ±y
— 82
75 y
O 63
60
y
D 71
67
([ u
80
/
— 81
24
— 13
60
/
— 71
32 y
O 63
33
O 72
44 +/
— 74
45
v/
— 62
62 /
— 76
64
v/
— 51
71 v/
+ 74
31
v/
— 62 y
44
C 43
v/
23
D 73 y
77 /
O 84
44
y
O 61
17
([ 13
/
64
v/
<[ 63 /
25
O 73
34
2/
O 72
21
([ 22
/
70
y
— 83 /
61 y
O 84
80
/
([ 81 y
64 2
([ 42
y
81
Clfo^
1.
The two following games ahow that the Maharajah must be
defeated without losing a man, if the enemy is brought up in close
formation.
Game Y.
57 JL 13 15 ([ 24 /
77 — 83 16 D 37
27 D 12 66 JL 22
57 — 82 75 D 84
37 — 82—52 66 — 85
27 i. 72 76 — 65
17 2 62 56 _ 45
87 + 82 66 C 46 y
65 D 54 84 — 64 /
35 i. 42 76 — 54 v/
25 2 32 66 + 46
16 — 53 86 i. 73
66 ([23 '66 2 74 MaU.
16 D 32
Digitized by VjOOQIC
222 GAME OF THB MAHARAJAH
Gamb YL
Maharqiiah. The Sepoys. Maharajah. 7%e Sepoys.
57 i. 42 56 D 72
65 — 62 36 — 73
54 ([ 72 / 76 JL 72
34 2 32 56 — 22
14 — 82 76 2 32—53
25 ([74 87 + 82
16 JL 13 47 D 63
43 D 12 17 — 65
25 ([ 24 / 16 ([ 34 v/
36 D 22 76 + 73
16 — 23 77 D 23—25
86 2 74 v/ 76 — 66 /
56 i. 83 57 — 35
36 D 82 47 — 37 Mate.
Game YU.
The f oUonnng game is won by two Btikhs supported by a line of
pawns, every one of which is protected by a Knight or Bishop, the
King and Queen directing all their movements from their two
thrones.
57 i. 13 45 + 42
17 — 83 25 i. 23
27 D 12 55 — 33
23 — 82 36 2 41
45 _ 12—32 56 — 22
25 JL 22 66 JL 53
44 D 37 45 — 54 y
55 — 82—32 66 — 74
73 i. 72 55 2 51
46 D 87 35 i. 63
76 — 37 62 + 31
16 JL 52 35 JL 34
26 — 42 55 2 72
66 — 73 73 y — 51
44 — 62 55 i. 84
55 D 17 ' 36 — 64
65 ±43 26 + 42
Digitized by VjOOQIC
AND THB SEPOTS.
223
Maharajah.
The Sepoyt.
Mdhariy'ah.
TheSqpoyB.
44
+ 31
16
A. 24
66
2 14
36
+ 33
36
□ 47
66
— 63
66
2 72
36
D 87—67
66
JL 44
26
— 46
36
2 22
36
— 66
16
± 14
46
— 66 Mate.
26
+ 42
D
• a
+ +
2 2
O ([
Gamb vni
In this game the Maharajah is checkmated by the Pawns advancing
in close line to the sixth row of squares, with all the principal pieces
behind them.
Maharty'ah.
The Sepoys.
Maharajah,
The Sqpoyt.
57
A. 12
34
— 73
77
— 22
44
— 13
87
D 11
77
D 12
64
X 83
66
J. 33
24
+ 21
76
— 42
64
± 62
45
— 14
34
— 72
67
— 23
44
— 62
46
— 43
Digitized by Google
224 QAME OF THE MAHARAJAH
Maharajah. The Sepoys. MaJiarajah. Tlie Sepoys.
86
— 53
67
+ 43
46
— 84
37
± 75
55
([ 72
66
— 65 /
67
+ 32
77
— 55
85
J. 63
27
— 45
45
+ 42
37
+ 64
55
X 15
16
2 32
36
— 85
27
a 44
46
— •24
16
X 25 v/
67
— 34
27
— 35
75
— 74
37
— 76
56
— 64
47
— 36 /
67
— 54
57
— 16
77
a 71
77
— 56
66
JL 44
57
— 46 Mate.
But it is not necessary to bring up the Pawns in
this solid manner as shown in the last two games ; on
the contraiy, the game is easily won by bringing out
the principal pieces, taking care that they always
support each other, and at the same time defend the
pawns behind them. Our purpose has been in the
above games, not to show how the Sepoys take the
Maharajah, but how the Maharajah, though alone,
and without assistance, may sometimes defeat them.
Digitized by VjOOQIC
xvin.
DOUBLE CHESS.
The most modem game of Chess bears a resemblance
to the most ancient, the Chaturanga ; being a game
adapted for four players. It is looked upon with some
degree of contempt by frequenters of Chess dubs : but
unjustly so, for it is a game requiring great attention,
and affording great exercise of skill and combination.
Indeed, the head often aches after playing it. It may
be played either by two persons, by three, or by four,
thus forming a more social occupation than ordinary
chess. Its scientific capabilities are seen to most
advantage when played by two persons, as the same
mind then directs the two allied forces : but when
four players sit down together i^e game becomes more
uncertain. If experienced players are engaged, the
game of course is a silent one : but if some of the
players are not very skilful, then it is necessary for the
superior player to tell his partner what to do, as, if
unsupported by his partner, the best player must
inevitably lose his pieces, and perhaps his temper, and
become checkmated. Nor is it unfair to do so : for
the advantage gained by telling one's partner what to
play is lost by the opponents being informed of the
plot against them. But it necessarily injures the
game ; as the interest in playing is lost if all the plots
Q
Digitized by VjOOQIC
226 DOUBLE OHEBS.
and surprises are frustrated by being divulged, and sa
prevented. On the other hand it may frequently
happen, even with good players, that one may not
discover his partner's tactics : and thus it is a choice
of evils. Where there are two superior players, and
each has an inferior partner, and the superior player
directs his partner what to move, especially if he does
not always tell him the motive, it virtually becomes a
game of two ; and a very good game it is.'
L All the Queens stand upon a white square.
II. The Rook's pawns can move only one square at
a time: but all the other pawns may move two squares
at the first move.
III. Writers are not agreed about the Pawns queen-
ing. Looking at the length of the board, and the
hopelessness of getting there, they make the Pawns
queen at the sides; but they permit such Pawns as
reach the opposite end of the board to return back
again, like their partners' pawns, and on reaching home,
to start again, as on first setting out, like so many
" wandering Jews.'' As if it were possible to do such
a thing I Neither is it at all probable that a Pawn
could ever succeed in queening at the sides, when they
could only do so by successive captures, while the
central Pawns could never queen.
It is more reasonable therefore to let the Pawns
queen, if they can, on reaching the opposite side.
But as the probability is that they will never reach
either the opposite or the side squares, we need not
trouble ourselves in the matter ; but may let them
queen either at the sides, or opposite line, if they can.
^ It seldom happens however that in ordinary society four chess players can be
found : while in clubs the interest would always be exercised in ordinary chess.
Digitized by VjOOQIC
DOUBLE CHESS. 227
IV. When Pawns meet their partner s Pawns they
may jump over them.
V. When one of the players is checkmated, such
checkmate is not final : but it lasts only so long as the
opponents' pieces continue to give checkmate. The
party is, as it were, shut in, or blockaded; and the
blockade is raised as soon as the allies make their
appearance.
VI. Such blockaded forces in this game are generally
made free from capture, but as all games of chess are
supposed to be imitations of war, it is more reasonable
to allow the pieces to be taken by the adversary when
he can ; and to be removed or taken by the partner
when they block up his way : otherwise they often
interfere with the game.
The game is a game of combinations : combinations
of assault by your opponents, combinations of counter-
attack and defence on the part of yourself and partner.
After watching your right-hand opponent's move to
see how it affects yourself, pay particular attention
to see how it affects your partner ; and if you find
the attack is made on him, do all in your power to
assist him : otherwise your left-hand opponent will
follow up his partner's attack, and your partner will be
powerless to resist it.
When no attack is made by your right-hand
opponent, either on your partner or yourself, then
see whether you can attack him : for if you do it is
possible that your partner may be able to follow up
the attack before it is his turn to move, and you may
thus win a piece. When your partner moves, se^
therefore whether he is attacking your left-hand
opponent, and means you to follow up the attack.
Digitized by VjOOQIC
228 DOUBLE CHESS.
Avoid also, for the same reason, to put any one of
your principal pieces in a position where it can be
attacked by your left-hand opponent, when yoxu*
partner will not be able to assist you, and when your
right-hand opponent is able to put you in check, or to
attack another unguarded piece : for in this case you
must lose one of your men.
Should one of your opponents have lost his principal
pieces, while the other has all his men, the attack
should naturally be directed against the latter, as the
former would be powerless to assist him.
If these rules are fully observed, the game should be
a silent one, but where a skilful player sits down for
the first time with one who scarcely knows his moves,
he ought, as we have said, to take the command of the
two forces, and tell his partner, as a general would ticll
his lieutenant, what to do : otherwise he has the
mortification of letting onlookers suppose that he loses
the game through his own incompetency.*
^ It will be said that the partners in whist are not allowed to tell each other.
But the case is different ; as the cards are not seen, the game would be spoilt by
an unfair disclosure to the partner : moreover, whist is a game of chance as well
as skill, and therefore there is no disgrace in losing a game, or indeed aeTeral at
one sitting : whereas chess is a game of skill, and occupies a whole sitting, and
9onse<|uentl^, losing a game denotes an inferiority of skill,
Digitized by VjOOQIC
XIX.
CHESS PROBLEMS.
There is in the King's Library in the British
Museum a beautifully written MS.* of the fourteenth
century, in Norman French, and therefore rather
difficult to understand : but we venture to give what
we conceive to be its rendering. It gives fifty-five
positions in chess, or rather fifty-five solutions of
forty-four positions. Each of these positions has a
distinctive heading,^ and each position has its separate
plan, and each plan has the following system of
notation.
a b c d e f g h
%
h
I
m
n
P
1
»Roy. Lib. 13, A. xviij— (14, i)
* These headings are given by Strutt in his SforU and Pattimes, 4% Lond., 1801,
but without translations.
Digitized by VjOOQIC
230
CHESS PftOBLEMS.
The solutions are described in verse, and the MS. is
so remarkable that we wonder it has not been translated
by some of the writers on chess, or by the chess
clubs. The following are the headings of the different
problems, with what we suppose to be their meaning.
Guy de Ohivaler (3 ways) The Knight's game
The ladies' game
The damsels' game
The bishops' game
The game of the ring
The game of agreement
Game of self-confusion
Ouy de Dames
Le Guy de Damoysoles
Le Guy de Alfins (2 ways)
Le Ghiy de Anel
Le Guy de CJovenaimt
Guy de propre Oonfusioim
(3 ways)
Mai assis
Guy Cotidian (2 ways)
111 at ease (Ill-placed)
The ordinary game
(Day-by-day game)
The strange situation
Who loses, saves himself
He who gives not what he prizes,
shall not get what he desires
Well placed (Well found)
Little beauty.
"Well done little one"?
Skill beats strength
Who is generous, is wise
Who gives, gains
The game of the skilful and the
ambitious
Agreement makes law
He knows how to play, who has
considered it beforehand
(He sees near, who sees afar off)
Misfortune makes a man think
The Knight's chase
Le Poynt estraunge (2 ways)
Ky perde sey salve
Ky ne doune ceo ke il ejme,
ne prent ke desire
Bien troue
Beal petis
Meut vaut engyn ke force
Ky est larges, est sages
Ky doune, ganye
Le Guy de Enginous
e ly Coveytous
Covenaunt f et Ley
De pros sen joyst
Ky de loyns veyt
Meschief f et hom penser
La chaco de Chivaler
La chace de Force et de Chivaler The Queen and the Knight's chase
Bien fort Very strong
Fol si prent A fool, if he takes
Ly Envoyous The ambassadors
Le seon sey envoye His own ambassador
Digitized by VjOOQIC
CHESS PJiOBLEMS.
231
Le veyl conu
Le haut Enprise
Le Guy de Cundut
Ky put, 86 prenge
La Batalie saunz aray
Le tret emble
(2 ways)
Ly desperes
Ly mervelious (2 ways)
De poun Ferce home f et
Muse vyleyn
Le Guy de dames et de damoy-
celes
Fol si fie (2 wa} s)
Mai veysyn (2 ways)
Le mat de ferces
Flour de guys
Le batalie de rokes
Duble Eschec
The old one found out
The bold adventure
A leading game?
He takes, who can
The confused scrimmage
The ambling move? The game
or plot advances? The unex-
pected move ?
The hopeless struggle
A brilliant game ?
His pawn queens
A villainous design ?
The game of the ladiee and the
damsels
A fool, if he trusts
A bad neighbour
The Queen's mate
The game of games
Battle of the Eooks
Double check.
No doubt the proper way of finding out the meaning
of some of these headings would be by studying the
games: but this could only be done by having a
printed copy of the MS. with a plan of each problem.
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END OF CHESS.
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1
DRAUGHTS.
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XX.
DRAUGHTS.
The game is played with three rows of four on each
side, placed upon the white squares of a board of eight
squares, having the double square at the bottom of
right hand corner. The men move diagonally, one
square at a time, and take diagonally by hopping over.
On arriving at the opposite end they become Kings at
their next move. The Kings move and take backwards
as well as forwards. The first move is taken alter-
nately.
When a player has it in his power to take a piece
or pieces, but omits to do so, he may be huffed (lose
his piece) or compelled to take the piece or pieces, at
his opponent's discretion .
This power remains in force whenever it is the
opponent's turn to move, however many moves may
have elapsed since the piece first became en prise.
But if he can take in two directions, he is at liberty to
choose whichever direction he pleases, even though he
may take fewer men one way than the other.
These are the rules : but the last three do not
accord, like the rules of chess, with the usages of
war, in which each side acts as he sees fit, and the
opposite side has to calculate the probability of his
taking one action or another.
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XXI.
POLISH DRAUGHTS.
LB JBU DBS DAMBS.
The rules of this game axe the same as those of our
game, except that it is played on a different board,
and with the following alterations: —
The board is a board of ten squares instead of eight ;
having four rows of five pieces on either side, i.e.,
twenty pieces instead of twelve.
All the pieces have the power of moving backward
as well as forward : but the Queens, as they are called
in this game, have the power, whether in moving or
taking, of passing over any number of squares in a
straight line.
A player must always take the greatest number of
pieces he can. This rule applies equally when he can
take in two directions, even though the fewer number
may consist of more valuable pieces. When the pieces
in each direction are equal in number, he must then
take that direction in which they are of more value,
failing to do so, he may be huffed, or compelled to take
in the opposite direction at his opponent's discretion.
A piece may not touch or pass over a square occupied
by a piece more than once in the same coup: or, in
other words he must remove each piece as he takes it.
*^,^* This is a much more lively game than common
draughts.
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XXII.
TURKISH DRAUGHTS.
The Author — As he played it in Asia Minor 1845
The board is the ordinary draught-board.
The game is played with sixteen men on each side,
which are placed on the second and third rows.
The pieces move and take forwards or sideways, not
diagonally ; and the piece is placed in the square
immediately beyond that of the piece taken.
On reaching the further side they become Queens,
and can then move from one part of the board to the
other, forwards, sideways or backwards ; and the Queen
in taking can place itself in any vacant square beyond
the piece taken.
This is an excellent game, as the players have the
power of concentrating their forces ; of bringing them
all to the right if that side be attacked, or to the left
if the adversary appear weak on that side, or if it be
thought desirable to force a passage. Another advan-
tage is that a player can always gain time by moving
to and fro laterally, till he sees his opponent make a
false move.
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238 TURKISH DBAUGHTS.
The author once saw a set game played, in which a
skilful player after forcing his adversary to take several
of his pieces, at length got a Queen with which he took
all his adversary's men at one move : but having no
idea then of writing on these games, he took no note
of it.
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XXIII.
THE GAME OF ENCLOSING.
Chineie Japanete
WEI-KI. GO.
T'ao hua ch'iian ("The book of Peach flower"), in 8 vols. 1 Quoted by
Hsien chi wu k'u - - - J Mr. Giles.
Trigantius — De Christiana Expeditione apud Sinas - 1616*
Semedo— Eelatione della Grande Monachia della China - 1643
Hyde— De Ludis Orientalibas ... 1594
Giles (Herbert A.) — ^Wei-ch'i, or the Chinese game of war* 1877
Playing with Chinese and Japanese gentlemen 1865, 1872, 1889
Mr. Giles, our Consul in China, who is a proficient
player, and an enthusiast in the game, informs us that
** several voluminous works have been entirely devoted
to ehicidating its principles, and many shorter treatises
on the subject have appeared in collections of mis-
cellaneous writings. Most of these are adorned with
cuts showing advantageous positions, and giving prob-
lems to be worked out by the student."
He tells us that the game, like all other Oriental
games, boasts of great antiquity. It is said to have
been invented by the great and excellent Emperor
Yao,* 2300 B.C., but the earliest record of the game
is in 300 B.o.
> Published in " Temple Bar," Vol xUx, No. 194.
' K'aiig H8i*B Dictionary.
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240 THB GAME OF ENCLOSING.
Like all other games, it is said to be, as Mr. Giles
describes it in his title, a game of war. Here we have
not merely typical representatives of the various arms,
but the armies themselves, some 200 men on each
side: they form encampments, and furnish them with
defences ; and they slay not merely a single man, as in
other games, but frequently hosts of men. The eye of
the general is supposed to be all over the field at the
same moment, watching not only the points of attack
against the enemy, but the weak places of his own
defence.
The game is played on a board of eighteen squares
each way, forming 361 points : for the pieces are
placed on the points, not in the squares. The pieces
are not moved when once placed down, but they are
supposed to move, and therefore have their connection
one with another along the lines, but not diagonally.
The pieces are called Tze in Chinese, and Ishi in
Japanese. They are rounded at top, and flat at
bottom ^__^, and are made of glass, marble, or
composition, and generally are of hldck and while
colours. Each player has about 200 of these pips,
though perhaps not 150 are played, but the others
are used to assist in counting, as we shall presently
see. Being so many, the pips are placed in bowls
of wood or china, which are always seen in paintings
representing this game. When a player is in doubt
as to playing a piece, or he wishes to show why he
played in a certain manner, he reverses any of the
pips he transposes, to show that they have been moved
and must be replaced in their proper position.
The Chinese board has the central points 6 3, 7 5, j i l.
189, 303 and 315 marked out with four angles, -i||—
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THB GAME OF ENCLOSING. 241
and the four side points, 9, 180, 198 and 369 with two
such angles. The Japanese board has the points 63,
69, 75, 183, 189, 195, 303, 309 and 315 distinguished
by dots. Such boards are, in China, printed on paper,
with the printer's name attached, so as to be ready
either for playing the game, or for scoring a game:
and there is a margin at the top for writing remarks,
such as noting a point from which a pip of one colour
has been taken up, and into which a pip of the other
colour has subsequently been played, as 94 and 283 in
the accompanying game, in each of which a black pip
was played first, and a white pip afterwards.
The game is begun by placing two pips of one colour
on the points 63 and 315, and two pips of the opposite
colour on 75 and 303. But should the players not be
of equal skill, all these, or even the whole of the
marked points may be given to the weaker player.
The players then place pieces alternately, one by one,
placing some few pieces on intermediate points all
round the board: after which the fight begins.
A player now endeavours to fence off or enclose a
field or camp, Kwei in Chinese, Shini-ishi in Japanese,
in any portion of the board, but while so doing he finds
his opponent is surrounding him on the outside. He
must therefore take care to preserve some open space
behind him, called an eye, into which the enemy cannot
enter, such as we see in No. IV in the accompanying
game. This camp may be regarded as a fortress having
a court-yard for the exercise of the troops. By enter-
ing a fresh piece at 78 or 98 he could make two eyes
or court-yards. No. Ill has two eyes^ 378, and the
other a very large one.* No. II has two small eyes, one
' 386, 837 and^357 are not an eye^ but were occupied by the enemy.
R
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242 THE GAME OF ENCLOSING.
of one point, and one of two points. No. V has three
small eyes of only one point, 11, 30 and 69, and No. I
has one small eye and one larger one. Now if the
enemy were to fill in this larger one he would take off
sixteen of BlacKs men, for they would be penned in all
round, but Black would not allow him to do so ; but
when White had filled in five of the points. Black
would fill in the sixth and then take off Whites five
pieces. Suppose that this attempt were repeated by
White four more times. Black entering a fresh piece
every time, there would at length be only one vacant
point remaining; and then Blaxik would have two
small eyes, and 2, into neither of which could White
enter. But if Bh^k were inadvertently to enter a
piece at 2, he would then leave only one up, 0, and
White would enter there and take off all Black's men
in that camp. For it will be understood that though
a piece cannot enter a single eye (where he cannot
immediately take any of his opponent's pieces) without
being taken : yet if by voluntarily entering into such
eye he can surround his enemy, his own piece, instead
of being dead, captures all the enemy's pieces which
he has thus surrounded. Black however would not
wait for Whitens attempt to fill in this large eye^ but
would place one piece at 22 and another at 41, and he
would thus form five small eyes of one point each, 0, 2,
40, 42 and 61, We see then that unless the eye is a
large one, there must be two small eyes to render a
camp secure. But these small eyes should be in the
rear of the camp where the enemy cannot reach them :
I ^ A-^ for if on the outside, the enemy might plant
v4-6-W>- three men outside White's eye, and then boldly
''tVH" putting a man inside the eye he would destroy
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THE GAME OF ENOLOSINO. 243
the eye by taking off one of the pieces^ and at the same
tune would gain an eye for himself: and this would
lead to a seensaw.^
From this it will appear that —
A piece is lost which enters an enemy's single eye, if
he cannot by so doing take any of his opponent's
pieces; but if by so doing he takes any of his opponent's
pieces, his own is not lost ;
Any number of pieces when surrounded and entirely
shut in by the enemy, as Black's 94, 193 and 283, and
White's 2, 22, 40, 41, 42 and 61 ; and 336, 337, and
357 are taken off immediately they are closed in ;
Pieces enclosed, but not entirely shut in, and which
have no eyes, as Black's 113, 132 and 133, and White's
251 and 274 are taken off immediately before counting;
Pieces enclosed, but having two small eyes^ or one
large one, are perfectly safe.
It must be remembered that 94, 193 and 283 were
originally covered with Black's men, and that 94 and
283 wera afterwards covered with White's men.
When each player has completed his operations, and
the further playing in of more pieces will not affect the
game, it is said — Htian leao, It is finished.
^ Mr. Giles's Essay on Wei'ChH giyes an exhaustiye aooount of these ^e$, their
modes of a ack, and their d^enoe.
B»
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244 THB OAME OF BNOLOSING.
Tax Ga:
KB.
Black.
WhUe.
Blaek. White.
t 63
tsis
i 75
1303
73 93
94 92
63
45
52 71
49
85
70 61
122
136
31 74
176
162
50 114 (94)
262
326
229 308
328
276
309 289
275
255
310 290
296
277
311 307
254
274
231 103
295
235
102 123
253
297
83 143
317
336
24 282
316
234
281 301
233
213
283 302
212
192
202 25
193
214
44 61
191
172
81 48
211
171
28 27
116
115
68 47
96
95
33 242
137
185
241 263
97
251
261 243
273
189
222 181
170
190
204 201
150
175
221 228
156
131
164 145
151
152
245 284 (283)
132
112
165 146
133
173
187 . 249
113
155
250 209
130
111
230 207
110
72
188 208
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THE GAME OF ENCLOSING. 245
Black.
White.
Black.
White.
147
127
3
41
U8
337
216
236
335
318
358
84
366
367
43
266
355
197
246
267
196
217
169
167
56
76
168
107
77
65
86
106
36
205
89
64
224
225
23
182
163
•142
183
223
244
166
203
6
185
186
62
66
226
206
178
67
280
42
88
298
21
22
338
(336,837,
129
1
121
367)
60
177
265
285
167
291
264
283
292
348
268
247
349
827
195
194 (193)
329
35
198
238
300
341
144
124
377
128
100
140
15
14
200
210
16
34
158
180
10
8
220
120
29
347
20
(2,22,40,
109
269
248
41,43,61)
271
288
90
94
270
369
32
7
370
368
9
215
350
13
108
218
12
320
149
227
87
40
91
64
80
101
4
82
2
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246 THE GAME OF ENCLOSING.
Statb of thb Game when finishbd.
Each player now declares how many camps he has
made. El<iick claims five, and White two: so White
takes off three of Black's men, say 195, 196 and 216.
They then take off the pieces enclosed by the opposite
side, as Black's 113, 132 and 133, and White's 251
and 274.
The game is now ready for counting.
The vacant points of each camp of one of the players,
say Black's^ are now filled in with spare pips of the
same colour, and the following is the result.
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THE OAMB OF ENCLOSING.
247
TTTT TTTTTT T
1 TlH^lT 1
TTl "TT T
I TTJ TI
6-0-6-6-6-6-6-6-6
As it is not necessary to count both sides, the Whiter
are now pushed aside where in the way, so as to
arrange the Blacks in a solid mass in each camp, which
is done, where possible, in rows of five, to facilitate
counting ; and we then have this form.
^^Sl ^
^^~^W
XXaJCXI ajO
!iXZ IiX<
aIX$IX^ XjO
^v~ — i-X-<
a-am>-o-(>- x!ij
vXi^ -Xi<
^^ IXX?
yXXI -J-6^
^^l -i-6-<
_1
—6
XjO^^JL.
jOlxIa5z
aDCXIjCaZ J
s!a1aI50C
X^XaXI Ij
mTT^Y^jl
tr^t J
tHiiiisH
_("
L rYX-Xi^iJK
J
CX5332-<CkQ>3
± J
CSSICdiiXCo
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248 THE GAME OF ENCLOSING.
By this we see that
BlatHes camp IhasSxS + l — 26
„ n „ 5 X 5 + 4 =- 29
.. „ m.. 8;;^) =65
„ IV „ 8x 3 + 2-26
„ V „ 7 X 5 + 1 - 36
Total number 361
182
Therefore White has
179
The difference between the two being 5, the Whites
are said to lose 2^, and the Blacks to win 2^.
We have thus given a game by the study of which
anyone may be able to play Wei-Ki. But '* the very
look of the game will be enough to frighten " some :
for who would not suppose that if the game consists in
surrounding the enemy, the Whites have the best of it,
and indeed that they have surrounded, and therefore
taken every one of the Blacks. But the Blacks equaUy
surround the Whites. This however is not the game:
but, as we have seen, each camp or group of pieces
may be considered as a fortress, which must have
court-yards, however small, called eyes^ for the forces
to move about in. Then it is impregnable, and hostile
forces around it are powerless to take it ; but if it has
no court-yards, then the garrison is considered to be so
crowded together with men, women and children, that
they cannot move, and the enemy takes the fortress
and all within it.
In the game we have given as an example the
Whites have two camps or fortresses, the left one of
which has five eyes, 6, 26, 46 ; 65 ; 104, 105, 125, 126 ;
J 41, 160, 161 ; and a larger one at the bottom ; and
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THE GAME OF ENCLOSING. 249
the right one three eyes^^ 76 ; 134, 153, 154, 174 ; and
237, 256, 257, 258, 278 ; and, as we have seen, the
Whites are only five fewer than the Blanks. It is
therefore a very even game and well fought.
The game however is so intricate that it requires
great practice to play it well, and accordingly it is not a
game for idle play ; it must be made a study ; and thus
Mr. Giles, who as Consul has long dwelt in China,
and is a practised player, assures us — " None but the
educated play at Wei-ch'i. A knowledge of this
difficult game stamps a man in China as somewhat
more than an ordinary person. Its subtleties are
beyond the reach of the lazy ; its triumphs too refined
for the man of gross material tastes. Skill in Wei-ch'i
implies the astuteness and versatility so prized amongst
the Chinese. They could hardly believe a man to play
Wei-ch'i well, and yet be possessed of only indifferent
abilities as a practical man of the world. It would
amount to a contradiction of terms. All the more so,
as nearly all those who enter upon a literary career
make a point of attempting to learn the game; but
many faint by the way. To a beginner a mere know-
ledge of the rules for a long time seems hopeless : and
subsequent application of them more hopeless still.
The persevering ones play on day by day, until at last
— suddenly as it were — the great scheme of Wei-ch'i
dawns upon them in all its fullness and beauty ; and
from that day they are ardent enthusiasts in support
of its unquestionable merits,"
The photograph at the beginning of this article
represents a diminutive board and men in my posses-
^ 113, 132 and 133 were occupied, aod 193 and 195, 196, 216 are not eya^ but
were occupied by the enemy.
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250 THB GAMB OF ENCLOSING.
sion, the board being only 7f inches square, and the
pieces f of an inch in diameter. It stands 3| inches
high, and is japanned with the same design as that of
the Japanese chess-board. It is however generally
played by the natives on large wooden folding boards
about 20 inches square, with pieces of about the
size of a shilling, which are kept in japanned bowls.
Ladies, however, sometimes appear to play on small
japanned boards with china cups.
The photograph at the end is from the dossier of a
Chinese draught and backgammon table in my posses-
sion, representing a Chinese gentleman and lady
playing the game, with another lady looking on. The
gentleman has evidently got the best of the game, at
which his wife sitting behind him is greatly pleased ;
while the lady consoles herself with her delicate pipe
of tobacco.
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BACKGAMMON.
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XXIV,
BACKGAMMON.
The board is divided into two Tables by the Bar.
On each side of the Bar is a compartment of six
points. One of these compartments is called the Home,
or Inner Table; the other the Outer Table. The
Entering Division is opposite the Home, the two
Homes are opposite each other, and the two Entering
Divisions also. Consequently all the pieces meet each
other.
Two men are placed upon the first point of the
opponent's Inner Table, five on the sixth of his Outer
Table, three on the second point of the player's Outer
Table, and five on the sixth point of his Inner Table.
The placing of the opponent's pieces will correspond.
The pieces are entered according to the throws of
two dice, and the throws generally have French names.
In throwing doublets you have twice the number
thrown, and the numbers can be played separately.
Any throw which you are not able to throw is lost,
but you must play when you can.
A piece taken up must be played before any other
piece.
"When a point is covered with a single piece it is
called a blot,,
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BACKGAMMON. 253
In hearing off, on throwing a number corresponding
with an uncovered point, you must play up a piece
behind it, but if none, you then bear off a piece in front
of it.
If you have borne off all your pieces before your
opponent you win a Jiit^ or game ; if before all his pieces
have entered his home, a gammon^ or two hits ; if before
they left your table, a Bachgammony or three hits.
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XXV.
GERMAN BACKGAMMON.
The Entering division and the Home are common to
both players. The Entering division must be either
the right-hand near division, or the left-hand opposite
division.
The pieces enter by throws, and all pieces must be
entered before any leave the Entering division.
On throwing doublets the player, after playing those
doublets, is entitled to play the doublets underneath,
which are always the complement of seven. Should
he forget to do so, or should he not be able to do so,
his opponent says — "I play your aces," or whatever
the number may be.
On throwing 1, 2, the player can call for any doublets
he chooses: but should he forget to do so, his opponent
may say — " I play your doublets/' But this must be
done after throwing his dice, but not lifting up the
dice-box.
This is an amusing game, not merely fix)m the
frequency of taking up, owing to the pieces all
travelling in the same direction, but also from a player
being permitted to play whatever his opponent cannot
play ; and also whatever his opponent forgets to play.
The game is much longer than the ordinary back-
gammon, and the fluctuations of the game much
greater, thus producing greater excitement.
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XXVI.
TURKISH BACKGAMMON.
The Author — as he played it in Asia Minor - 1845
The Entering divisions are the opposite right-hand
divisions, and the Homes are the near right-hand
divisions: consequently all the pieces move in the
same direction, though they do not start from the
same point : and such direction is, like their writing,
from right to left, instead of from left to right.
Two pieces are entered on opposite right-hand comer
before commencing the game, and these pieces cannot
be moved till all the other pieces are entered, and
have left the opposite division.
New men are entered on points 1 to 6, counting
from, but not including, that of the two men in the
comer, but the points for pieces taken up include this
point : but as there may never be more than two men
on this point, a piece taken up cannot enter with a 1
till one of the two pieces has moved.
It is not permitted to double the pieces on any of
the points of the opposite division, either in entering
or playing, except the left-hand comer, but they may
be doubled in the home divisions.
It is optional in beginning the game, either to enter
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256 TUUKISH BACKGAMMON.
new pieces, or to play those already entered: but
pieces taken up must be re-entered before other pieces
are played.
When an adversary's piece is taken up in his enter-
ing division a blot or an open point must be left for
any man so taken up : but his pieces may be taken up
in any other part of the board, though he have no
point to enter at.
In throwing for first move, the higher plays the
numbers thrown. After winning a game the conqueror
enters a 5 and 6 and then throws for first move.
If all the pieces are taken home, and one taken oflP,
while his advei*sary has all his points 1 — 6 occupied by
his men, and one captive which he cannot enter, it is a
capote, which is equal to seven games.
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XXVIL
PACHIST.
Hyde— De ludis Orientalibus, II, 68 - - - 1694
Personal play with natives . . - . I860
Calcutta Review^ Communicated, with remarks, by the late
A. F. Bellasis, Civil Service, Bengal - - - 1867
E. B. Tylor, D.C.L., F.R.S., On the game of Patolli in
ancient Mexico, and its probably Asiatic origin. In
Anthropological Institute Journal • - - 1878
FUTTBTPORB SiKBI PaLAOB— PaCHMI CoURT.
Pachisi is the national game of India. It is played
in palaces, zenanas, and the public caff^s.
M. L. Rousselet, speaking of the Court of the Zenana
in the palace at Futteypore, says — "The game of
Pachisi was played by Akbar in a truly regal manner.
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258 PACHISI.
The Court itself, divided into red and white squares,
being the board, and an enormous stone raised
on four feet, representing the central point. It
y^SLR here that Akbar and his courtiers played this
game ; sixteen young slaves from the harem wearing
the players' colours, represented the pieces, and moved
to the squares according to the throw of the dice. It
is said that the Emperor took such a fancy to playing
the game on this grand scale that he had a court for
pachisi constructed in all his palaces, and traces of
such are still visible at Agra and Allahabad."' Mr.
Bellasis says — ** There is a gigantic pachishee board at
the palace at Agra, where the squares are inlaid with
marble on a terrace,' and where the Emperors of Delhi
used to play the game with live figures, — a similar
board existed within one of the courts of the palace at
Delhi ; but it was destroyed in the alterations after the
Mutiny."
In one of the early numbers of the Calcutta Review
we read — and this boisterous excitement in playing
the author has seen in his own experience — " The
^ India and its Native Princes, 1876.
' I applied at the India Office, but could get no information as to whether it
still exists ! Ought we not to have an officer charged to keep a record, and where
possible, to assist in keeping in repair the magnificent and exquisite monuments
of India, as we are endeavouring to get for the stupendous remains in Egypt ;
and one to whom the public could apply when information is required for any
')urpo0e ? The same remark applies to that of Allahabad.
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^:HISI BOARD.
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INDIAN PACH.'
IISI BOARD.
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PACfHisi. 259
combatants breathe hatred and vengeance against each
other : the throws of the dice are accompanied with
tremendous noise, and the sounds of ''Kache-Baro " and
and ** KarO'Pauch '' and ''Baro-Pauch " are heard from
a considerable distance. It is altogether a lively scene,
in strong contrast with the apathy generally attributed
to the Bengalis. . . , In the cool of the evening parties
of respectable natives may be not unfrequently seen
sitting under the umbrageous Bakul^ and amusing
themselves with chess, pasha, or cards. Laying aside
for a season the pride of wealth and even the rigorous
distinctions of caste. Brahmins and Sudras may be
seen mingling together for recreation. The noisy
vociferations and the loud laugh betoken a scene of
merriment and joy. The huhah, a necessary furniture
of a Bengali meeting place, is ever and anon by its
fragant voUies ministering to the refreshment of the
assembly : while the plaudits of the successful player
rise higher than the curling smoke issuing from the
cocoanut vessel."*
The board is generally made of cloth cut into the
shape of a cross, and then divided into squares with
embroidery; one such in my possession, as seen in
accompanying engraving, is of red cloth embroidered
with yellow silk : another, as seen in photograph at
beginning of this article, is from Delhi, and is made of
glass beads beautifully worked, and having both sides
alike, and even the men and dice are worked with
beads in like manner. Each limb has three rows of
eight squares. The outer rows have roses or ornaments
at certain distances, which serve as castles, in which
pieces are free from capture. The extreme square of
1 Calcutta Bfviap, yo). xv, 1851.
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260 PAomsi.
central row is also a castle. The castles are open to
both partners. Pieces may double on other squares,
but it is at their own peril. These castles are placed
on the board so that from the centre or home, where all
the pieces start from, going down the middle row,
returning on the outside, and then on to end of next
Hmb, will be exactly 25, hence the name of the game ;
and from the castle in middle of nearer side of one limb
to middle of further side of next limb will be 25 ; from
middle of further side of one limb to middle of nearer
side of opposite Hmb will be 25+1 (grace) which
grace may be played separately; and from extreme
end of fourth limb to the home of first Hmb will also
be 25, and out. From ignorance or forgetfulness of this
arrangement, the castles, in modem modifications of
this game are not put in the right places. Any num-
ber of pieces of a player or of his partner are safe in
these castles, and an enemy cannot enter: but, if pieces
double in any other squares, they can be taken off by
a single piece at one stroke on throwing that number.
The game is played by four players each having four
pieces. The two opposite sides are partners, and they
win or lose together. In order to distinguish them
better, the yellow and green should play against the
red and Hack. Each enters from the centre, and
goes down the middle of his own limb, and then
round the board, returning up the centre of his
own limb from whence he started. On going up
the central line of ones own home, the pieces are
turned over on their side, to show that they have
made the circuit. They can only get out by throwing
the exact number. The pieces move by throw of six
cowries ; these throws count as follows : —
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PACHISI, 261
6 with mouths down - - = 25 and grace, and play again.
5 ,, „ and 1 up =» 10 „ „ „
^ » i> » ^ » -^
3 >9 i» » 3 ,, = 3
^ »> jj » ^ >j ^^ *
1 »> II II 6 „ = 5
6 „ = 6 and play again.
Here again there is a diversity in different parts of
India. In some parts seven cowries are used instead
of six, and the throws also are different : sometimes
they are 1, 2, 3, 4, 5, 6, 12, and 25 ; sometimes 2, 3, 4, 6,
10, 12, 25 ; and sometimes 2, 3, 4, 7, 10, 14, 25 and 30.
The cowries and dice are thrown by the hand, but
the latter generally roll down an inclined plane, the
natives shouting as they roll for good luck.
When graces are thrown the grace may be played
separately. On taking a piece the player may throw
again ; and, consequently, if a piece is taken by a 25,
a 10, or a 6, the player will have two more throws,
one for the throw, and one for taking a piece.
In commencing the game the first piece may be
entered whatever throw is made, but the other pieces
can enter only with a grace. So, likewise, a piece
taken up can enter only with a grace. The pieces
move against the sun. A player may refuse to play
when it comes to his turn, or he may throw and then
refuse to take it. He may do this either because he
is afraid of being taken, or to help his partner. On
reaching the extremity of the fourth limb he may wait
there till he gets a " twenty-five " and thus gets out
at one throw. Should his partner be behind in the
game, he must keep his own pieces back in order to
assist him, and so by blocking up the way, prevent
the adversaries from following close behind him, and
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262 PACHisi.
thus hinder their moving, or taking them if they do
move. Tyros in the game, forgetting this principle
that both parties must win or lose together, or intent
solely upon their own desire of being first, make haste
to get their own pieces out, thus leaving their partners
in the lurch ; who, if much in the rear are sure to lose
the game, as their opponents have two throws to their
one, and are enabled to keep close behind them, and
thus trip them up. Sometimes the forward player, on
arriving at his own Umb instead of turning his piece
over and going up the centre, may, if permittad, run
all round the board a second time, in order to
assist his partner. Sometimes the player who is out
first is permitted to give his throws to his partner, but
this is not the game.
The ladies of the harem who play this game are
said to call it Das-Pauchishy taking this name from
the two principal throws, ten and twenty-five^
Two games, being modifications of the Pachisi, are
so distinct as to acquire specific names, Chausar and
Chauput, which will be described immediately. Hyde
calls the game Tchupur, but he gives no rules for
playing it ; while Mr. Tylor* describes a game which
was played by the ancient Mexicans, called PatoUi,
the account of which is most interesting, showing a
very early migration, accidental or otherwise, from
Asia to South America. He supposes that this game
originated from the primitive game of Tab, which is
still played in Egypt and the Holy Land, and described
by Hyde, ii, 217 : and this primitive game is supposed
to be an imitation of war.
^ CaLcuUa Review ,
^ On the game of Patolli, in ancient Mexico, and its probably Asiatic origint by
E. B. Tylor, Esq., D.C.L., F.RS. From the Journal of ike Anikropological
Institute, Nov., 1878.
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XXVIII.
CHAUSAR AND CHAUPUT.
Slight varieties of Pachisi in move and play, in different parts of India
The varieties in these games may be thus described
in general ; some adopting one alteration^ some another.
Green.
Black.
X
X
34
X
.
X
X
X
23
24
1
>N
X
73
6
74
7
Bed.
YeUow.
Chauput is played with cowries as in Pachisi, but
there is no "25/' and no "10," and no "grace" in
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264 CHAUSAR AND CHAUPUT.
these games ; and there is no option in playing :
whatever the throw, the pieces must move if they
can. Two pieces enter by coming down the centre
and then round the board. Two pieces start from
squares 6 and 7, one from 12, while the other enters
from the centre at first throw, whatever that may be.
Sometimes the two latter pieces are placed at 22 and
24, in order to catch RedJs pieces, while those at 6
and 7 are in wait to catch Black's pieces. And so
the same with the other colours. Sometimes the pieces
are entered by placing two pieces on 6, and two on 7 :
or else the pieces stand on 6, 7, 73 and 74.
Chausar is played with three oblong dice having
r^l r-g— ] R^-g] and gZ^^
£J
on their four faces. If two of these are thrown with
the same number, they are doublets, and if given to a
single piece it moves only twice the throw, but if
given to two pieces standing on the same square, each
of such pieces moves twice the throw. There are no
castles in this game, though the ordinaiy Pachisi board
is used, but the castles are useful for counting. On
arriving at 34 the pieces may double, and then they
cannot be taken except by doubles. The game is
played by two or four persons, at pleasure. If with
two players, the hlack and yellow against the red and
green. All the hlack pieces must get out before the
yellow, and the red before the greefii. If four are
playing, when one player has got out all his pieces, his
partner has his throws.
These games, however, have variations in different
parts of India : so that one native gives one description
of the game, and another another.
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XXIX.
ASHTA-KASHTE.
ONI-XIOHT.
A modification of Pachisi.
The game can be played by two, three, or four
players. Each player has four men which he enters
in castle in front of him. The men move according to
the numbers shown on diagram. When the outer
circuit is completed against the sun, to square 24, the
course is reversed till they arrive at the centre 49,
when they are taken off.
Pieces occupying a caatle cannot be taken.
Pieces may enter on their entering castle, even
though occupied by an opponent.
If doubles are made on any other square, they can
be taken only by doubles.
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266 ASHTA-KASHTE.
The moves are regulated by four cowries: all mouths
down reckon as 8 and a grace, and throw again ; all
mouths up reckon as a grace, and throw again; all
other numbers reckon by the number of mouths up.
On throwing 8 and a grace, they may be played
separately. A player is not obliged to play his throws.
On taking an opponent, you throw again.
It will thus be seen that though the form of the
board is different, the moves and rules axe very nearly
the same as those of Pachisi.
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MAGIC SQUARES.
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XXX.
MAGIC SQUARES.
Agrippa— De Occulta Philosophia (II, 42) - 1510
Bachet — Problems plaisans et delectables ... 1624
Prestet — Nouveaux Elemens des Math^inatiques - - 1689
De la Loubere — Relation du Boyaume de Siam - - 1693
Frenide — Des Quarrez Magiques. Acad. B. des Sciences - 1693
Ozonam — R^r^ations Mathematiques - - - 1697
Violle — Traits complet des Carres Magiques - - 1837-8
A magic square is a square the cells of which add up
to the same amount, whichever way they are taken.
They were called magic, because they were said to be
used by the Egyptians and Pythagoreans* for the
purpose of imposing on the credulous. The squares of
two, or four cells, being incapable of forming a magic
square, were said to represent chaos. Squares of three,
four, five or more cells to be dedicated to the sun,
the moon and the different planets. These squares were
then supposed to be placed in a polygon, having the
same number of sides as the root of the square, and
this polygon in a circle ; while in the space between
the polygon and the circle were inscribed the signs
of the zodiac, and the good or evil name of the planet,
according as the talisman was required for the purpose
^ If. De la Loubere gives them an Indian descent.
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270 MAGIC SQXTARES.
of good or evil : and, according as this was the case
the talisman was projected and engraved in different
materials selected from their supposed or pretended
The principle upon which Pythagoras is said to
have founded his philosophy was that all things are
regulated by numbers. In some things the unit is
discernible ; in others, the triangle, the square, the
hexagon or some other figure. In some instances
they are odd, in others even ; in some straight, in
others curved : and that from meditating on this, he
believed that numbers were the animate principle of
all things. We will not, however, pretend to explain
that which the philosopher did not understand himself,
but will turn to the subject immediately before us.
Magic squares are divisible into two classes, odd and
even, according as the sides consist of an equal or an
unequal number of cells. Again, the even squares are
further divisible into two classes, according as the
sides, when divided by two, are even or uneven : these
are called evenly even, and unevenly even. As the
methods of executing these are all different, we must
treat each separately. The numbers may be in any-
kind of progression, natural or arithmetical, geometrical,
harmonic, or serial.
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XXXI.
ODD SQUARES.
The odd squares are not only the most easy to fill
up, but the same principle may be applied to all
odd squares, whatever may be the number of their
sides. The most simple and easiest method is that by
Agrippa. Place the first number immediately below
the centre ; then place the others, one by one, in a
diagonal line inclining downwards to the right. When
beyond a line, whether vertical or horizontal, carry it
to the commencement of that line. When the diagonal
march leads to a cell already occupied, take a diagonal
direction from the cell so occupied towards the left,
and then proceed as before to the right. The same
rule applies when the number falls outside both of the
vertical and horizontal lines. The mean number will
always occupy the centre, and the highest number the
cell immediately above the centre.
11
24
7
20
3
4
9
2
4
12
25
8
16
3
5
7
17
6
13
21
9
8
1
6
10
18
1
14
22
23
6
19
2
15
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272
MAGIC SQUARES.
In these squares it is observable that the du^onals
from left to right are in natural progression, 11, 12,
13, Ac. ; while those from right to left, 3, 8, 13, Ac.,
are in a progression equal to the root of the square,
or the number of cells in each side ; while in every
case the mean number occupies the centre ; the first
number the cell below the centre, and the highest the
cell above the centre ; while the numbers equally
distant from the centre, added together, are exactly
the double of the centre.
From this it follows that we can construct the
square without any additional aid. First, on the
central number, 13, we fill in the two diagonals, 11,
12, 13, 14, 15 ; and 3, 8, 13, 18, 23 ; then the shorter
diagonals, 7, 8, 9 ; 17, 18, 19; and 7, 12, 17 ; 9, 14,
19. Then on 25, the highest number, the diagonals
20, 25, 5, 10 ; 24, 25 ; and 24, 4 ; and then on 1, the
lowest number, the diagonals 16, 21, 1, 6; 1, 2; and
22, 2 ; and thus complete the square.
On examining these squares, Bachet perceived that
the numbers are inverted, and that by transposing
them he could get the numbers in their natural
sequence.
1
4
2
7
5
3
8
6
9
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ODD SQUARKS.
278
1
6
2
11
7
3
16
12
8
4
21
17
13
9
5
22
18
14
10
23
19
15
24
20
25
In the first example, that of a square of three, each
number beyond the square is removed three cells ; the
1 three cells below ; the 9 three cells above ; the 3
three cells to the left ; and the 7 three cells to the
right In the other example, that of a square of five,
each number beyond the square is removed five
cells: the 1, 2 and 6 downwards; the 20, 24 and 25
upwards; the 4, 5 and 10 to the left; and the 16,
21 and 22 to the right ; while the numbers in the
diagonals remain the same.
M. de la Loubere s method, taken from the Indians,
is slightly different. The first number is placed in the
middle of the top band. The march is upward instead
of downward ; and when arriving at a cell already
occupied, the next number is placed immediately
below the last one played. Other things remain
the same.
T
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274
BfAOIC 8QUABES.
17
24
1
8
15
8
1
6
23
5
7
14
16
3
5
7
4
6
13
20
22
4
9
2
10
12
19
21
3
1
11
18
25
2
9
It will be observed that the central column of this
last method is exactly the same as that of Bachet's ;
and that the vertical columns consist of the same
numbers, but diflferently placed : and with this guide
we have no difficulty in offijring a similar key to his
method.
Arrange the numbers, 1 to 25, in arithmetical pro-
gression in horizontal rows in the following manner : —
viii
iii
1
2
3
4
5
6
7
8
9
vii
ii
xvii
xxiii
xxiv
iv
V
1
2
3
4
5
X
6
7
8
9
10
]1
12
13
14
15
16
17
18
19
20
xvi
21
22
23
24
25
xxi
xxii
ii
iii
ix
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ODD SQUARES.
275
Transpose the numbers outside the square to their
corresponding positions inside of the square : the 3 to
iii, and 7 to vii, in the square of three ; and the 4, 5, 10 ;
16, 21, 22 to the iv, v, x ; xvi, xxi, xxii, in the square
of five. Then, taking the middle column as correct,
transpose the upper number of the first column on the
right of centre 2, to the bottom of that column, ii ;
the two upper numbers of the second column of the
square of five, 3 and 5, to bottom of that column, iii and
ix ; the lowest number of first column on the left of
centre, 24 to the top of that column, xxiv ; and the
two lowest numbers of second column, 17 and 23, to
top of that column, xvii and xxiii. Then, in like
manner transpose 4, 5 and 10 on right side to iv, v
and x on left ; and 16, 21 and 22 on left side to xvi,
xxi and xxii on right ; and the square is complete
when the perpendicular columns of each square are
pushed into position.
A still easier way, because involving only one change
is obtained by placing the numbers seriatim in a
2
viii
1
6
3
5
7
4
9
ii
8
rji a
3
2
9
xvii
xxiv
1
8
16
xxiii
5
7
14
16
4
6
13
20
22
10
12
19
21
iii
11
18
25
ii
ix
17
24
23
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276
MAGIC SQUARES.
diagonal direction, beginning from top of central
column, and completing each diagonal row before
commencing another. When such row is completed,
the next row must commence under the last number
of the row above it; and, so on, till the five rows
are completed. The numbers outside of the square
are then put in their proper places and the square is
complete.
Another method was invented by Poignard, and
improved by M. de la Hire, which, however, it is not
necessary to give, as the following method, based upon
it, will, I think, be found more simple.
Form two squares, one of numbers in an arithmetical
progression ; the other, of multiples of those numbers,
but substituting a cipher for the highest number, and
disposing them in a different order to the first square.
In the first square make the first vertical column
correspond with the top horizontal row, and then
complete each row in the same order as the top one.
I
2
3
4
5
20
15
10
5
2
3
4
6
1
20
15
10
5
3
4
5
1
2
5
20
15
10
4
6
1
2
3
10
5
20
15
5
1
2
3
4
15
10
5
20
In the second square reverse the order of the top row
for the first column, and then complete each row in the
same order as the top one.
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ODD SQUABES.
277
Now add these two squares together, and the result
will be a magic square.
21
17
13
9
5
2
23
19
15
6
8
4
25
16
12
U
10
1
22
18
20
11
7
3
24
By changing the order of the numbers in the second
square, an endless variety of magic squares might be
found. It was, probably, in this way that Caetano
Gilardono framed the following magic square which is
on an incised tablet let into a wall at the Villa Albani,
at Bome.
15
58
29
34
63
49
74
41
6
7
27
31
81
23
76
80
18
26
38
8
30
71
47
20
21
78
56
73
19
25
42
10
33
50
65
52
22
55
72
1
45
60
28
16
70
79
35
39
66
2
48
17
24
69
14
64
69
12
77
3
51
68
11
46
36
61
53
40
43
4
54
32
75
67
13
9
62
37
44
5
57
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278 MAGIC SQUABBS.
Lector si doctuB admirator si ignarus scito, QuadratoB hie
maihematioe conBtructus ab uno usque ad octoginta unum 3321
unitates indudit qualibet ipsius coluumad tarn in linea plana quanoi
in recta et transversali unitates 369 quse ductae per novem easdem
3321 unitates restituunt et appellatur maximus quia maTiTnani
possidet eztensionem. Yale.
Oaietanus Gilardonus Bomanus philotedmoB inventor. a.d.
HDOOLZVI.
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XXXII.
EVEN SQUARES.
WHOSE HALVES ABE EVEN.
The most simple example is that invented by Agrippa.
It is a square of four, containing sixteen cells. This
square has afforded an amusing puzzle in almost every
household. Place the numbers in their natural order.
1
2
3
4
1
15
14
4
5
6
7
8
12
6
7
9
9
10
11
12
8
10
11
5
13
14
15
16
13
3
2
16
Then change the top and bottom central numbers
alternately, the 2 and 15; and the 3 and 14; then
the left and right central numbers, the 5 and 12 ; and
the 8 and 9 ; and we get a magic square.
It will be observed that the numbers on the two
diagonals, 1, 6, 11, 16, and 4, 7, 10 and 13 remain
unchanged. Consequently, we form the magic square,
beginning at 1, passing over all cells not on a diagonal ;
so we get 1, 4, 6, 7, 10, 11, and 13, 16. We then
begin at the bottom and work backwards towards the
top, 2, 3, 5, 8, 9, 12, 14 and 15 ; which is, of course,
the easiest and most simple way, and which will apply
to all even squares whose halves are even.
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280
MAGCC SQUARES.
The combinations of this square are wonderful, all of
which amount to 34. We begin with the four hori-
zontal and four perpendicular rows ; we then take the
two diagonals ; then the two diamonds, 1, 7, 16, 10;
and 4, 6, 13, 11 ; then the squares, 1, 4, 16, 13 ; 6, 7,
11,10; 1, 15, 6,12; 14, 4, 9,7; 8, 10, 3, 13; 11, 5,
16,2; 15,9,2,8; 14,5,3,12; 1, 14,11,8; 15,4,5,
10 ; 12, 7, 2, 13 ; 6, 9, 16, 3 : then the oblongs, 15, 14,
2, 3 ; 9, 5, 8, 12 ; 1, 15, 10, 8; 14, 4, 5, 11 ; 12, 6, 3,
13; 7, 9, 16, 2; 1,14, 7, 12; 8,11,2,13; 15,4,9,
6; 5, 16, 3, 10; 14, 9, 3, 8; 5, 2, 12, 15 : and then
the rhomboids, 1, 15, 2, 16 ; 14, 4, 13, 3; 4, 9, 8, 13;
5, 16, 1, 12; 1, 14. 3, 16 ; 15, 4, 13, 2 ; 4, 5, 12, 13 ;
9,16, 1,8; 12,6,11,5; 7,9, 8,10; 14,7,10, 3; 11,
2, 15, 6 ; 12, 7, 10, 5 ; 6, 9, 8, 11 ; 14, 11, 6, 3 ; 7,
2,15,10; 15,7,10,2; 14,6,11,3; 9,11,6,8; 5,
7, 10, 12 : in all 56 combinations of 34 each.
So with anj larger squares whose halves are equal,
we first fill up the diagonals, passing over the other
cells, and then beginning at the bottom, and working
backwards and above, we fill in the other numbers.
1
4
5
8
10
11
14
15
18
19
22
23
26
28
29
32
33
36
37
40
42
43
46
47
50
51
64
65
57
60
61
64
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BVSN SQUABBS.
281
1
63
62
4
6
59
58
8
56
10
11
63
52
14
15
49
48
18
19
45
44
22
23
41
25
39
38
28
29
35
34
32
33
24
31
30
36
37
27
26
40
42
43
21
20
46
47
17
16
50
51
13
12
54
65
9
57
7
6
60
61
3
2
64
Ozanam gives us another method, but far less simple:
he places the higher and lower numbers in corresponding
1
2
3
4
4
3
2
1
ROWS
1
2
3
4
6
6
7
8
L
64
63
62
61
60
59
58
57
4
1
2
3
3
2
I
4
TT.
9
10
11
12
13
14
15
16
56
55
54
53
52
51
60
49
3
4
1
2
2
1
4
3
TTT.
17
18
19
20
21
22
23
24
48
47
46
45
44
43
42
41
2
3
4
1
1
4
3
2
rv.
25
26
27
28
29
30
31
32
40
39
38
37
36
35
34
33
ROWS
viir.
VII.
VL
Digitized by CjOOQIC
282
MAQIC SQUARES.
groups or couplets, over each of which he places the
guide numbers, 1, 2, 3, &c., up to half the root of the
square, and then the same numbers in a reversed
order, and changing the order of the guide numbers
for every row.
To fill up the first four rows, take the bottom
number when the guide number is odd, and the upper
number when the guide number is even. For the
four lower rows, reverse the process, beginning at the
bottom, taking the bottom number when even, and
the top nimiber when odd. We thus get the following ;
the result of which is very similar to Agrippa's, many
of the numbers being the same, but reversing the
diagonals, and changing over the remaining corres-
ponding numbers —
64
2
62
4
6
59
7
57
9
55
11
53
52
14
50
16
48
18
46
20
21
43
23
41
25
39
27
37
36
30
34
32
33
31
35
29
28
38
26
40
24
42
22
44
45
19
47
17
49
15
51
13
12
54
10
56
8
58
6
60
61
3
63
1
On investigating this it will be found that the square
is divided into four quarters; and the numbers are
filled in in their natural positions in alternate cells
Digitized by VjOOQIC
EVEN SQUABES.
283
only; each quarter beginning at an alternate cell to
that of the adjacent quarter.
2
4
5
7
9
11
14
16
18
20
21
23
25
27
30
32
33
35
38
40
42
44
45
47
49
51
54
56
58
60
61
63
The remaining numbers are then filled in precisely
in the same way, beginning at the bottom. This now
is as easy a method as that invented by Agrippa, and
a much more simple one than Ozanam's.
Another way of executing the square is by the
method discovered by Poignard and De la Hire. First
form an arithmetical square, placing the nimibers in
any order in the first row, reversing them in the next,
and so on alternately for half the square ; then fill in
the lower half, but making the first row coincide with
the last of the upper half. Then form a geometrical
square with and the multiples of the root, in vertical
columns, reversing the numbers in each row, except
that the fifth row is to be the same as the fourth.
Digitized by VjOOQIC
284
MAGIC SQTTABBS.
1
6
6
2
7
4
3
8
8
3
4
7
2
5
6
1
I
6
5
2
7
4
3
8
8
3
4
7
2
5
6
1
8
3
4
»
2
6
6
1
1
6
5
2
7
4
3
8
8
3
4
7
2
5
6
1
1
6
6
2
7
4
3
8
48
8
48
8
8
48
8
48
16
40
16
40
40
16
40
16
32
24
82
24
24
32
24
32
56
56
56
56
56
56
56
56
24
32
24
32
32
24
32
24
40
16
40
16
16
40
16
40
8
48
8
48
48
8
48
8
Adding these together forms a magic square: —
Digitized by VjOOQIC
EVEK SQOASBS.
285
49
14
53
10
15
52
11
56
24
43
20
47
42
21
46
17
33
80
37
26
31
36
27
40
8
59
4
63
58
5
62
1
64
3
60
7
2
61
6
57
25
38
29
34
39
28
35
32
48
19
44
23
18
45
22
41
9
54
13
50
55
12
51
16
On examining this we find that the square is divided
into two horizontal halves, and the horizontal rows are
grouped together according to their distance from the
centre ; the first and eighth together, the second and
seventh, and the fourth and fifth. To begin with the
middle. First place two opposites of one division,
then two means of the second, then two means of the
first, and then two opposites of the second ; the order
of filling up each being reversed.
8 1 1 4
8 1 ,4
3!
1 ..
7
5
1
2
6
Now fill in the first numbers of the other rows: the
two extreme ones together, the second and seventh,
and the third and sixth. Then reverse the order,
completing the third and sixth, then the second and
seventh, then the two extremes, and then the central
rows.
Digitized by VjOOQIC
286
MAGIC SQUARES.
But we gain nothing by this process: for it is as
cumbrous and complicated as that of Poignard and De
la Hire. But the fault lies in the confused order
adopted by them, which simply shows that a magic
square can be formed by any arrangement of the
numbers. Let us, therefore, take the natural arrange-
ment of the numbers, in both squares : —
1
2
3
4
5
6
7 8
8
7
1
6
5
4
3
2
1
1
2
3
4
5
6
7
8
8
7
6
5
4
3
2
2
1 !
1
8
7
6
5
4
3
1 i
1
1
2
3
4
5
6
7
8
8
7
6
5
4
3
2
' !
I
2
3
4
5
6
7
8
56
56
56
56
8
48
8
48
48
8
48
8
16
40
16
40
40
16
40
16
24
32
24
32
32
24
32
24
32
24
32
24
24
32
24
32
40
40
16
40
16
16
40
16
48
8
48
8
8
48
1«
48
56
56
56
|o
56
Digitized by VjOOQIC
EVEN SQUARES.
Then the magic square becomes : —
287
1
1
58
3
60
61
6
63
8
16
65
14
53
62
11
50
9
17
42
19
44
45
22
47
24
32
39
30
37
36
27
34
25
40
31
38
29
28
35
26
33
41
18
43
20
21
46
23
48 1
56
15
54
13
12
51
10
49
57
2
59
4
5
62
7
64
And the result is a most unexpected one, exhibiting
a perfectly new arrangement of the numbers, and a
more simple method than that of Agrippa. The
1
3
6
8
16
14
11
9
17
19
22
24
32
30
27
25
40
38
1
35
33
41
43
46
48
66
54
51
49
67
59
62
64
Digitized by VjOOQIC
288 MAGIC SQUAKES.
figures are arranged in the first, third, sixth and
eighth columns only, but counting in all the vacant
squares; and reversing the order in each alternate
row : but beginning the fifth row at the fuither end
and reversing the order to complete the square.
It will be seen that in each of these methods the
secret consists in balancing the numbers. Any method
may be used which has the result of placing the cor-
responding numbers in opposite cells, taking care at
the same time that the order of the march be in just
progression. When this is carried out, not only are the
opposite numbers complementary to each other, but if
we divide the square in two halves perpendicularly, we
shall in each horizontal line perceive that there is a
constant diflFerence of one between the two inside
numbers ; a difference of three between the second
numbers right and left of the centre ; of five between
the third numbers right and left ; and of seven between
the outside numbers : and if we divide the square
in two horizontal halves, and examine the vertical
columns, we shall find in each case a difference of
eight times the former numbers : viz., a difference of
8 between the two central numbers, of 24 in the next ;
then of 40 ; and, lastly, of 56, between the outside
numbers. But in Poignard and De la Hire's magic
square, p. 285, though there is the same correspondence
of numbers, they are differently placed in the horizontal
rowa This square therefore is not so perfect as the
others.
Digitized by VjOOQIC
xxxin.
EVEN SQUAEES
WHOSS HALVES ARE UNXVBM.
These squares have hitherto been found much more
diflScult to execute than the preceding.
One way of accomplishing the task was to reduce the
square, whose half is uneven, to one whose half is
even, by taking oflF a border all round. Thus the
square of six was reduced to a square of four, with a
border round it ; and the square of ten to one of eight,
and so on. Let us take a square of six : for all such
squares, of whatever size, can be done by the same
method.
After filling in all the squares seriatim with the
natural numbers, make the inner square of four cells
magic by leaving the diagonals, and removing and
replacing in proper order the other numbers, according
to previous rule. We thus get No. I —
1 2
1
2 3
4|a
6
7
8
28 ! 27
!
11
12
13
23
15
16
20
18
19
17
21
22
14
24
25
26
10
9
29
30
31
32
33
34 1 35
36
1
35
34
3
82
6
30
8
28
27
11
7
19 23
15
16
14
24
18 j 17
21
22
20
13
12 1 26
9
10
29
25
31
2
4
33
5
36
Digitized by VjOOQIC
290
EVEN SQUARES.
We now proceed with the borders. Letting the
angle cells remain the same, of the four remaining
numbers of the top row the first and fourth go to the
bottom ; and the fourth and first bottom numbers
taken away are then made to pair with them, so as to
make the same vertical total, 37. The second number
of the top, not including the angle, is then changed
with the second number of the bottom ; the third of
top with the second of bottom, and the second of top
with the third of bottom. Then with the sides, the
first and fourth of left go to the right, and the fourth
and first of right pair with them ; the third of left side
is exchanged with the third of right ; the second of
left with the third of right ; and the third of left
with the second of right. Finally, reverse the mean
numbers of bottom row of inner square ; and the mean
numbers of right side : and we then get No. 2.
Poignard and De la Hire devised the following
method. They formed an arithmetical and a geo-
metrical square, as before, and added them together : —
5
6
3
4
1
2
2
1
4
3
6
5
6
6
3
4
1
2
5
6
3
4
1
2
2
1
4
3
6
6
5
6
3
4
I
2
24
6
24
24
6
24
30
30
12
18
12
12
18
12
18
12
18
18
12
18
30
30
30
30
6
24
6
6
24
6
Digitized by VjOOQIC
EVEN SQUARES.
291
29
12
27
28
7
26
2
31
4
3
36
5
17
24
15
16
19
14
23
18
21
22
13
20
32
1
34
33
6
35
11
30
9
10
25
*
8
In a square of six, or 36 cells, the following modifica-
tions were made. The third figure of top line was
transferred with the third of bottom line; and the
third of left column with the third of right : the four
middle numbers of the top row were then reversed ;
and the four middle numbers of left column ; the two
middle figures of right column ; and the two middle
figures of bottom row. Lastly, the two middle figures
of top row of inner square were reversed, and the two
middle figures of left column.
29
7
28
9
12
26
32
31
3
4
36
5
23
18
15
16
19
20
14
24
21
22
13
17
2
1
34
33
6
35
11
30
10
27
25
« 1
Both these methods are ingenious, but very com-
plic ited ; and as so many alterations were made before
Digitized by VjOOQIC
292
EVEN SQUARES.
the result could be obtained, it is impossible to deduce
any simpler process from them. We will attempt,
therefore, to solve the diflSculty by other methods.
A more easy way is to balance the numbers of the
four outside rows, and to change the order in the two
central rows, as shown : —
1
34
2
35
3
•36
9
1
32
3
34
5
36
28
7
29
8
30
26
7
28
9
30
11
24
14
22
16
20
18
17
18
20
16
22
14
24
13
23
15
21
17
19
20
19
17
21
15
23
13
12
27
11
26
10
25
4
12
29
10
27
8
25
2
33
6
32
5
31
35
6
33
4
31
1
96
2
97
3
98
4
99
5
100
86
11
87
12
88
13
89
14
90
15
21
76
22
77
23
78
24
79
25
80
66
31
67
32
68
33
69
34
70
35
41
59
43
57
45
55
47
53
49
51
60
42
58
44
56
46
54
48
52
50
61
26
40
65
39
64
38
63
37
62
36
71
75
30
74
29
73
28
72
27
20
85
19
84
18
S6
17
82
16
81
95
10
94
9
93
8
92 ; 7
1
91
6
54
48
52
47
53
49
Digitized by VjOOQIC
BVEN SQUARES. 293
On examining the two middle rows it is evident that
as in the series 13 — 1 8, and 19 — 24 in the square of six ;
and of 41 — 50, and 51 — 60 in the square of ten, the
lowest number of each series begins in the same row,
the other row in each square must have a greater
number by the Dimiber of cells in each row. In the
square of six there must be a diflference of six between
the two middle rows ; and in the square of ten a
difference of t^n : consequently, in the square of six
we reverse the numbers 17 and 20, making a difference
of 3 ; and in the square of ten the numbers 54, 48, 52
and 47, 53, 49, making a difference of 5, thus making
both rows equal. So in a square of 14, there will be
a difference of 14 between the two middle rows : so
the numbers 103, 95, 101 and 94, 102, 106 making a
difference of 7, have to be reversed to make such a
square magic.
Another easy way is to divide the square into as
many small squares as the square of half the root of
the given square. Thus a square of six cells on every
side will be divided into nine small squares, each
containing four cells ; and a square of ten cells into
twenty -five small squares: and these now being squares
of an odd number will be filled in according to the rule
for odd squares.
But in these small squares of four cells each it is
evident that if all these cells are filled in in the order of
1 2
4 3
all the vertical columns will be alike, but the horizontal
rows will be alternately too little, and too much. What
Digitized by VjOOQIC
294
£y£N SQUARES.
we have to do, therefore, is to change the vertical
numbers of some of the cells, so as to make them
equal. Thus, in a square of six cells, on each side,
which now is reduced to a square of three, we fill in
the three columns in the following order : —
15
15
16
U
33
34
8
6
13
15
36
35
6
1
7 i
12
10
17
18
28
26
1 9
11
20
19
25
27 1
1
32
30
1
2
24
22
29
31
4
3
21
23
In a square of ten cells on each side the five columns
will be: —
1
3
4
3
1
2
4
3
1
3
4
2
1
2
4
3
1
4
2
25
25
Ir
1 a square of fourteen
4
2
4
3
1
2
1
2
1
2
4
3
4
2
35
35
1
3
1
2
4
3
4
3
4
3
1
2
1
3
and so on for squares of any number of cells.
Digitized by VjOOQIC
EVEN SQUARES.
295
41
43
96
95
25
26
80
79
9
11
44
42
93
94
28
27
77
78
12
10
13
15
4S
47
97
98
32
31
61
63
16
14
45
46
100
99
29
30
64
62
65
67
20
19
49
50
84
83
33
35
68
66
17
18
52
51
81
82
36
34
37
39
72
71
1
2
66
65
85
87
40
38
69
70
4
3
53
54
88
86
89
91
24
23
73
74
8
7
57
59
92
90
21
22
76
75
5
6
60
58
Digitized by VjOOQIC
XXXIV.
MAGIC SQUARES BEGINNING
AT ANY CELL.
We have stated that the ways of forming a magic
square are endless: and so there is no dijfficulty in making
such magic square begin at any cell desired. Let us
take the magic square of 4 cells on each side, already
given. If we transpose one of the rows of such square,
or one of the columns, with any other of such rows or
columns, the square will still remain magic. The law
of combinations shows us the immense number of
alterations which may be made, still preserving the
property of the magic square. But any equal number
of combinations might be made by beginning with any
other square of 4 cells, of which many might be formed.
By changing the rows and columns of the given square,
we obtain: —
I 2
1
15
U
4
13
3
2
16
12
6
7
9
I
15
14
4
8
10
11
5
8
10
11
5
13
3
2
16
12
6
7
9
Digitized by VjOOQIC
TO FOBM A MAGIC SQUABE.
3 i
297
4
9
5
16
14
7
11
2
I
12
8
13
15
6
10
3
5
15
1
4
14
6
12
9
7
3
13
16
2
10
8
5
11 1
7
16
4
9
5
2
14
7
11
13
1
12
8
3
15
6
10
9
14
15
1
4
2
3
13
16
11
10
8
5
7
6
12
9
12
6
7
9
13
3
2
16
8
10
11
5
1
15
14
4
16
4
5
9
13
1
8
12
3
15
10
6
2
14
11
7
2
14
7
11
3
15
6
10
16
4
9
5
13
1
12
8
10
11
7
14
2
8
12
1
13
5
9
4
16
3
10
6
15
Digitized by VjOOQIC
298
MAGIC SQUAAES
11
12
5
9
4
16
3
6
15
10
10
6
15
3
16
9
4
5
8
12
1
13
2
7
14
11
11
7
14
2
13
12
1
8
13
14
12
13
8
1
5
11
10
8
7
2
11
14
4
14
15
1
9
16
6
4
16
2
3
13
6
3
10
15
9
7
6
12
15
16
9
16
6
7
12
6
10
3
15
3
2
13
9
5
16
4
4
15
12
1
7
11
2
14
5
10
11
8
12
8
13
1
Of these squares only six are magic in their dia-
gonals, 6, 8, 9, 12, 13 and 14.
Although these squares are changed about so as to
get the number 1 in every one of the cells, they still
obtain a harmonious relation in their movements, as
will be exhibited in the following diagrams: —
Digitized by VjOOQIC
BEGINNINQ AT ANY CELL.
1 . U 2 6 9 13 13 3
7 8 15
^
s^ ^
O
^
y^
>>
<>
^
^^^^
'>
<^
iJ
4 5
299
10 11 16
^^
^^
^^
>^
The following is an example of the variety which
may be made in these squares. Arrange the nmnbers
in squares of five, overlapping each other, as in the
following diagram. We have entered only half the
numbers so as more easily to distinguish the squares.
I
14
2
15
24
27
21
28
32
19
31
18
9
6
12
5
3
16
4
13
22
26
23
26
30
17
29
20
11
8
10
7
Digitized by VjOOQIC
300 MAQIC SQUARES.
On filling in the other numbers we get this result : —
1
46
59
24
56
14
2
60
53
15
27
33
47
21
28
34
32
38
41
19
31
37
44
18
61
9
6
64
60
12
5
63
3
57
54
16
4
58
55
13
48
22
25
35
45
23
26
36
30
40
43
17
29
39
42
20
49
11
8
62
52
10
7
61
Here it will be found that not only are all the
horizontal rows, and the vertical columns, and the two
diagonals alike, amounting to 260 : but the half row,
and the half columns, and the half diagonals, are also
alike, amounting to 130 ; and each of the sixteen small
squares, into which the square is divided, also amounts
to 130. It is, therefore, the most perfect magic square
which can be constructed. One nearly as perfect will
\
130
130
/
130
\
/
130
130
/
\
130
u(o
130
130
\
be found further on, invented by Mr. Beverley, the
numbers of which are regulated by the knight's move.
But in that the diagonals are unequ^,^^,,^ (Google
XXXV.
MAGIC SQUARES IN COMPARTMENTS.
Any square which is capable of being subdivided
into a number of compartments, the cells of which can
form a magic square, may, by the arrangement of such
compartments or smaller squares, be made magic also.
Thus, a square of nine, or of 81 cells, may not only be
49
63
6-2
52
129
143
142
132
17
31
30
20
25
60
54
55
57
140
134
138
135
139
137
133
28
24
22
33
56
58
59
50
53
64
136
26
27
21
61
51
141
131
130
144
29
lU
18
32
33
47
46
36
65
79
78
68
97
111
110
100
41
38
39
41
76
70
71
73
108
102
103
105
40
42
43
37
72
74
75
69
104
106
107
101
45
35 31
48
77
67
66
80
109
99 98
112
113
127
126
116
1
15
14
4
81 95
94
84
124 ! 118
119
121
12
6
7
9
92
86
87
89
120
122
123
117
8
10
11
5
88
90
91
85
96
125
115
114
128
13
3
2
16
93
83
82
Digitized by VjOOQIC
302
MAGIC SQUARES IN COMPARTMENTS.
made a magic square, but it may be divided into nine
compartments of 9 cells each, each of which compart-
ments or smaller squares can be made magic : and the
compartments themselves can be so arranged as to
make the square itself magic ; a square of twelve, or
144 cells, is divisible into nine magic compartments of
16 cells ; or of sixteen magic compartments of 9 cells
4
9
2
130
135
128
121
126
119
31
36
29
3
5
7
129
131 133
120
122
124
30
32
34
8
1
6
134
1:^7
132
125
118
123
35
28
33
103
108
101
49
5t
50
47
52
58
63
56
61
76
75
81
74
102
104
106
48
57
59
77 ! 79
73 78
107
100 j 105
53
46
51
62
55
60
80
67
72
65
85
90
83
94
99
92
40
45
38
66
68
70
84
86
88
93
95
97
39
41
43
71
64
69
89
82
87
98
91
96
44
37
42
1
112
111
117
110
22
27
20
13
18
11
139
144 1 137
113
115
21
23
25
12
14
16
138
140 1 142
116
109
114
26
19
24
17
10 •
1
15
143
13fi 141
each ; a square of fifteen, or 225 cells, into nine magic
compartments of 25 cells each ; or of twenty-five
compartments of 9 cells, and be itself magic ; and a
square of sixteen, or 256 cells, into sixteen compart
ments of 16 cells, and be itself magic.
Digitized by VjOOQIC
XXXVI.
MAGIC SQUAEES IN BORDERS.
To form these commence with the outer border, half
of the numbers of which are to be taken from the
lowest series, and the other half from the highest.
The border of the next square will be filled up in like
manner ; one half of the numbers being composed of
the next lowest numbers in succession, and the other
half of the next highest ; and so on to the centre
square, the numbers of which, will, of course, be the
mean numbers of the whole, and which numbers will
be arranged according to the preceding rules for magic
squares. To arrange the numbers in the borders place
the lowest number in one corner, and the highest in
the opposite angle. In the even squares the other two
angles are to be filled in with their natural numbers,
or those which would fall into them were all the
numbers placed seriatim. This will be found a great
advantage in the even squares, as it gives four numbers
to start with instead of two, as in the odd squares.
For other cells the sum of any opposite numbers,
whether vertical or horizontal, is to be equal to the
sum of these two numbers. The numbers must then
be so balanced that the sum of each side makes up the
number of the square, which in a square of ten is 505,
and in a square of nine is 369. For the rest it is
perfectly indifferent in what order the numbers are
placed, when once the series is discovered, as each of
Digitized by VjOOQIC
304
MAQIO SQUARES IN BORD£ItS.
these numbers with its complement makes up the same
sum.
1
3
6
71
70
72
68
73
5
2
17
21
60
55
58
67
19
80
4
18
29
47
50
48
31
64
78
8
20
30
40
45
38
52
62
74
«6
59
49
39
41
43
33
23
16
67
54
46
44
37
42
36
28
16
69
56
51
35
32
34
53
26
13
75
63
61
22
27
24
25
65
7
77
79
76
11
12
10
14
9
81
Odd Squares.
1
95
99
89
5
9
88
98
11
10
17
19
76
80
70
28
24
81
26
84
87
79
33
67
66
37
62
38
22
14
18
74
42
43
57
56
46
59
27
83
15
72
40
54
48
4fl
51
61
29
86
4
30
65
50
52
53
17
36
71
97
85
23
60
55
45
44
58
41
78
16
93
32
03
34
35
64
39
68
69
8
94
75
25
21
31
73
77
20
82
7
91
6
2
12
96
92
13
3
90
100
Even Squares.
Digitized by VjOOQIC
XXXVIL
HOLLOW AND FANCY SQUAEES,
AND MAGIC CIRCLES.
Many inget)ious combiDations of Magic Squares have
been invented from time to time. Indeed, it would be
curious to see a collection of fancy squares. The
Chev. VioUe, is pre-eminent for such discoveries.
It would take too much space, and be trespassing
too much on his labours were we to give all the
varieties of these squares which he has discovered. It
will suflSce to give the following as examples. We
give below the full title of his work to show its com-
prehensiveness.*
56
2
113
4
115
121
117
8
119
10
6
12
110
33
56
92
27
97
29
96
28
89
34
42
80
88
55
47
60
11
50
75
67
n
31
51
61
71
91
III
n
69
72
49
62
53
45
78
66
36
44
99
94
30
95
25
93
26
64
23
100
22
116
120
9
118
7
1
5
114
3
112
66
* Chevalier B. Violle, Traits complet des Carres Magiques, pairs et impaire
rimplea et composes, ^ bordurea, campartimens, croix, chaasiB, 6queiT^, bandes
d^ch^p; &c, ainsi d'un Traite dea Cubes Magiques, et dun Essai sur les
Cerdee' Magiques. 2 tomes 8vo., et 1 tome fol. Paris 1887-8.
V
Digitized by VjOOQIC
306
HOLIX>W AND FAKCT SQUARES,
A2
3S
87
81
42
33
36
80
lie
41
68
57
62
H~
64
65
60
58
38
79
66
88
51
44
47
72
50
53
74
61
70
48
52
69,
75
34
71
78
84
43
56
37
63
83
85
59
39
54
76
46
49
67
89
77
55
45
73
40
12
53
24
29
36
41
61
«2
60
6
9
SI
10
1
20
9
46
55
54
37
12
27
II
M
25
35
30
40
8
57
21
52
48
14
15
43
49
18
58
7
44
16
17
50
51
22
13
47
2
63
42
32
33
23
4
55
5
59
56
14
3
64
45
53
19
II
10
28
56
38
52
13
39
34
31
26
In the last example it will be noticed that the cells
in shade form the magic square of four similar to the
first of the Even Squares whose halves are even.
Digitized by VjOOQIC
AND MAGIC CIRCLES. 307
The following example of a Magic Circle was
invented by Dr. Franklin. In it the numbers in each
of the intersecting circles, having 12, A, B, C, or D,
as centres, added to 12, make 360. The half of any
of these, as divided by either the perpendicular or
horizontal line, added to the half of 12, makes 180.
The numbers of any cuneus added to 12, make 360 ;
and the half of any cuneus added to the half of 12,
makes 180. Any four adjacent numbers, forming a
square, as 73, 15, 72, 14, with half of 12, make 180 ;
as also any four opposite numbers forming a square, as
73, 14, 41, 46, added to the half of 12.
Digitized by VjOOQIC
308
HOLLOW AOT) FANCr SQUARES.
The following Magic Pentagon has been invented by
M. Frolow,' exhibiting a spider's web.
It will be observed that the five sides of each
pentagon are all equal, and that the five diameters,
from one angle to the centre of the opposite side, are
each 459, which is nine times the central number 51,
which is also the mean number, the series being
1 — 101. And, further, that the inner pentagon is
510, or 10 times the mean number ; the next pentagon
1020, or 20 times the mean; the next 1530, or 30
times the mean ; and the outside pentagon 2040, or
40 times the mean.
*X«5 Carri$ Magiquet, 8vo., Paris, 1886.
Digitized by VjOOQIC
xxxvin.
THE KNIGHT'S TOUR.
Ozanam — R^cr&tiona Math6matiques et Physiques - 1760
Euler — Histoire de rAcademie Koyale des Sciences et
Belles Lettres ... - - 1766
Ozanam — Physical Recreations, translated by Button with
additions - - - - - 1803
La Corse del cavallo per tutti gli Scacchi della Scacchiera —
Bologna - - - - - 1766
Lettre addressee aux auteurs du Journal £ncyclop^ique sur
un problime de TEchiquier. Prague - - 1773
Gollini — Solution du probWme du Cavalier - - 1775
Essai sur les probl^mes de Situation. Kouen - • 1783
Bollinger — 24 Verschiedene arten den Springer - - 1806
Chess, an attempt to annalyze the Knight's move - - 1821
Von Wamsdorf — ^Des Sprunge's einfachste und allgemeinste
Losung - - - - -1823
Billig, K Der Rossensprung .... 1831
Ciccolini—Del Cavallo degli Scacchi . - - 1836
Dr. Roget — Philosophical Magazine - - - 1840
Le Palamfede — Seconde Series, vols, ii, iv, and vi - - 1842-6
Tomlinson — Amusements in Chess - - - J 846
Schaohzeitung — ^Vols. i, ii, iv, v, vii, and ix - - 1846-64
Brede — Almanach for Freunde von Schachspiel - • n.d.
The attempt to cover all the squares of the chess-
board with a knight's move, without going over the
same square a second time, is, perhaps, as old as the
invention of the game itself. The anonymous author
of the Persian MS. in the Library of the Royal Asiatic
Society, No. 260, written subsequently to 899, writes :
— " Finally, I will show you how to move a knight
from any individual square on the boai d, so that it may
cover each of the remaining squares in a£ many moves ;
Digitized by VjOOQIC
310
THE knight's tour.
and, finally rest on that square whence it started. I
will also show you how the same thing may be done by
limiting yourself only to one half, or even to one
quarter of the board." Unfortunately, the MS. breaks
off there. Another MS. in the British Museum, No.
16,856, written about 1550, but copied and abridged
from an older work, also contains a description of this
move.
At first the difficulty was how to perform the task in
any manner, then to find out the principle of doing so ;
then to make the course re-entering ; then to begin
and end at any given square ; and, finally, to make
the course a magic square.
The mathematician Euler was the first, in modern
times, to improve on the random efforts of his pre-
decessors, by preparing an ingenious though sometimes
complicated and laborious process of effecting his
purpose. He first filled up as many cells of the
square as he could,' as in the following figure, in
which two cells are vacant, which we will call a and b.
34
21
54
9
32
19
48
7
55
10
33
20
53
«
31
18
22
35
62
a
40 1 49
6
47
11
56
41
50
59
52
17
30
36
23
58
61
42
39
46
5
57
12
25
38
61
60
29
16
24
37
2
43
14
27
4
45
1
b
13
26
3
44
15
28
1 This f onnB a very good game for anyone who has not tried it.
Digitized by VjOOQIC
THE KNIGHT S TOUB.
311
On examining these numbers he perceived that
62, the last number, governs the cell 9 ; and that 10
governs a. He, therefore, took the series 1 — 9 ; then
crossed into 62, from which he traversed backwards
all the numbers successively till he came to 10, from
which he was enabled to pass into the upper blank
cell a. This course is represented by 1 — 9 ; 62 — 10 : a.
He perceived also that some of the other numbers
would have given him the same result, aa 1 — 53 :
62—54 : a. And 1—53 : 62—56 ; a.
Another cell governed by a is 58, and 57 governs 6.
He therefore got 1—9 : 62—58 : a : 10—57: 6 ; thus
producing the square.
40
27
60
9
38
25
54
7
61
16
39
26
59
8
37
24
28
41
10
15
46
55
6
53
17
62
47
56
13
58
23
36
42
29
14
11
48
45
52
5
63
18
31
44
57
12
35
22
30
43
2
49
20
33
4
51
1
64
19
32
3
50
21
34
His next desire was to make it re-entering. After
several other transmutations he at length obtained from
the last square 1—9: 46—64: 31—45: 22—19:
30 — 23: 12 — 17: 10, 11, 18, thus forming a re-entering
square which would enable him to cover the board
when beginning at any square he chose.
Digitized by VjOOQIC
312
THE knight's TOUE.
38
51
24
9
36
53
18
7
25
60
37
52
23
8
35
54
50
39
62
59
10
19
6
17
34
61
26
11
20
57
22
55
40
49
58
63
12
43
16
5
27
64
29
42
21
56
33
44
48
41
2
13
46
31
4
15
32
1
28
47
30
3
14
45
This method, however, was too elaborate for general
use. At length it was perceived that the board of 64
cells resolved itself into four quarters of 16 cells each ;
and that these 16 cells arranged themselves into two
squares and two diamonds, forming a knight's move
between each point. Dr. Roget communicated this
discovery to the Philosophical Magazine and Journal^
vol. xvi, in a letter dated 1840; and he thought so
much of it that he had a card printed for circulation
Digitized by VjOOQIC
THE KNIGHT S TOUR.
313
among his friends with this fliagram, having the
squares in black and the diamonds in red, and with
the figures in black and red on the diagram, and not
as shown here separately ; and underneath this ** Key
to the Knight's Move .as a Magic Square '* was printed
— " With best compliments of the author."
22
11
36
63
20
13
38
51
14
35
54
21
12
37
52
17
10
23
56
33
16
19
50
39
66
34
9
24
49
40
15
18
26
4
48
57
32
1
42
63
47
68
25
8
41
62
31
2
6
27
60
45
4
29
64
43
59
46
5
28
61
44
3
30
260 260 260 260 260 260 260 260
Naturally such a star can also be formed in the
centre, and we shall presently see such a central star
made use of in one of the following problems.
The reader must make himself fuUy conversant with
this process before he attempts any further analysis.
He will note how in forming each diamond care is
taken to fill up the outer cells before the more central
ones, and that in forming either squares or diamonds
care is taken to end the figure where it is most easy to
pass on to the next quarter.
Beasoning upon this principle, and perceiving, as we
have shown, that the laat-filled cell is exactly a
Knight's move from the first cell, or starting point.
Digitized by VjOOQIC
314 THE knight's toub.
Dr. Roget conceived that it is immaterial in what cell
the march is commenced ; and that by skipping some
cells connected with the terminal one^ but still pre-
serving the same order of squares and diamonds, he
would be able, after completing the other figures, to
fill up the cells so omitted, and thus end in any desired
cell, provided that that cell is of a different colour to
the starting cell.
As this exercise forms a very good game or puzzle to
show a friend, we will take a few instances ; and in
order to explain the method more easily, we will divide
the board into four quarters.
iii
iv
ii
i
To begin and end in tlie same series of diamonds, hut
in thejirst and third quarters^ say 1 and 64-
It is evident that it is more difl&cult to end at the
last quarter than at the second or fourth, because the
order of forming these diamonds i, ii, iii, iv, wiil be
interrupted in the middle. There are two ways of
proceeding, one by forming diamonds in i, ii, and iv,
leaving out iii ; the other by leaving out the diamonds
iii and iv to the last.
In the first method we complete diamonds i and ii,
form a square in iii, and a diamond in iv, then squares
in iv, i and ii. We now form diamonds in ii, i, iv, iii ;
and squares in iv, i, ii, iii ; leaving out cells of 59 and
60 (which would have been filled up with 52 and 55),
because they lead to the last diamond in iii : then fill
up these numbers 59 and 60, and thus enter upon the
last diamond.
Digitized by VjOOQIC
THE KNIGHT 8 TOUR.
315
63
5C
11
44
13
46
17
38
10
43
64
67
18
39
14
47
20
65
62
41
12
45
16
37
42
9
58
61
40
19
48
21
16
36
7
54
25
32
3
60
28
31
8
59
24
33
2
49
53
6
29
26
51
4
36
22
30
27
52
5
34
23
60
1
In the second method we complete diamonds in i and
ii ; form squares in iii, iv, i and ii ; diamonds in ii, i, iv,
iii ; squares in iv, i, ii, iii ; leaving out, while doing so,
the places of 55 and 56 — which would have been filled
up with 48 and 49 — for the same reason as before, and
then fill up 55 and 56, so as to lead to diamonds in
iv and iii.
63
52
11
40
59
42
16
34
10
39
64
53
14
35
68
43
61
62
37
12
41
60
33
16
38
9
54
61
36
13
44
67
7
60
21
28
3
56
17
32
24
27
8
65
20
29
2
45
49
6
26
22
47
4
■
31
18
26
23
48
5
30
19
46
1
Digitized by VjOOQIC
316
THE KNIGHTS TOUB.
To begin and end in adjoining cells and adjoining
quarters, both diamonds^ say 1 and 64*
Complete diamonds ii, i, iv^ 3 ; and squares ii, i, iv, 3 ;
then diamonds iv and i, leaving out cell 56 which ought
to have been filled in with 40, because this cell com-
mands cell 57 which leads up to the last diamond, then
squares i, iv, iii, 2 ; then by means of 56 proceed to fill
up the remaining diamonds ii, iii.
62
31
48
13
34
27
46
11
49
U
63
32
47
12
36
26
30
61
16
61
28
33
10
46
15
50
29
64
9
44
25
36
60
53
17
52
1
56
21
40
7
2
57
20
43
8
37
24
18
59
4
55
22
39
6
41
3
54
19
58
5
42
23
38
Another way^ making a star in the centre.
Form diamond in centre, and run round the board
with half squares, then form square in middle, which
will complete these half squares. Then run round the
board with half diamonds, and then with half squares.
Form square in middle completing the half squares ;
then half diamonds in ii and iii, and whole diamonds in
iv and i : thus making a half central diamond. Then
complete the half diamonds in ii and iii, and centra
Digitized by VjOOQIC
THE Eight's tour.
317
52
43
10
29
54
33
12
31
9
28
53
44
U
30
55
34
42
51
2
19
46
57
32
13
27
8
45
64
3
20
35
56
50
41
18
1
58
47
14
21
7
26
63
48
6
17
4
59
36
40
49
24
38
61
22
15
25
6
39
62
23
16
37
CO
To begin and end in adjoining quarters^ and adjoining
cellsj both in squares, say 1 and 64>
Complete squares ii, i, iv, iii ; diamonds iv, i, ii, iii ;
squares iv, i, ii, iii ; leaving out G4 which ought to have
been filled in with 48, place 48 in iv, so as to begin the
last course of diamonds in iii, and then finish in 64.
51 46
13
32
53
34
11
18
14
31
52
47
12
17
54
35
45
50
29
16
33
48
19
10
r>5
15
64
49
20
9
36
63
44
1
28
59
40
7
22
2
43
26
27
62
3
60
25
42
41
4
8
39
21
58
56
23
37
6
61
24
5
38
57
To begin and end in the same qvarfer^ and in adjoining
cellsy both squares, say 1 and 64,
Form squares i, ii, iii, iv; diamonds iv, iii. ^ii, i;
Digitized by VjOOQIC
318
TME knight's TOUE.
squares ii, iii, iv. Then cover 45, leaving the rest of
the square, and proceed with diamonds i, ii, iii, iv,
from the last point of which complete square in i.
22
11
40
57
20
13
42
59
39
56
21
12
41
58
17
14
10
23
54
37
16
19
60
43
18
55
88
9
24
61
44
15
26
7
36
53
32
3
62
47
35
62
25
8
45
48
31
2
6
27
50
33
4
29
46
63
1
51
34
5
28
49
64
1
30
To begin and end in opposite comers^ say 1 and 64.
Form diamonds i, ii, iii, iv ; and squares i, ii, iii, iv.
Then, as 64 is at the point of the diamond, close up one
of the approaches 33, and form the squares iv, iii, ii, i ;
and diamonds i, ii, iii, iv, previously filling up 50.
11
26
40
27
60
13
36
33
31
64
59
12
39
30
14
35
41
10
61
28
37
16
63 i 32
1
58
25
38
9
62
29
34
15
7
42
21
50
3
46
17
52
24
67
8
45
20
51
2
47
43
6
55
22
49
4
53
18
66
23
44
5
54
19
48
1
Digitized by VjOOQIC
XXXIX.
THE KNIGHT'S MAGIC SQUARE.
The first approach to a Knight's magic square was to
place the numbers in such a manner that there should
be a constant diflference of the same amount between any
two corresponding numbers. By the system adopted
by Euler, that mathematician perceived that if he could
go on to 32 without entering any of the corresponding
cells, he could then fill up these corresponding cells seria-
tim, beginning at that corresponding to 1, and thus have
a constant difference of 32 between any corresponding
numbers. To accomplish this he endeavoured, at ran-
dom, to fill in as many consecutive cells as he could,
filling in the corresponding numbers at the same time.
He thus obtained the numbers 1 — 19 and 33 — 51.
Then beginning again at I and 33, he filled in, in a
retrograde manner, the numbers 64—58 and 32 — 26.
10
29
48
35
8
31
46
33
49
3«
9
30
47
34
7
58
28
11
45
32
19
37
50
6
59
44
12
27
38
18
5
51
64
13
43
60
26
39
2
15
62
41
4
17
1
14
63
40
3
16
61
42
Digitized by VjOOQIC
320
THE knight's magic SQUARE.
The twelve vacant cells he gradually filled in by
transposition^ in the manner already indicated, and as
we shall see exhibited again presently. He thus
obtained the following: —
A Knighfs magic square^ the difference between any
opposite numbers of which is equal to 32.
14
41
60
59
42
35 16
31
54
33
36
15
68
55
34
17
30
13
56
43
18
53
32
7
52
5
37
40
19
12
57
6
29
8
20
61
38
25
44
51
39
62
64
21
50
11
24
45
28
49
2
23
26
47
4
9
1
22
63
48
3
10
27
46
Having obtained one, his system easily enabled him
to obtain others, of which he gives us several examples,
of which the following is a specimen. Instead of 1 — 32,
take the numbers 3 — 34. Now as 34 governs 7, we
obtain 3 — 7, and 34 — 8, which revei'sed is 8 — 34 and
7 — 3. But 3 governs 24, therefore we get 8 —24, 3 — 7
34—25 ; and their opposites 40—56, 35—39 ; 2, 1
64—57.
Employing the same process, he then attempted
To fill in a square loith a Knight^s move, so tha4, the
difference between any opposite numbers shall be
32 ; and the first 32 numbers shall be on the same
half of the board.
To accomplish this he filled up as many numbers as
Digitized by VjOOQIC
THE KNIGHTS MAGIC SQUARE.
321
he could in one half of the board, getting as far as 28 :
to the remaining four cells he attached the letters, a,
6, c, d.
33
1
a
b
28
7
14
19
16
24
27
8
c
20
17
6
13
9
2
25
22
11
4
15
18
26
23
10
3
d
21
12
5
He began by observing that as 28 governs 27, 25,
11 and 17 : he was able to take choice of any one of
the following orders of progression :— 1 — 25, 28 — 26 ;
or 1—11, 28—12 ; or 1—17, 28—18. Selecting one
of them, and then making many more transpositions,
he obtained— I— 8; 23—21; 18—20; 6, 24—28;
17—10; a, c, and d. But as this did not connect
itself with 33, he made other transpositions, till he
got— 1-8; 23—21; 18—20; 6,24—28; 17—15;
oJ, c, a ; 9 — 14 ; giving this result : —
37
62
43
56
35
60
41
50
44
55
36
61
42
49
34
59
63
38
53
46
57
40
51
48
54
45
64
39
52
47
58
33
1
26
15
20
7
32
13
22
16
19
8
25
14
21
6
31
27
2
17
10
29
4
23
12
18
9
28
3
24
11
30
5
Digitized by VjOOQIC
322
THE KNIGHT S MAGIC SQUARE.
He then, by the manner shown in the last example,
obtained several varieties of this, which the reader will
understand.
To fll up a square tvith a Knight's 'move^ so that the
difference bettceen any opposite numbers shall be 10.
In Tomlinsoh's ** Amusements in Chess," p. 127, is
an example of such a square, but of which the author
says — ** This route is not a re-entering one ; and we do
not think it could be made so, with a constant diflPer-
ence of 16.''
17
8
43
16
38
.15
10
37
45
14
36
11
42
7
39
9
44
18
41
48
r.
12
35
46
40
49
6
19
34
47
4
13
56
29
20
63
50
3
22
33
62
51
28
21
64
57
2
23
58
27
30
53
60
25
32
55
52
61
26
31
54
59
24
1
The difficulty is solved easily by Euler's process, 64
governs 31, and 31 of course governs 32, the position
of the last desired cell,
Digitized by VjOOQIC
THE knight's magic SQUABE.
323
17
8
52
58
15
10
51
60
54
57
16
9
52
59
14
11
7
18
55
48
5
12
61
50
56
47
6
19
62
49
4
13
29
34
20
33
46
3
22
63
40
45
28
21
32
39
2
23
27
44
30
43
36
25
64
41
38
35
26
31
42
37
24
1
Which being re-entering, can be varied now in 63
diflPerent ways.
To fill up a square with a Knight's move^ so that the
difference between any opposite numbers shall be 8.
To do this we have to take care that 9 shall be in the
opposite cell to 1 ; 25 to 17 ; 41 to 33 ; and 57 to 49,
18
11
34
59
32
47
13
62
46
31
63
14
>
5K
17
12
10
57
19
36
60
33
16
29
64
45
9
20
61
48
15
30
22
7
40
53
28
1
44
49
,37
56
21
8
41
52
27
2
1 6
23
54
39
4
25
50
43
J 55
38
5
24
51
42
3
26
Digitized by VjOOQIC
324
THE KNIGHTS MAGIC SQUARE.
The next approach to a magic square was effected by
arranging the numbers in such a manner that all ths
vertical columns shall be equal.
To fill vp a square with a Knight's move, so that the
difference hetiveen any opposite numbers shall he
32; the first 32 numhrs being in the same half
of the board ; and all the vertical columns oj
each half shall be equal ; the whole column being
260.
I
30
3
20
5
24
11
26
16
19
14
29
12
27
8
23
31
2
17
4
21
6
25
10
18
15
32
13
28
9
22
7
33
62
35
52
37
56
43
58
48
51
46
61
44
59
40
55
63
34
49
36
53
38
57
42
60
47
64
45
60
41
54
39
260 260 260 260 260 260 260 260
Digitized by VjOOQIC
XL.
We now come to the last and most diflScult operation
of the Knight's tour.
To fomi a Magic square with a Knight^ s move, so that
all the perpendicular columns and Jwrizontal rows
shall he equal, beginning at any square of the
chessboard.
This was first accomplished by Mr. Beverley, and
v/iis published by him in the Philosophical Magazine,
in 1848. It is not only the first discovered, but is at
the same time the most perfect. For not only is the
entire square magic, but it divides into four magic
quarter squares, and each of these with four minor
quarter magic squares. It divides also into eight per-
pendicular, and eight horizontal magic parallelograms ;
and the two halves of any line, whether perpendicular
or horizontal, are equal.
1
1
30
47
52
5
28
43
54
48
31
51
2
29
44
53
6
27
46
49
4
25
8
55
42
50
3
32
45
56
41
26
7
33
62 1 15
20
9
24
39
58
16
19
34
61
40
57
10
23
63
14
17
36
21
12
59
38
18
35
64
13
60
37
22
11
Digitized by VjOOQIC
326
THB KNIGHT S MAQIO SQUARE.
In the following year Herr Carl W . . . s, of
P. published another, the discovery of which was
celebrated by several poetic effusions in the Schach
zeitung.
2
2
"
58
51
30
39
54
15
59
60
3
12
53
14
31
38
10
^
52
57
40
29
16
55
49
€0
9
4
13
56
37 j 32
i
64
5
24
45
36
41
28
^'i
23
48
61
8
25
20
33
42 ]
6
63
46
21
44
35
18
27'
1
47
22
7
62
19
26
43
34
In 1862 M. de Jaenisch's elaborate treatise a]
in which we find the four following solutions : —
3
3
6
59
48
61
10
23
50
58
47
4
7
22
49
62
11
5
2
45
60
9
64
51
24
46
57
8
1
52
21
12
63
31
44
53
20
33
40
25
14
56
19
32
41
28
13
34
37
43
30
17
54
39
36
15
26
18
55
42
29
16
27
38
35
Digitized by VjOOQIC
THE knight's ICAOIC SQUARE.
827
18
43
58
3
46
39
22
31
59
2
19
44
21
30
47
38
42
17
4
57
40
45
32
23
1
60
41
20
29
24
37
48
16
55
5
56
61
52
9
28
33
64
13
8
25
36
; 49
10
6
15
62
53
12
51
1 1
34 27
63
54
7
14
35
26
111
50
15
^1
31
52
17
54
43
46
30
51
16
3
42
45
18
55
1
14
49
32
53
20
47
44
50
29
4
13
48
41
56
19
58
'27
64
33
40
5
12
21
36
39
28
61
34
24
11
57
8
6
59
9
22
63
26
37
38
35
62
25
60
1
23
iio
7
Digitized by VjOOQIC
328
THE KMIOHT B MAGIC 8QUAKE.
6
27
30
3
40
5
42
.•)5 58
2 ! 39
28
31
54
57
6
43
29 1 26
37
4
41
8
59
56
7
38 1
32
25
60
53
44
15
36
61
52
17
24
9 46
64
51
16
33
12
45
18 i 21
■ 1
35
U
49
34
62
23 ,
1
20
4-7 I 10
50
63
13
48 1
11 1 22 1 19
Lastly, the author discovered the three following
some thirty years ago when he was studying these
squares : —
15
42
65
4
17
6
59
62
•
54
3
16
43
58
61
18
41
14
1
56
5
64
20
63
60
2
51
28
53
40
31
44
13
57
8
19
25
52
32 j 45
12
21
34
37
24
33
46
9
39
30
50
27
29
38
26
49
"
48
35
2-2
36
23 10
47
Digitized by VjOOQIC
THE knight's magic SQUARE;
329
42
15
3
54
16
43
55
6
61
18
59
4
17
58
5
7
62"
2
41
56
13
64
60
19
8
53
14
1
44
57
20
63
40
31
52
25
12
33
46
21
51
28
37
32
45
24
9
34
30
39
26
49
36
11
22
47
10
27
50
29
38
23
48
35
Sa
6
47
4
59
10
49
62
23
3
58
7
48
61
22
11
50
46
5
60
1
52
9
24
63
57
2
45
8
21
64
51
12
41
19
32
53
40
13
34
25
31
56
41
20
33
28
37
14
18
43
54
29
16
39
26
35
55
30
17
42
27
36
15
38
Digitized by VjOOQIC
dso
THB knight's HAGCC SQUARE.
In 1884 a French gentleman, of Orleans, published
the following in a brochure, under the pseudonym of
Palamede : —
43
30
53
4
45
28
51
«
54
1
44
29
52
5
46
48 27
31
42 j 3
56
25
7
50
2
55 32
41
8
49
26
47
63
34
9
24
57
40
15
18
10
23
62
33
16
19
58 39 1
35
64
21
12
37
60
17
14
22
11
36
61
20
13
38
59
And he formed duplicate arrangements of 2, 3, 4, 5, 6
and 7 ; and a second one of 4, of beautiful design.
2
27
50
43
6
23
62
47
51
28
42
3
1
44
26
49
63
48
7
22
24
5
46
61
41
52
25
4
45
64
21
8
14
39
29
40
53
20
9
60
35
54
13
32
57
36 1 19
1
10
30
16
66 37
12
17
34
59
65
38
31
16
33
58
11
18
Digitized by VjOOQIC
THE EKIOHT's MAQIC SQUABS.
331
3
58
5
30
65
40
27
42
6
31
2
57
28
43
54
39
59
4
29
8
37
56
41
26
32
7
60
1
44
25
38
15
53
24
61
46
17
36
9
52
18
33
64
45
16
21
12
51
47
62
35
20
49
10
23
14
34
19
48
63
22
13
50
11
18
43
54
3
46
39
30
27
55
2
19
44
29
26
47
38
42
17
4
53
40
45
28
31
1
1
16
56
41
20
25
32
37
48
5
64
57
52
9
24
33
' 63
1
60
13
8
21
36
49
10
6
15
58
61
12
51
34
23
59
62
7
14
35
22
11
50
Digitized by VjOOQIC
332
THE knight's magic SQUARE
46
55
26
3
58
43
6
23
27
2
45
56
5
24
59
42
64
47
*
25
44
57
22
7
1
28
53
48
21
8
41
60
62
33
16
29
40
61
20
9
15
30
49
36
17
12
39
62
34
51
32
13
64
37
10
19
31
14
35
50
11
18
63
38
43
2
45
28
39
30
55
IH
26
47
42
* 3
54
19
38
31
1
44
27
46
29
40
17
56
48
25
4
41
20
53
82
37
5
64
21
52
9
86
57
16
24
49
8
61
14
59
12
33
63
6
51
22 35
10
15
58
50
23
62
7 60
13
34
11
Digitized by VjOOQIC
THE KNIGHTS MAGIC SQUAHE.
333
43
46
3
22
5
60
19
62
2
23
42
45
20
63
G
59
47
44
21
4
57
8
61
18
7
24
1
48
25
41
32
64
17
58
49
40
9
56
15
31
26
29
52
37
IG
33
12
55
39
50
31
28
53
10
35
14
30
27
38
51
36
13
54
11
43
26
51
O
15
30
3D
54
50
3
42
27
40
53
14
31
25
44
1
52
29
16
55
38
4
49
28
41
50
37
32
13
45
24
61
8
17
12
57
36
64
5
48
21
60
33
18
11
23
46
7
62
9
20
35
58
6
63
22
47
34
59
10
19
Digitized by VjOOQIC
334
THB KNIGHTS MAGIC SQDAKB.
61
59
38
3
32
6
62
27 j 34
2
31
60
37
28
33
6 1 63
39
58
29
4
61
8
35 i 26
30
1
40
57
36
25
64 : 7
41
56
13
20
45
52
9
24
16
19
44
53
12
21
46
49
55
42
17
14
43
51
48
23 1 10
18
15
54
23
11
60
47
On examining these it will be found that the squares
are re-entering, with the exception of Mr. Beverley s,
Palamfedes' 2, 4, G, 7 and 9 ; and Mr. Caldwell's.
As these squares all commence in the same quarter
of the board, what w^e find in this quarter will apply
to all the other quarters : . and what we find in any
quarter will apply to the corresponding cells of that
I
X
9
5
2
7
4
6
8
3
^ Waa published by Mr. E. C. Caldwell in the *' Engliah Mechanic,** in 1879.
Digitized by VjOOQIC
THE knight's magic SQUARE.
335
quarter. Consequently there remains only the cell
marked x, the solution from which has not been dis-
covered, and which remains, therefore, for the study
and amusement of lovers of chess, and for the exercise
of the scientific research of mathematicians.
The following are approximate eflforts for the cell x.
In each case the changing of two cells would make
the square right.
64
33
2
31
60
37
18
15
1
30
61
36
19
16
59
38
34
63
32
'
40
57
It
17
29
4
35
62
13
20
39
58
50
47
28
5
56
41
22
11
27
6
49
46
21
12
55
42
48
51
8
25
44
53
10
23
7
26
45
52
9
24
43
54
50
47
2
31
54
43
18
16
1
30
49
46
19
16
55
42
48
51
32
3
44
53
14
17
56
29
4
45
52
13
20
41
64
33
28
5
40
57
12
21
27
6
61
86
9
24
39
58
34
63
8
25
60
37
22
"
7
26
85
62
23
10
59
38
Digitized by VjOOQIC
33G
THE KNIGHTS MAGIC SQUARE.
58
39
2
31
42
55
18
15
1
30
57
40
19
16
43
54
38
59
32
3
56
41
14
17
29
4
37
60
13
20
53
44
64
33
28
5
52
45
12
21
27
6
61
36
9
24
51
48
34
63
8
25
46
49
22
11
7
26
35
62
23
10
47
50
6
59
2
29
38
27
36
63
1
30
5
60
33
64
39
26
58
7
32
3
28
37
62
35
31
4
57
8
61
34
25
40
56
9
52
45
24
41
18
15
51
48
55
12
17
14
21
42
10
63
46
49
44
23
16
19
47
50
11
54
13
20
43
22
Digitized by VjOOQIC
XLI.
INDIAN MAGIC SQUARES.
Bev. A. H. Frosty M.A. — Invention of Magic Cubes and
Construction of Magic Squares. In *< Quarterly Journal
of pure and applied Mathmatics," No. 25 - • 186S
— Supplementary Note on Nasik Cubes, ditto, No. 29 1866
— On the construction and properties of Nasik Squares and
Cubes .... Cambridge, 1877
—Magic Squares - - • - " Enc. Brit" 1882
H. J. Kesson — On Magic Squares, and Caissan Magic
Squares - (Ursus) In the "Queen," 1879-1881
Since writing, some thirty years ago, what we have
described relative to Magic Squares, a great develop-
ment of the subject has been made by the discovery of
other properties of Magic Squares as practised in India.
The Eev» A. H. Frost, while a Missionary for many
years in India, of the Church Missionaiy Society,
interested himself in his leisure hours in the study of
these squares and cubes ; and in the articles which he
published on the subject gave them the name of Nasik^
from the town in which he resided. He has also
deposited "Nasik Cubes" in the South Kensington
Museum; and he has a vast mass of unpublished
materials of an exhaustive nature, most carefully
worked out, which we should be glad to see published.
Mr. Kesson has treated the same subject in a different
y
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338 INDIAN MAGIC SQUARES.
way, and in a more popular form, in the QueeUy and we
hope he will collect these scattered papers, and publish
them in a concrete form, so as to render them more
easy of reference. He gives his, very appropriately,
the name of Caissan Squares, a name given to these
squares, he says, by Sir Wm. Jones.
The proper name, however, for such squares should
rather be Indian. For not only have the Brahmins
been known to be great adepts in the formation of
such squares, from time immemorial ; not only does Mr.
Frost give his an Indian name, and Mr, Kesson give
his Caissa a location in Eastern Europe ; not only is
one of these squares represented over the Gate of
Gwalior, while the natives of India wear them as
amulets ; but LaLoubSre, who wrote in 1693, expressly
calls them Indian squares.
Though the study of these squares vould not bo in
keeping with the object of this book, which is to
enable anyone to take up the pursuit of the games and
problems we have given, as a half hour s amusement
and recreation, and not as a mathematical study
requiring long and continued work ; we think it
desirable to give an example of such a square, in order
to show how these squares differ liom the ordinary
magic square.
In these Indian squares it is necessary not merely
that the summation of the rows, columns and diagonals
should be alike, but that the numbers of such squares
should be so harmoniously balanced, and that the
summation of any eight parts in one direction, as in
those of a bishop or knight, should also be alike.
We will take as an example a square of 8, as being
that of the chess-board ; though this square is not so
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INDIAN MAGIC SQUARES.
339
perfect in all its paths as a square of 10 ; but it is quite
sufficiently so to answer our purpose. The square is
supposed to be surrounded in all directions by other
squares filled in with the same figures or numbers.
The following diagram shows the square, and a portion
of eight surrounding squares, by which it will be seen
that the numbers on these portions are identical with
those of the corresponding cells of the central square :
consequently it is obvious that it is not necessary to
go into these surrounding squares, but to continue
working from the corresponding cells of the central
square.
28
40
31
38
29
33
26
35
28
40
61
1
58
3
60
8
63
6
61
1
52
16
55
14
53
9
50
11
52
16
45
17
42
19
44
24
47
22
45
17
36
32
39
30
37
25
34
27
36
32
5
57
2
59
4
64
7
62
5
57
12
56
15
54
13
49
10
51
12
56
21
41
18
43
20
48
23
46
21
4i
28
40
31
38
29
33
26
35
28
40
Gl
1
58
3
60
8
63
6
61
1
Let us suppose that we require eight moves equal to
the distance from 40 to 7. This would require six
adjoining squares : —
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340 INDIAN MAGIC SQUAfiES.
The move 40 — 7 is three diagonal cells to the NE,
and then two to the E, or right ; and that cell in the
second square will correspond with 14 in the first square.
The next three diagonal and two to the right will lead
us into cell corresponding with 21 in the first square ;
and the cells in the remaining squares will correspond
with numbers 25, 58, 51 and 44 in the first square.
And thus, instead of having these additional squares,
we proceed from 40 to 7 in the previous diagram: then
three diagonals will bring us to cell outside correspond-
ing with 16, and then taking two to the right will give
us 14 : from which two diagonals will bring us to cell
corresponding with 33, and one more will be 23 from
which two to the right will give us 'Jl: from which
three diagonals and two to the right will give us 25,
and so on. These, when put in their proper places,
will produce this pattern, being the Bishop's move
from 21 consecutively to 58, and its complement, on
the other side of the diagonal, 40 ; thus making a
summation of 260.
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INDIAN BIAQIC SQUABES.
341
o
o
o
o
o
o
o
o
As each 'path consists of eight cells, it is immaterial
whether a piece moves any number of cells forwards,
or the complement of eight backwards.
Thus, in the Bishop's move 40 to 47, the palh will
be:—
40
5 forwards
. 47
3 backwards .
. 64
5 fonrards
.. 61
3 backwards .
. 25
3
. 18
5 forwards
. 11
3 backwards .
4
260
And in the Knight's extended move, 40 to 46, the
potft willbe: —
6 forwards
2 backwards
2
2
6 forwards
2 backwards
2 — i —
40
46
49
59
32
22
9
3
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842 INDIAN MAGIC SQUARES.
The following are the properties of this square : —
1. All the rows and colamns, and the two diagonals have an equal
summation.
2. Any square of four cells »= 130.
3. The.four comer cells of any square of 16, 36 or 64 cells = 130.
4. The two cells on each side of any such square, or of a double
square — 130.
. 16 53 ^^ 16 50 ^, 16 50 _ ,n^
^ 17 44 ^' 17 47 ^'57 7 ~ ^^"•
5. Every alternate gioup of two Ugures is equal, as will be seen in
following diagram.
6. The path of each Bishop's shortest move «- 260.
As 16 . 68 . 38 . 20 . 49 . 7 . 27 . 45 = 260.
7. Tbdpath of each Bishop's extended move =» 260.
As 56 . 44 . 35 . 2 . 9 . 21 . 30 . 63 = 260.
8. Thopath of each Knight's move = 260.
As 40 . 43 . 49 . 62 . 32 . 19 . 9 . 6 — 260.
9. The path of each Knight's extended move (with some excep-
tions) — 260.
As 40 . 46 . 49 . 59 . 32 . 22 . 9 . 3 — 260.
10. Many endless imaginary paths will also make 260.
As 40 . 7 . 14 . 21 . 25 . 58 . 51 . 44 = 260 (as in p, 340).
40 • 45 . 51 . 63 . 25 . 20 . 14 . 2 — 260.
40 . 53 . 27 . 15 . 33 . 52 . 30 . 10 — 260.
11. When any such path repeats itself half-way it is 130.
12. As the square is of regular formation, it will have all the same
properties if one or more columns are taken from one side and put on
the other ; or if the same be done with the top and bottom rows.
An easy way of forming this particular square is
exhibited in the following diagram, in which it will be
seen that four figures in one quarter are balanced by
four figures in another quarter, each of which is exactly
opposite to the corresponding one. Then two groups
of four others are placed in the same manner, till half
the board is covered.
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INDIAN MAQIC SQUARES.
343
1
1 3
1
8
6
16
i„
9
11
17
19
24
22
32
30
25
27
•2 1
4
7
5
15
13
10
12
18
20
23
21
31
29
26
28
The other cells are filled in in the reverse way, and
the square is complete.
We will now show how the square can be transposed
without destroying its magical character.
We will first take its diagonal, 1 — 28 for its first
vertical column, and we get: —
1
68
3
60
8
63
6
61
55
14
53
9
50
11
52
16
19
44
24
47
22
45
17
42
37
25
34
27
36
32
39
30
64
7
62
5
57
2
59
4
10
51
12
66
15
54
13
49
46
21
41
18
43
20
48
23
28
40
31
38
29
33
26
35
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344
INDIAN MAGIC SQUARES.
We will now turn the square sideways, making the
top row 61 — 35, and will then work it downwards
with a Knight's move, 61, 17, 2, 43, which will make
the first column, and we then get —
61
16
42
30
4
49
23
35
17
39
59
13
48
26
6
52
2
54
20
33
63
11
45
32
43
29
8
60
22
36
67
15
60
9
47
27
5
56
18
38
24
34
62
12
41
31
3
53
7
61
21
40
58
14
44
25
46
28
1
55
19
37
64
10
The left diagonal of the original, counting from the
top, is now horizontal ; the right diagonal is two diagonal
squares and one straight ; the horizontal rows are now
a Knight's move, and the columns are a diagonal to the
left ; while the present diagonal to the right is two
diagonals and one downwards : and the original square
is not recognised.
Thus we see that in the original square, p. 339, we
can begin the second row with the diagonal 55, the
Knight's move 14, or with any extended Knight's
move, as 53, 9, 50, 11, or 52, and then fill up the
numbers in each row: and this in either of these
opemtions, thus producing great variety. And we can
do the same if we select any other niunber of the
'square, as 1 — 7, four diagonal and one horizontal.
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XLII.
FIGURES OF THE KNIGHT'S TOUR.
A further exercise of ingenuity aflforded by the
Knight's tour is exhibited by tracing the figure of its
march. In this exercise not only must every square
of the board be filled up with a Knight's move, but the
track, when figured out, must exhibit some regular or
striking form. The following illustrations will serve
as examples of the great variety of figures which may
be produced. Those on the double chess-board are still
more regular. These figures show, at the same time,
the great variety of ways in which the Knight's tour
may be accomplished, and the harmonious order of its
march.
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346 FIGURES OF THE KNIGHT*8 TOUK.
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FIGURES OF THE KNIGHTS TOUR.
347
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348
FIGDRES OF THE KNIGHT^S TOUR.
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FI6CTRES OF THE KSIOHTS TOUK.
349
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350
FIGURES OF THE KNIGHT's TOUR.
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naURES OF THE KNIGHTS TOUR.
351
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352 FIGURES OF THE KNIGHT's TOUR.
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FIGURES OP THE KNIGHT's TOUR. 353
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354 FIGURES OF THE KNIGHT's TOUR.
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FI0UBE8 OF THE KNIGHTS TOUR.
355
2?
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356 FIGURES OF THE KNIGHT's TOUR.
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APPENDIX
No. I.
RULES OF THE EGYPTIAN GAMES.
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358 APPBNDIX I.
LUDUS LATRUNCULORUM.
The game is played on a twelve-square board,
having 144 cells or squares.
Each player has five rows of six pieces, beginning at
the left hand corner, and placed alternately.
The pieces move and take in all directions, per-
pendicularly, horizontally, diagonally, forwards and
backwards.
The pieces can leap over an adversary if the opposite
cell is vacant ; but not over one of their own colour.
Pieces attack each other when in contiguous cells ;
and when another piece comes up on the opposite side
the intermediate piece is taken off.
But a piece can go between two adverse pieces
without being taken.
When one side is hopelessly beaten, or locks himself
in, the game is lost,
11.
THE GAME OF SENAT,
The game was played on a thirteen-square, eleven-
square, nine-square, seven-square, or five-square board,
according as there was more or less time to play.
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APPENDIX I. 859
But the board must have an odd number of squares,
so as to have a central square, which square is to
remain vacant till all the other squares are filled in.
The players, by turn, begin by placing two pieces
wherever they please, till all the squares are filled in
except the central one.
In placing the pieces there is no taking up. When
all the pieces are placed the game begins.
The pieces move forwards, backwards and sideways,
but not diagonally.
A piece is taken by putting one on each side of it,
in a straight line, vertical or horizontal.
But a piece can go between two hostile pieces without
being taken.
When a player locks himself in, refusing to come out,
he loses the game.
III.
THE GAME OF THE BOWL.
This is a game of stakes, which are placed in the
bowl. They may be either counters or small money.
The board consists of twelve concentric rings,
having the Bowl in the middle, to hold the stakes, and
the pieces which get home.
E^ch player has twelve pieces, and two counters or
cowries.
The counters are coloured on one side, and are white
on the other: the coloured side counting as two, the
white as one. The cowries if down count as two, if up
as one.
A player can either enter his throws, or play pieces
already entered.
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360 APPENDIX L
The principle of the game is the same as that of the
other Egyptian games, the Tau or Latrunculi, and
Senat, that a piece is taken when attacked on each side.
As the board consists of rings, the pieces on the
board are supposed to operate right and left round
the ring : and thus, if two pieces are on one side,
and only one on the other side of a ring; one of
these pieces will operate on the right, and the other
on the left, and thus attack the opposite piece on both
sides and take it.
But a piece can enter or move into a rin^ when two
or more pieces are on the other side ; and ciinnot be
taken till the opponent enters a fresh piece into that
rinor.
The pieces enter on the outside, and gradually move
up to the centre, and then out as they get in the bowl,
according to the throw.
When one of the players has no more pieces on the
board, the game is ended.
Each player then counts the number of pieces which
have got home, and the number of prisoners he has
taken ; and the victor adds thereto the number of
pieces he has remaining on the board.
IV.
THE GAME OF THE SACRED WAY.
The board consists of three lines of squares, the side
ones of only four squares, while the middle line has
twelve squares.
Each player has four pieces, which are entered in the
four side squares; which are supposed to be marked
1, 2, 8, and 4, beginning from below.
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APPENDIX I. 361
One dice only is used on either side. This dice is of
oblong form, and marked 1, 2, 3, 4.
The pieces move down the sides, and up the centre,
and out, according to the throw.
It is optional to move or not, as the player thinks fit.
Prisoners taken by either side are entered on that
side, when the player chooses, in 1 , 2, 3 or 4, according
as 1, 2, 3 or 4 is thrown.
When one player has lost or played out all his
pieces, the game is ended : and each player reckons
up his pieces out, and the victor adds thereto his pieces
on the board, and his prisoners.
*^,^* These four games with boards, pieces, and rules
complete in one box, can be had of L. Humphrey, St.
Dunstan's Buildings, E.G., price 7s. 6d. prepaid.
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362
APPENDIX
No. 11.
ADDENDA ET CORRIGENDA.
Page 53, line 13. After the word " result" aild — For rules of the
game see Appendix I.
,, 75, line 2. Add — For rule« of the game sec Appendix I.
„ „ line 7. Add — In page 1 1 the inscription should read " Lifts
three pieces and two,'* not " three pieces or two." So many
pieces and so many, is just what wo find in this game,
though in the game Ave played we did not succeed in taking
three pieces in one move. No doubt Avith good players such
a take would occur ; and the painting or inscription repre-
sents two skilful plaj'ers, each of whom has captured three
pieces at one stroke. But two pieces arc frequently taken
at one stroke, as in the example we have given ; and this
stroke is followeil up by subsequent moves, taking up other
pieces, and thus the inscription ** Three pieces and two,"
wonderfully confirms our interpretation of the game.
„ 87, line 8 from bottom. For ** marked " read masked,
,, „ At end. Add — For rules of the game see Appendix I.
„ 99, At end of third paragraph. Add — For rules of the game see
Appendix I.
„ 109, Insert 2 before bottom note.
„ 121, line 5 from bottom. For " did " read mid,
„ 125, line 3 from bottom. For " Universal " read Univa^sUff,
„ 142, line 12. For " Rukh " read Rook,
„ 243, Note. For " a ack " read attacic
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APPENDIX II. 363
Unlike the Chinese who use paper chess-boards, the Turks who
carry their chess-men and chess-cloth in a bag, so as to be always
ready, and Europeans who deposit them in closets till wanted ; the
Japanese pile their games one upon another as ornaments in their
rooms. I have two piles of these games the ornamentation of which
is very similar. The lower board is that of Go, the game of Enclosing;
the next is the Chess-board ; the next is a game which I have not
been able to ascertain, but I believe it is played with a dozen men on
each side, black and white, and with diminutive dice only y\ of an
inch square, the fritillus, or dice box for which is japanned to corres-
pond with the board, and is IJ inches high, with an internal diameter
of only -i*g of an inch. The board itself lias twelve oblong divisions
on each side, with a space between the two sides. Above this game
is a box to hold the pieces.
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364
APPENDIX
No. III.
LOWER EMPIKE GAMES/
In a letter received from my friend Mr, George
Dennis, dated January 2nd, 1892, he says: —
Immediately I received your letter I started for the
Forum. The excavations at Rome of late years have
disclosed the original pavements of many buildings in
the Forum, which show circles scratched of old on the
slabs, evidently for some game or other. The diagrams
I give are all scratched in the pavement of the Basilica
Julia, or of other buildings which have been brought to
light of late years ; and I take it that they must have
been made in the Lower Empire, when the temples and
basilicas were deserted, and before the capture of Rome
by the Goths: because the destruction of the principal
buildings at that period would have covered the pave-
ments with debris, I went carefully over all the ruins
in the Forum, and could find no other varieties than I
here give yoU: Many of the circles are rudely scratch-
ed in the pavement, but a few are geometrically correct:
the former are very numerous. There are but few of
the squares. I could find no instances of numerous
concentric circles. (I had asked him about these.) I
remember similar diagrams at Pompeii or elsewhere, but
I never paid them much attention. I will not fail to
report to you any other instances I may note in my
wanderings.
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APPENDIX III.
\:::\ 5
A/'vx
ri
w
\ff/j
X
X
X
X
z
X
X
X
LOWER EMPIRE GAMES
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366 APPENDIX III.
1. About 8 ft. 3 ins. in diameter. 4. Others without the holes.
2. About 2 ft. 8 iuB. in diameter, otheis 5* About 20 ins. in diameter.
similar, but without inner circles. 6* About 2 ft. square. A similar one
3. About 5ft. in diameter, others with- about 15 ins. square.
out the radii, but with holes in
outer circle.
All the circular diagrams appear to represent the same
game. During my twelve months* residence in Pompeii
in 1847, while excavating the house of Marcus Aurelius,
I do not recollect seeing any such diagrams; for, as Mr.
Dennis says, I was not then interested in them : and I
do not consider it likely that the Mdile of such a modem
watering-place as Pompeii then was, would have allowed
the pavement of public buildings to be so disfigured, or
idle people to be squatting about and playing at such
games, to the great discomfort and annoyance of other
people, engaged either in public business or at their
devotions.
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BY THE SAME AUTHOR.
Museum of Classical Axtiquities
Thsatres in Crstb
DiBDALUS - . -
Ephbsus and the Temple op Diana
1851-2.
1854.
1860.
1862.
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WnJilAM POLLABD & Ck)., PBIirTEBS, EXETBR.
OwKN Williams, Photoqraprsb, Lauohabiib.
Watxrlow k Sons Ltd.^ Photo-EnoraybbSi London.
^1
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