Class x ___ 
 
 Book .jlU^L 
 
THE 
 
 ELEMENTS OF DRAUGHTS; 
 
 OB, 
 
 BEGINNERS' SURE GUIDE: 
 
 CONTAINING A THOROUGH AND MINUTE EXPOSITION OF EVER! 
 PRINCIPLE, SEPARATELY EXPLAINED : TOGETHER WITH 
 
 MODEL GAMES, 
 
 ILLUSTRATIVE OF ALL THE OPENINGS. 
 
 ILLUSTRATED BY DIAGRAMS: 
 
 IXHTBITING CRITICAL POSITIONS, TO BE WON OR DRAWN BI 
 SCIENTIFIC PLAY. 
 
 -ki 
 
 I. r>. J. SWEET, 
 
 DRAUGHT EDITOR OB" THB NEW YORK " CLIPPER* 
 
 NEW YORK. 
 ROBERT M. DE WITT, PUBLISHER, 
 
or* 
 
 Entered, according to Act of Congress, in t, year 2859, by 
 ROBERT M. DE WIT 
 frthe Clerk's Office of the District Court of the United States for I 
 Southern District of New York. 
 
 W. H. Tisso.v, Htereotypar. 
 
PUBLISHER'S NOTICE. 
 
 The rapid and steady demand for the previous edition 
 of the " Elements of Draughts," and the unanimous 
 approval which has been accorded by the highest author- 
 ities, must be the apology of the publisher for indulging 
 in a pardonable exultation over its absolute success. If 
 proof were requisite that ability coupled with conscientious ear- 
 nestness, must command entire success; it has been abundant- 
 ly furnished for the past twelve years. In an article which 
 appeared in " Bell's Life in London," Mr. Geo. Walker 
 expresses the opinion that the " Elements of Draughts ; 
 or, Beginners' Sure Guide, is the best elementary treat- 
 ise ever written on the game." This is high praise — but 
 it is fully merited. In conclusion, it is sufficient to affirm 
 that the merits of this book will force it into public notice, 
 and an examination of its pages will compel the conclusion 
 that the promises of its title-page and aspirations of its 
 preface, have been more than realized. 
 New York, 1872. 
 
 Entered according to Act of Congress, in the year 1859, by 
 
 ROBERT M. DE WITT, 
 
 In the Clerk's office of the District Court of the United States for 
 
 the Southern District of New York. 
 
PREFACE. 
 
 Reader, we have no apology to offer for the following 
 pages — but a motive to explain, which (if we mistake not) 
 will fully warrant their appearance. This motive is simply 
 to teach you how to master and comprehend the principles 
 of the beautiful and scientific game of Draughts. We might 
 here give you a catalogue of all the eminent names con- 
 nected with the game ; but forbear, because this is not what 
 you need. Rather suffer us to take you by the hand, and 
 passing first through the surface, we will finally penetrate to 
 the centre of this fascinating study. Where is the boy who 
 does not remember the delight that he experienced in learn- 
 ing to "play Chequers," and yet how few have learned to 
 play anything better than an indifferent game ? One fruit- 
 ful source of hindrance to the advancement of the beginner, 
 is the ridicule of a peculiar class of players, who, having a 
 moderate degree of strength (acquired by long practice), 
 uniformly make a " dead set " at all " book players." You 
 are to pay not the least attention to the remarks of this 
 
IV 
 
 Preface. 
 
 class of players, who are, at best, only a third raters," and 
 consequently can never make you acquainted with the higher 
 beauties of the game. 
 
 Since our connection with the Draught-playing organ of 
 the United States (The New York Clipper), it has been our 
 constant aim to encourage and instruct the beginner. Our 
 efforts have been abundantly repaid : for within the period 
 of four years, thousands who learned their first lesson in the 
 Draught column of the Clipper, are to-day able to " lay out " 
 (beyond redemption), the whole army of "book" opposers. 
 Beginners, the following pages are indited with the object 
 of enabling you to become masters of the game ; and in 
 accomplishing this, all other desirable objects will be se- 
 cured : for we shall thus furnish a repast which cannot fail 
 to tempt the appetite of the finished player. In conclusion, 
 let me entreat of the reader to examine carefully the games 
 which are given in the latter portion of the present volume. 
 Being the results of the highest order of play, their contem- 
 plation will tend to advance you rapidly, as well as to im- 
 press you with a deeper and truer love for the game. The 
 " Theory of the Move and its Changes," together with the 
 " Improved System of Numbering the Board " (both articles 
 by Mr. Paterson, of Scotland), are perfect gems. Should 
 success keep pace with the sincere desire to instruct, I shall 
 consider myself amply repaid for the toil of preparing this 
 volume. 
 
 I. D. J. Sweet. 
 NbwYobk,1859. 
 
CONTENTS. 
 
 Elements* 
 
 Facm 
 
 Arrangement of Board and Men, with Diagram 8 
 
 Explanations of the Board and Pieces 9 
 
 Object of each Player 11 
 
 Board Numbered, with Explanations of the Same 12 
 
 Object of Numbering the Squares 13 
 
 Method of Moving the Men IS 
 
 Of Captures 14 
 
 What constitutes a King ; Crowning, etc 15 
 
 Drawn Game, 16 
 
 The Move 17 
 
 Double Corners 20 
 
 The Standard Laws of the Game.... 20 
 
 The Author's Advice to Young Players 24 
 
 The Openings 26 
 
 Preliminary Game for the Instruction of Beginners, with numerous 
 
 Explanatory Notes 80 
 
 End-Games, accompanied with Diagrams, showing the different 
 
 Methods of Winning or Drawing the Game 35 
 
 Stratagems, being a Description of different Positions usually occur- 
 ring in the Game of a Novice ; illustrated by Diagrams 40 
 
 Draught Problems selected from the New York Clipper, with 
 
 Solutions 47 
 
 5 
 
vi Contents. 
 
 Games. 
 
 Pags 
 GAME I. 
 
 Prom Anderson's Work, Published with Notes in the Clipper about 
 two years since, 54 
 
 6AMB 15. 
 Played between Messrs. Mercer and Spay th 56 
 
 GAME III. 
 " Ayrshire Lassie," with Analysis 56 
 
 GAME IV. 
 "life" Opening, with Notes 67 
 
 GAME V. 
 Illustrating the " Suter," as played by Messrs Fuller and Hodges. . 59 
 
 GAME VI. 
 " Single Corner," as played by Messrs. Drysdale and Mercer 60 
 
 GAME VII. 
 
 "Whilter." By H. Spayth, Esq. Dedicated to Andrew Anderson, 
 Champion of Scotland 61 
 
 GAME VIII. 
 
 " Old Fourteenth," as played by Messrs. Bray ton and Sweet 63 
 
 GAME IX. 
 
 Blindfold Game between •' Apollo " and " Harry Leseme " 63 
 
 GAME X. 
 
 "TheOross." By "Hamilton" 64 
 
 GAME XI. 
 
 " Bristol." From Anderson's Work, with Analysis 65 
 
 GAME XII. 
 
 tl Maid of the Mill." Played between Messrs. Hodges and Mercer. 6T 
 
 GAME XIII. 
 
 11 Glasgow," with Notes 68 
 
 GAME XIV. 
 Irregular Opening. By Mr. Tarbell, of New York, who is blind I . . 69 
 
Contents. vii 
 
 Pags 
 GAME XV. 
 
 "Laird and Lady" 70 
 
 GAME XVL 
 
 "Second Double Corner." Match Game between Anderson and 
 Wylie 71 
 
 GAME XV1X 
 
 Wylie's 18thGame 72 
 
 GAME XVIIL 
 
 The " Whilter," as played by Mr. Dutton and a friend 78 
 
 GAME XIX. 
 The "Cross." Played between "Martin," of Boston, and an 
 Amateur 74 
 
 GAME XX. 
 " Single Corner." Played between " Harry," of Buffalo, and Mr. 
 Jenkins 75 
 
 GAME XXI. 
 
 " Double Corner." Dedicated to " Martin," by " Harry." 75 
 
 GAME XXII. 
 
 "Single Corner." Wylie 77 
 
 GAME XXHX 
 " Ayrshire Lassie," being a Game in a Match between Messrs. WylU 
 andPrice, for £50 a side 78 
 
 GAME XXIV. 
 
 The "Whilter." Anderson 79 
 
 Theory of the Move, and its Changes 81 
 
 Paterson's System of Numbering the Board. 98 
 
 Demonstration of Payne's Rule 104 
 
 Playing Tables of one of the Glasgow Draught Clubs 105 
 
 General Rules for Play 106 
 
 Stanzas 107 
 
 Closing Remarks 108 
 
The game of Draughts is played on a board of sixty -four 
 squares of black and white, by two persons, with twenty- 
 four pieces of different colors : 
 
 Diagram I. 
 DRAUGHT BOARD AND MEN 
 
 BLACK. 
 
 WHITE. 
 
 Arrangement of men for play* 
 
THE 
 
 ELEMENTS OF DRAUGHTS; 
 
 OR, 
 
 BEGINNERS' SURE GUIDE. 
 
 CHAPTER I. 
 
 EXPLANATIONS OF THE BOARD AND PIECES. 
 
 By observing the diagram (p. 8) the student will at once 
 perceive that it is composed of sixty-four squares of black 
 and white ; and also that there are twelve black spots placed 
 upon the three upper rows of white squares. The three 
 lower rows of white squares will be observed to be occu- 
 pied by circles which represent the white pieces or men, as 
 they are generally termed. By looking again you may ob- 
 serve that the board is so arranged that we have a black 
 square on the lower corner at the right hand. This is the 
 proper arrangement when the pieces are placed on the white 
 squares. When the black squares are used, the order is 
 
 
 
io The Elements of Draughts; 
 
 changed, and we find a white square at the lower right-hand 
 corner, thus : 
 
 Diagram II. 
 
 BLACK. 
 
 i B 11 ■ 1 
 
 m wm ph . m 
 i i 1 J I II 
 
 ■ ■ ■ ■ 
 
 ■ ■ B fl 
 
 ■ ■ B H 
 ■1 I I II lag 
 
 BBS B 
 
 WHITE. 
 
 Thus you see we have now a white square at the right ; 
 and the men should now be placed upon the black squares. 
 Observe in this case, that the relative positions of the men are 
 
or, Beginners' Sure Guide. 11 
 
 not changed; but chat the color of the squares is altered 
 from black to whLe. It being a mere matter of taste as re- 
 gards the color of the squares, it follows that in some parts 
 of the world one color is chosen, and in others its oppo- 
 site. Thus, in England, the white squares are used (as re- 
 presented in Diagram I.,) while in Scotland, as well as the 
 United States, the men are placed on the black squares. 
 One reason for representing them on the white is simply 
 because it is more convenient to thus represent them, as 
 types for so doing are more easily procured. The words 
 black and white, which have their respective places above and 
 below the board, are evidently so placed to describe the 
 colors of the men on their respective sides. We next come 
 to the object of the players, which we will now proceed to 
 define. 
 
 CHAPTER II. 
 
 OBJECT OF EACH PLAYER. 
 
 The final object of each player is to either capture all of 
 his opponent's men, or so confine them that they are not 
 capable of being moved ; and the one accomplishing this 
 first, wins the game. We next come to examine the powers 
 and movements of the men; but before so doing, it will be 
 advantageous to give a diagram representing the board 
 numbered, thus : 
 
12 The Elements of Draughts; 
 
 BOARD NUMBERED. 
 Diagram III. 
 
 BLACK. 
 
 I 1 ! 2 ! 3 !' 
 
 *H'B'fl 8 H 
 
 9 II 10 |H 11 | | 12 
 
 13 I! U | I 15 11 16 H 
 
 B n p is g io y 20 
 
 21 II 2f [ 1 23 [I 24 |'T 
 
 |f 25 j| 26 || 27 §§ 28 
 
 29 f 1 30 J | 31 1 | 32 1 
 
 Explanation of the Board Numbered, 
 
 By referring to the diagram above, we perceive that the 
 upper white square at the left side is occupied by the figure 
 1. Running the eye along the upper row of squares, we 
 observe that they are respectively numbered 1 2, 3, 4. 
 
j£ 9 Beginneis' Sure Guide. 13 
 
 Commencing back, exactly a<s in reading the lines of a page, 
 we find next below at the left, 5. We may now proceed in 
 !ike manner until we arrive at number 82, which is the last. 
 
 TIi© Object of Numbering the Squares. 
 
 ' ^ -"■• 'tone fox th<* re*' pose of recording the moves, 
 wiiiuii ic wouia oe impossiDie to achieve without connecting 
 some symbol with the square, and thus being able to retain 
 it in the mind. The importance of this arrangement will be 
 perfectly comprehended when you are made acquainted 
 with the manner of moving the men, of which we next 
 proceed to inform you. 
 
 The Method of Moving the Men* 
 
 The first move is (or ought to be) determined by lot, and 
 each player moves his men from his own side of the board, 
 and consequently toward the side occupied by his antagonist. 
 The one moving, must first move one of his men occupying 
 the third or farthest row from himself, placing it on the 
 square in the next row bryond. This square must be of the 
 same color as the one occupied by the man before he has 
 been moved, which you will perceive causes the course to be 
 diagonal ; or varying from right to left, as the case may be. 
 Observe : no man can be placed on a square already occupied, 
 either by your own or your adversary's man. For the pur- 
 pose of illustrating the principle of moving, let us refer to 
 the " diagram numbered." Supposing the black men to 
 occupy the uppor side of the board in all cases, we find thai 
 they occupy the squares from 1 to 12. The white men are 
 seen to be placed from 21 to 32. 
 
 Now, suppose the white men are to be played first. As 
 has already been intimated, we must move to a square 
 2 
 
14 The Elements of Draughts; 
 
 which is unoccupied; consequently we must move one of 
 the men in the third row, counting from the outside of 
 White's side of the board. The men in this row will b© 
 found to occupy the squares numbered 21, 22, 23, and 24. 
 Now, suppose you are playing the white men, and make up 
 your mind to move the man on number 21, you can only 
 move him to 1*7, which you will perceive is one square for- 
 ward on the same color. Should you first move the man on 
 22, you could place him either on 1*7 or 18, at your option; 
 as you may move either to the right or left, provided you 
 only move one square on the same color. If Black plays 
 first, and moves the man on 12, he can only go to 16. But 
 if the man on 11 be first played, it may be played either to 
 16 or 16. It is, perhaps, unnecessary to add that each 
 moves alternately. 
 
 CHAPTER III. 
 
 OP CAPTURING YOUR ADVERSARY'S MEN. 
 
 By capturing, is meant removing your opponent's man or 
 men from the board. There are two conditions affecting 
 capture. The first is that by which you remove your oppo- 
 nent's piece, when it is exposed to your own. Suppose you 
 have a man on number 18, and your opponent's man stands 
 on number 15, and.it your turn to move, you may pass over 
 his man with your own, placing yours on number 11, and 
 remove hi3 man. 
 
 Had you neglected to do so, he might have taken your 
 man for such neglect, which is called " huffing," and consti- 
 tutes the second condition of capture. It is, however, op- 
 
or, Beginners' Sure Guide. 15 
 
 tional with your opponent whether he take your man or force 
 you to pass over, taking his. If. after capturing one man, 
 another or any number of them are exposed in like manner, 
 you are obliged to capture them all, by passing over them to 
 the square next beyond, should your adversary require you 
 so to do. If, however, you fail to perceive that so many 
 were exposed, and "complete your move" (which is the 
 case when you let go of your own man) ; your adversary may 
 take advantage of such oversight, by allowing you only to 
 remove such pieces as you have passed over. In playing 
 these exercises and games, you should take a piece of chalk 
 and number your board. In a very short time you will learn 
 their locality, when this will no longer be necessary. Now, 
 suppose you place a white man on number 29, leaving the 
 other squares on your side of the board empty. Place now 
 black men on number 25, another on 18, and a third on 
 number 11. White having the move will pass over from 29 
 to 22, then from 22 to 15, and lastly from 15 to 8. You 
 may now remove all three of the black men. Again : sup- 
 pose you have a white man on number 20, and your oppo- 
 nent has black men on numbers 16 arid 1. Suppose these 
 to be all the men on the board, and that it is your turn to 
 move, you will pass over both of his men and place your 
 man on number 2. By thus placing your man in your oppo- 
 nent's first row, he acquires a new and increased power, and 
 is termed a King. 
 
 Wliat Constitutes a King. 
 
 We have already remarked, that whenever one of your 
 men reaches your adversary's first row, it becomes a King. 
 This row is called the King-row. ^- A Black King is re- 
 presented thus, g gi a White one thus y|| 
 
16 The Elements of Draughts; 
 
 Of tlie Powers of a King. 
 
 A single man (each piece being so called before entering 
 the King-row) can only move forward, as you will remember, 
 whereas a King can move both forward and backward, which 
 gives him an advantage at once important. A capture (or 
 set of them, as the case may be), constituting a move, it 
 follows, that if a single man capture a piece and alight in 
 the King row, should another of the adversary's men be 
 exposed, he cannot be taken until your opponent has moved. 
 We wish particular notice to be taken of this fact, as a ques- 
 tion often arises on this point. To make sure, we will give 
 an example. Place a white man on number 25 ; on numbers 
 22, 14, 6 and 7 black men ; and white to move. He jumps 
 (as it is termed) over three of the black men, finally stopping 
 at 2, and becoming a King. He must now allow Black to 
 move. Black may now move off of 7, and thus preserve 
 his man. 
 
 Crowning a King: How Performed. 
 
 Whenever any of your men have reached your adversary's 
 King-row, he must place one of your pieces on top of it ; 
 this is called " crowning," and is done for the purpose of 
 distinguishing it from a single man. 
 
 Brawn Gaine. 
 
 This is when neither party can win. It generally occurs 
 when t'le forces are quite reduced. 
 
or, Beginners' Sure Guide. 17 
 
 CHAPTER IV. 
 
 THE MOVE. 
 
 In the following chapter you will be instructed regard- 
 ing the "move," as it is called. We have purposely 
 refrained from giving a lengthy exposition of this subject, 
 believing that too much may be attempted in an elementary 
 treatise. Those who may desire to investigate the subject 
 farther are referred to Anderson's treatise, containing the 
 "Theory of the Move, and its Changes," by Mr. John 
 Paterson, of Scotland. 
 
 " To have the move signifies your occupying that position 
 on the board which will enable you to force your adversary 
 into a confined situation," giving you the last move, which 
 will, in most cases, pin or fix his man in such a position that 
 he cannot be moved without being subjected to capture. To 
 illustrate: suppose a black man on number 11, and a white* 
 man on number 24, and that it be White's turn to move — by 
 going to number 19 he arrests the progress of Black, for he 
 cannot move further without being captured, so that White 
 has the move. It is sometimes an advantage to have the 
 move, and sometimes the contrary ; a fact which your expe- 
 rience will establish. We give the following rule, which will 
 enable you to determine whenever any one of your men has 
 the move of that of your antagonist. Rule: Examine the 
 position of both, and if you find a square of a different 
 color from those your men stand upon, standing in the right 
 angle under his man, and it be your move, you have the 
 
i8 The Elements of Draughts; 
 
 move ; if not, the reverse. To illustrate : suppose a black 
 man on 4 and a white one on 29, thus : 
 
 Diagram IV. 
 
 BLACK. 
 
 m 
 
 j 
 
 i 
 
 y 
 
 ■ 
 
 Bi 
 
 : 
 
 * 
 j 
 
 ■ 
 
 ■ 
 
 w 
 
 I 
 
 ■L 
 
 1 
 
 i m 
 ■ 
 
 ii 
 
 ■ 
 
 j 
 
 ■ 
 
 U 
 
 H 
 
 H 
 
 ■ 
 
 3 
 
 ■ 
 
 9 
 
 LI 
 
 H 
 
 ^ 
 
 9 
 
 m 
 
 
 ■ 
 
 1 
 
 i m 
 
 White to Move. 
 
 Cast your eye at the lower right-hand corner of the board 
 and you find the corner square of a different color from 
 those upon which the men are placed ; you will also perceive 
 that this corner square is ia the right angle. Whenever the 
 
or, Beginners' Sure Guide. iq 
 
 men are placed you hare only to produce a line toward the 
 opposite side of the board in both cases, and the point of 
 intersection will be the angle square. 
 
 Exception to the above Rule. 
 
 When it so happens that the men both stand upon the 
 same row of squares, a3 shown in the annexed diagram, we 
 must produce the lines diagonally until they cross each 
 other, at which point we shall find the angle square thus : 
 
 Diagram V. 
 
 BLACK. 
 
20 The Elements of Draughts ; 
 
 Here the angle square is number 15, which you observe is 
 of the same color as those upon which the men are placed, 
 consequently the rule is reversed, and the one who first 
 moves has not the move, of which fact you will soon 
 become aware by examining. Those who may wish to pur- 
 sue this subject to a greater length, would do well to con- 
 sult the treatise of Anderson, where they will find an elabo- 
 rate and beautiful explanation, by Mr. John Paterson, of Scot- 
 land, termed the " Theory of the Move, and its Changes," 
 which we mentioned at the close of the last chapter. 
 
 Double Corners* 
 
 Numbers 1 and 5, 28 and 32, are respectively termed 
 " double corners." An examination of their situations will - 
 satisfy the student that they are appropriately so called. 
 
 CHAPTER V. 
 
 THE STANDARD LAWS OP THE GAME. 
 (From Anderson's Treatise.) 
 
 1. The standard board must be of light and dark squares, 
 not less than fourteen inches, nor more than fifteen across 
 the squares. 
 
 2. The standard men, technically described as White and 
 Black, must be light and dark (say white and red, or white 
 and black), turned, and round, not less than one inch nor 
 more than one and one-eighth inch in diameter. 
 
or. Beginners' Sure Guide. 21 
 
 3.* The board shall be placed so that the bottom corner 
 square on the left hand shall be black. 
 4.f The men shall be placed on the black squares. 
 
 5. The black men shall be placed on the real or supposod 
 first twelve squares of the board ; the white upon the last 
 twelve squares. 
 
 6. Each player shall play alternately with white and black 
 men, and lots shall be cast for the color only once — viz., at 
 the commencement of a match, the winner to have the 
 choice of taking black or white. 
 
 *7. The first play must be invariably made by the person 
 having the black men, and that alternately until the close 
 of the match. 
 
 8. Time. — At the end of five minutes (if the play has not 
 been previously made), time must be called by the person 
 appointed for that purpose, in a distinct maimer, and if the 
 play be not completed on the expiration of another minute, 
 the game shall be adjudged to be lost through improper 
 delay. 
 
 9. When there is only one way of taking one or more 
 pieces, time shall be called at the end of one minute, and if 
 the play be not completed on the expiration of another 
 
 * After substituting the word White for Black, these two laws become 
 binding upon the players of any place where it is customary to play on 
 the white squares. 
 
 t As red and white men show a beautiful contrast, it is desirable to 
 chcose these in preference to any others ; and if they be placed on the 
 black squares, they will appear to greater advantage than white and 
 black men upon either black or white squares ; for, if in this way a 
 piece cannot be placed (as in each of the other ways) upon a square of 
 its own color, while at the same time there is a sufficient distinction 
 between the men. We do, therefore, recommend the universal use of 
 red and white m^n upon the black squares. 
 
22 The Elements of Draughts ; 
 
 minute, the game shall be adjudged to be lost through 
 improper delay. 
 
 10. After the first move has been made, if either player 
 arrange any piece, without giving intimation to his oppo- 
 nent, he shall forfeit the game ; but if it is his turn to play, 
 he may avoid the penalty by playing that piece, if possible. 
 
 11. After the pieces have been arranged, if the person 
 whose turn it is to play, touch one, he must either play it or 
 forfeit the game. When the piece is not playable, he for- 
 feits according to the preceding law. 
 
 12. If any part of a playable piece be over an angle of 
 the square on which it is stationed, the play must be com- 
 pleted in that direction. 
 
 13. A capturing play, as well as ordinary one, is com- 
 pleted whenever the hand has been withdrawn from the 
 piece played, even although one or more pieces should have 
 been taken. 
 
 14. The huff or blow is to remove from the board (before 
 one plays his own piece) any one of the adverse pieces that 
 might or should have been taken. But the huff or blow 
 never constitutes a play. 
 
 15. The player has the power either to huff, compel the 
 capture, or let the piece remain on the board, as he thinks 
 proper. 
 
 16. When a man first reaches any of the squares of the 
 opposite extreme line of the board, it becomes a King; and 
 can be moved backward or forward as the limits of the board 
 permits, though not in the same play, and must be crowned 
 (by placing a man on top of it) by the opponent ; if he 
 neglect to do so, and play, any such play shall be put bach, 
 until the man be crowned. 
 
 17. Either player making a false or improper move, shall 
 
or, Beginner's Sure Guide. 23 
 
 instantly forfeit the game to his opponent without another 
 move being made. 
 
 18. When taking, if either player remove one of his own 
 pieces, he cannot replace it ; but his opponent can either play 
 or insist on his replacing it. 
 
 19. A draw is when neither of the players can force a 
 win. When one of the sides are stronger than the other, 
 the stronger party is required to win, or show a decided ad- 
 vantage over his opponent within forty of his own moves, 
 to be counted from the point at which notice was given ; 
 failing in which he must relinquish the game as drawn. 
 
 20. Anything wh ich may tend either to annoy or distract the 
 attention of the players is strictly forbidden, such as making 
 signs or sounds, pointing or hovering over the board unne- 
 cessarily, delaying to move a piece touched, or smoking. 
 Any principal so acting, after having been warned of the 
 consequence, and requested to desist, shall forfeit the game. 
 
 21. While a game is pending, neither player is permitted 
 to leave the room without giving a sufficient reason, or re- 
 ceiving the other's consent or company. 
 
 22. Either player committing a breach of any of these 
 laws, must submit to the penalty, and his opponent is 
 equally bound to exact the same. 
 
 23. Any spectator giving warning either by sign, sound, 
 or remark, on any of the games, whether played or pending, 
 shall be expelled from the room during the match. 
 
 24. Should any dispute occur, not satisfactorily determined 
 by the preceding laws, a written statement of facts must 
 be sent to a disinterested arbiter having a knowledge of tho 
 game, whose decisicn shall be final. 
 
24 The Elements of Draughts; 
 
 CHAPTER VI. 
 
 THE AUTHOR'S ADVICE TO THE YOUNG PLAYER. 
 
 1. Provide yourself with a board of the proper size (which 
 you will find described in the laws), also a set of men. By 
 all means avoid playing with pieces of leather, beans, corn, 
 etc., if possible, as you need the aid of proper apparatus to 
 begin with. 
 
 2. Study the laws thoroughly, and in all cases abide by 
 them when you play, as well as insist upon your opponent's 
 doing the same. If you neglect this you need not expect to 
 become a first-rate player. You will find many opponents 
 who will object to your forcing them to exchange pieces, 
 you having the greater number. They will insist that " it 
 isn't fair," etc. Pay no sort of attention to this twaddle, as 
 ail such objectors are deplorably ignorant of the spirit of 
 the game. The object of playing is to win, and when you 
 can do this, and at the same time observe the laws of the 
 game, why do it ; and, should your adversary be too tender- 
 hearted to submit, let him pass for "higher game." 
 
 3. Remember that you should have a motive for every 
 move you make, as well as to try to ascertain that of your 
 opponent. So much depends upon the observance of these 
 conditions, that you may rest assured that no considerable 
 skill can be attained by the player who neglects their 
 observance. 
 
 4. Never play when you are " in a hurry," nor never be 
 in a " hurry " for your opponent to play. Avoid this species 
 
or, Beginners' Sure Guide. 25 
 
 of fidgeting as you would some impending evil. While your 
 opponent is calculating, why not do the same ? and then he 
 can have no advantage, so far as time is concerned. 
 
 5. Do not attempt to play M fine," but rather make sure 
 of your game. Should you fancy that you can cripple your 
 opponent by a certain line of play (if your course be not 
 perfectly clear), look it over at least four times, and our 
 word for it, you will (in three cases out of four) discover 
 that you had overlooked some important fact ; and you con- 
 sequently were mistaken. This is worth treasuring up. 
 
 6. Win with modesty and lose with composure if you can. 
 By so doing, your victories will be of a purely mental char- 
 acter, and not the result of fortunate blunders on your own 
 part, or of the unfortunate ones of your opponent. The 
 game of draughts being a scientific and an intellectual exer* 
 cise for the mind, should not be treated with vanity, excite- 
 ment, or conceit. 
 
 CHAPTER VII, 
 
 THE OPENINGS. 
 
 By " openings," we mean a few leading moves on both 
 sides, at the beginning of a game, these moves being uni* 
 versally admitted to be the best in that u opening." We shall 
 classify these according to the system of Mr. Anderson, the 
 champion draught player of the world, as well as the author 
 of the finest treatise on the game which has ever been pub- 
 lished (we being judge). As the limits of our work will not 
 
 8 
 
26 The Elements of Draughts; 
 
 permit us ^o extend the examination of these to any consid- 
 erable length, we would advise the student to procure 
 Anderson's work. 
 
 We will first examine what is termed " Old Fourteenth," 
 so called from its being the fourteenth game in the original 
 work of Joshua Sturges, an eminent player as well as author 
 of the game. It is formed by the first five moves, counting 
 both sides, thus : 
 
 BLACK. WHITE. 
 
 1. 11 to 16. 23 to 19. 
 
 2. 8 " 11. 22 " 11. 
 
 3. 4 " 8. 
 
 It leads to some of the most interesting and critical com- 
 binations which the board and men are capable of producing. 
 
 We next come to the " Ayrshire Lassie." It is formed 
 by the first four moves, thus : 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 24 to 20. 
 
 2. 8 " 11. 28 " 24. 
 
 We next come to " Fife.'* This is formed by the first five 
 moves, thus : 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 23 to 19. 
 
 2. 9 " 14. 22 u 11. 
 
 3. 5 " 9. 
 
 It has been so called since Mr. James Wylie played it 
 against Mr. Anderson, in Edinburgh, Scotland, in 1847. 
 
 Next in order comes "Defiance," and this opening is 
 formed in four moves, thus : 
 
or, Beginners' Sure Guide. 27 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 23 to 19. 
 
 2. 9 " 14. 21 " 23. 
 
 It was called defiance because it defies or prevents the for- 
 mation of the " Fife." 
 
 The u Glasgow " is formed by the first five moves, thus : 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 28 to 19. 
 
 2. 8 " 11. 22 " 11. 
 
 3. 11 " 16, or 9 to 14. 
 
 It takes its name from having been a favorite among the 
 players of that city. 
 
 The " Bristol" is formed by the first three moves, thus : 
 
 BLACK. WHITE. 
 
 1. 11 to 16. 24 to 20. 
 
 2. 16 " 19. 
 
 It was named in compliment to the players of that city, 
 by Mr. Anderson. 
 
 The " Laird and Lady " is formed by the first six moves, 
 thus: 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 23 to 19. 
 
 2. 8 " 11. 22 " 11. 
 8. 9 " 13. 11 " 14. 
 
 It was so called from the fact of its having been the 
 favorite of Lord and Lady Cather, about sixty years ago. 
 
 The " Suter " is formed by the first five moves, thus : 
 
28 The Elements of Draughts; 
 
 BLACK.' WHITE. 
 
 1. 11 to 15. 23 to 19. 
 
 2. 9 " 14. 22 " 11. 
 
 3. 6 " 9. 
 
 Suter is a Scotch word signifying a shoemaker. This 
 opening is so called because it was a favorite with an old 
 Paisley player of that craft. 
 
 The " Maid of the Mill" is formed by the first five moves, 
 thus: 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 22 to 11. 
 
 2. 8 " 11. IT •«' 13, 
 8. 15 " 18. 
 
 It was called so from the fact that a miller's daughter in 
 Lancashire (who was a fine player) was very fond of it. 
 
 " Will-o'-the-Wisp," so called from the peculiarity of the 
 positions which have arisen in the course of the game ; is 
 formed by the first three moves, thus : 
 
 BLACK. 
 
 WHITE. 
 
 1. 11 to 15. 
 
 23 to 19. 
 
 2. 9 " 13. 
 
 
 The " Cross " is formed by the first two moves. It is so 
 named because the second move is played across the direc- 
 tion of the first one, thus : 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 23 to 18. 
 
 The " Dyke " is formed by the first three moves. (Dyke : 
 Scotch — A fence or stone wall. It was so named, because 
 
or, Beginners' Sure Guide. 29 
 
 in various stages of the game the pieces are formed into 
 straight lines resembling a wall. 
 
 The " Single Corner" is formed by the first two moves 
 thus: 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 22 to 18. 
 
 It is so called from the fact that each piece is played 
 from one single corner toward the other. 
 
 The " Whilter" is formed by the first five moves, thus: 
 
 BLACK. WHITE. 
 
 1. 11 to 15. 23 to 19. 
 
 2. 9 " 14. 22 " 11 
 
 3. 1 " 11. 
 
 The name signifies an overturning, productive of confu- 
 sion. 
 
 The " Second Double Corner " is formed by the first two 
 moves, thus : 
 
 BLACK. WHITE. 
 
 1. 11 to r5. 24 to 19. 
 
 It is so called because the first move of the second side is 
 played from one double corner toward the other ; and also 
 to distinguish it from the " Double Corner Game," which is 
 so named from its very first move — namely, from 9 to 14. 
 
 The foregoing " openings" constitute everything that the 
 student requires on this subject. You will bear in mind the 
 fact, that it matters little how well you " open," should you 
 " close " badly. 
 
 And now, believing that you are sufficiently acquainted 
 
 3* 
 
30 The Elements of Draughts; 
 
 with " out-posts," we will, according to promise, " take you 
 by the hand, and hold familiar converse." Let us then sit 
 down at the board, place the "men" properly, and play a 
 preliminary game to initiate you. Suppose you choose the 
 black pieces and play first. Of course you will place them 
 on the numbers from 1 to 12. I will now place the white 
 men from 21 to 32. 
 
 CHAPTER VIII. 
 
 PRELIMINARY GAME FOR THE INSTRUCTION OF THE BEGINNER. 
 
 Supposing that you are now sufficiently acquainted with 
 the elements of the game, I will now fulfill my promise by 
 taking a seat on one side of an imaginary draught board 5 
 you occupying the other, according to our arrangement at 
 the close of the last chapter. As you have the black men, 
 you will proceed to move first. The move made by the first 
 player, in a great majority of the openings, is from 11 to 15. 
 You may, therefore, make this move with perfect safety 
 (Black: 1. 11 to 15.) I will reply by moving (White: 
 1. 23 to 19.) In playing this game from the book you will 
 remember that your board is to be numbered. It being now 
 your move, you may move from 8 to 11 (Black: 2. 8 to 11.) 
 It now being my turn to move, I will try the effect of mov- 
 ing from 22 to 17. We will record it thus (White, 2d 
 move : 22 to 17.) You may now make your third move. 
 Suppose you try moving from 4 to 8 (Black, 3d move : 4 to 8.) 
 Let us now examine the opening, and find out whether it 
 
or, Beginners' Sure Guide. 31 
 
 has been classified among those described. Ah, yes ! By 
 referring to the " Openings," you will perceive it to be 
 44 Old Fourteenth." So far, the moves are correct on both 
 sides. Premising that both continue to make correct moves, 
 the game will finally be drawn. But I do not think best to 
 play it in this way. 
 
 I prefer rather to make improper moves occasionally, and 
 to instruct you to do the same, for by such a course you will 
 be most benefited. We will now continue the game. In 
 replying to your last I respond by moving from 17 to 13 
 (White, 8d move: 11 to 13.) You may reply 15 to 18. 
 Enough having been shown to enable you to " catch the 
 idea," we will commence the game anew, and record it as 
 follows : 
 
 "OLD FOURTEENTH." 
 
 BLACK. WHITE. 
 
 (Student) (The Author.) 
 
 Move 1. 11 to 15. 23 to 19. 
 
 " 2. 8 u 11. 22 " 11. 
 
 " 8. 4 " 8. 11 » 13. 
 
 * 4. 16 " 18. 24 " 20. 
 
 " 6. 11 " 15. 28 " 24. 
 
 " 6. 8 " 11. 32 " 28. (a) 
 
 44 1. 3 " 8. (6) 21 " 11. (c) 
 
 44 8. 9 " 14. (d) 20 " 23. (e) 
 
 " 9. 14 " 21. 23 " 14. 
 
 " 10. 10 " 11. 19 " 3. (/) 
 
 " 11. 11 " 15. (g) 31 " 26. 
 
 44 12. 15 " 18. 24 " 19. (h) 
 
 44 13. 6 " 9. (t) 26 4 22. 
 
 44 14. 11 " 25. 80 " 5. 
 
32 The Elements of Draughts; 
 
 BLACK. 
 
 Move 15. 21 to SO. 
 
 " 16, 2 " 7. (*) 
 
 44 17. 6 " 31. 
 
 M 18. 12 " 19. 
 
 44 19. 1 " 10. 
 
 44 20. 19 " 23. (n) 
 
 44 21. 23 " 27. 
 
 u 22. 8 " 11. (o) 
 
 44 23. 10 u 15. 
 
 44 24. 15 " 18. (|>) 
 
 44 25. 18 " 22. 
 
 44 26. 27 " 32. 
 
 44 21. 30 " 26. 
 
 44 28. 22 " 25. (r) 
 
 44 29. 26 " 17. 
 
 44 30. 32 " 27. 
 
 44 31. 31 " 26. 
 
 44 32. 17 " 14. (t) 
 
 44 33. 26 " 23, 
 
 " 34. 23 " IS. 
 
 44 35. 18 " 15. («) 
 
 44 36. 27 44 23. 
 
 44 37. 15 " IS. (w) 
 
 44 38. 14 " 9. 
 
 44 39. 18 " 9. 
 
 44 40. 9 tl 13. (y) 
 
 44 41. 23 " 18. 
 
 44 42. 18 " 14. 
 
 44 43. 13 " 17. 
 
 44 44. 14 " 10. 
 
 44 45. 17 4< 14. 
 
 44 46. 14 44 9. 
 
 WHITE. 
 
 
 20 to 16. 
 
 (M 
 
 3 
 
 « 
 
 10. 
 
 
 13 
 
 u 
 
 9. 
 
 « 
 
 9 
 
 u 
 
 6. 
 
 (m) 
 
 5 
 
 u 
 
 1. 
 
 
 28 
 
 tl 
 
 24. 
 
 
 24 
 
 n 
 
 20. 
 
 
 1 
 
 u 
 
 6. 
 
 
 6 
 
 c< 
 
 10. 
 
 
 10 
 
 ci 
 
 15. 
 
 (0 
 
 15 
 
 « 
 
 8. 
 
 
 20 
 
 « 
 
 16. 
 
 
 16 
 
 a 
 
 11. 
 
 
 29 
 
 « 
 
 22. 
 
 
 11 
 
 tc 
 
 7. 
 
 
 7 
 
 u 
 
 2. 
 
 
 2 
 
 a 
 
 6. 
 
 (•> 
 
 8 
 
 a 
 
 11. 
 
 
 11 
 
 M 
 
 7. 
 
 
 7 
 
 (( 
 
 2. 
 
 
 6 
 
 a 
 
 1. 
 
 w 
 
 1 
 
 (4 
 
 5. 
 
 
 2' 
 
 a 
 
 7. 
 
 w 
 
 5 
 
 u 
 
 14. 
 
 
 7 
 
 u 
 
 10. 
 
 
 10 
 
 u 
 
 6. 
 
 w 
 
 6 
 
 u 
 
 1. 
 
 
 1 
 
 a 
 
 6. 
 
 
 6 
 
 « 
 
 1. 
 
 
 1 
 
 u 
 
 6. 
 
 
 5 
 
 44 
 
 1. 
 
 
 1 
 
 a 
 
 & 
 
 
or, Beginners' Sure Guide. 33 
 
 BLACK. WHITE. 
 
 Move 47. 10 to 14. 5 to 1. 
 
 " 48. 9 " 5. 1 " 6. 
 
 41 49. 5 " 1. 6 " 2. 
 
 44 50. 14 " 18. (Observe this.) 2 " 7. 
 
 44 51. 18 " 15. 1 " 2. (best) 
 
 ** 52. 15 " 11, and you have won the game. 
 
 Notes to tlie above Game. 
 
 % *) *r «&ry bad, a. by your moving from 11 to 16, you would oblige me 
 to %o from 20 to 11, (■...during your piece; after which you could take 
 thiee of my men by juin^. ag with the man on 7, landing on square 32. 
 
 (£>) Here you not only neglect to take advantage of my oversight, 
 but also make the very move which prevents your doing so. 
 
 (c; With the intention of next moving from 17 to 14 (if a chance 
 should offer), thus obliging you to capture with the man on 10, when I 
 can go from 19 to 8, thus gaining a clear piece. 
 
 (d) Although this move delays the sacrifice, it does not avoid it, a9 
 you will perceive shortly. 
 
 (e) A proper move at this point, for I shall next land on 14, thus 
 obliging you to take with the man on 10, after which I accomplish my 
 former intention, by jumping from 19 to 8, making a King ! 
 
 (/) The proper style; this injures you; 1 game very badly. 
 
 ig) For the purpose of restraining the White King. 
 
 (Ji) Decidedly a bad move, as by moving from 2 to 7 you would forcfl 
 me to jump with the King, when you could capture three pieces, landing 
 on No. 31 1 
 
 (i) Here you have committed a " double-barrelled blunder," 1st, by 
 neglecting to take advantage of my last oversight, and secondly, by 
 making a weak move, which enables me to take the advantage. 
 
 (j) Not only useless but deplorable, as I must finally lose this piece. 
 
 (k) What you should have done some time before, but " better late 
 than never." 
 
 (Z) I have nothing better; as anything else loses. 
 
 im) For the purpose of making a King, to prevent being "skunked," 
 this being the term applied to the player who does not obtain a King. 
 
 (n) Better to let this stand, to hold the white man on 28. 
 
 <o) Correct: this blocks the white man. 
 
 (,p) Bad. Do you not perceive that my King can now move betWiien 
 
34 The Elements of Draughts; 
 
 your men ? I now attack both of them, and must capture one. This is 
 called " taking the breeches." Avoid falling into this error. 
 
 (q) Takes advantage of the error. 
 
 (r) Correct play. You (having a man more) will be the gainer by 
 exchanging. 
 
 («) For the purpose of occupying the " double comer," which is the 
 strongest position. 
 
 (t) By thus taking up the square opposite with one square between 
 your man and mine, you have the " move," and should I next move 
 from 6 to 2, you could " pin " my piece by moving from 14 to 10. 
 
 (u) Another error, which leaves an opportunity for me to draw the 
 game, by moving from 6 to 10. By examining the position, you will 
 perceive that it can make no change in the result, whichever man you 
 make the capture with ; for I take two for one in either case. You will 
 do well to observe this position carefully, as it very frequently occurs, 
 especially between beginners, and is a 4I rock upon which thousands 
 have been wrecked." 
 
 (-») I here fail to avail myself of the advantage offered. 
 
 («0) For the purpose of exchanging on the next move, by going from 
 14 to 9. 
 
 («j) Wrong. 2 to 6 would frustrate your design. 
 
 iy) By letting this stand, and moving from 23 to 19, you could hava 
 kept me from the tl double corner." 
 
 (z) Best. From this point the correct moves (on doth sides) are 
 given. Observe carefully, for the purpose of winning in this positloiaj 
 which is not easy for the tyro, 
 
or, Beginners' Sure Guide. 35 
 
 CHAPTER IX. 
 
 END-GAMES. 
 
 Two Kings against One. 
 
 End-Games are very important, being the "hinge upon 
 which the whole matter turns." We have seen that two Kings 
 win against one standing in the " double corner," but these 
 forces may be so situated that two cannot win. For ex- 
 ample : A Black King on 3 and another on 12. Now place 
 a White King on 11, and let it be Black's turn to move 
 Black being obliged to sacrifice one of his pieces, the game 
 will be drawn. 
 
 Two Kings against Three. 
 
 Three Kings win against two in a majority of cases, but 
 not invariably. Take the following example from Sturges* 
 work : Black KLigs at 3, 4, and 12 ; White Kings at 10 and 
 15 ; and White to move. White may now draw the game 
 by moving as follows . 
 
 WHITE. BLACK. 
 
 1. 15 to 11. 3 to 8. 
 
 2. 10 " 15. 8 " 8. 
 
 3. 15 u 19, etc. 
 
 Three Kings against Two; each One command- 
 ing a *<J>onble Corner." 
 
 This is a difficult position for a beginner to comprehend ; 
 even players who have made considerable progress, find it 
 difficult to win with the three Kings. The following diagram 
 represents the position. It is a fine study, and will well 
 repay your attention. 
 
36 The Elements of Draughts ; 
 
 Diagram VI. 
 (From Sturges.) 
 
 BLACK. 
 
 WHITE. 
 
 White to move and win. 
 
 SOLUTION. 
 WHITE. BLACK. 
 
 1. 18 to 15. 6 to 4. 
 
 2. 14 «9, 24 " 28. 
 8. 23 «M 1 u 5. 
 
or, Beginners' Sure Guide. 37 
 
 WHITE. BLACK. 
 
 4. 9 to 6. 28 to 82. 
 
 5. 19 " 24. 5 " 1. 
 
 6. 24 " 19, and wins. 
 
 The First Position of Sturges* 
 
 Diagram VIL 
 black. 
 
 WHITE. 
 
 White to move and win. 
 
38 The Elements of Draughts ; 
 
 
 SOLUTION. 
 
 
 
 
 WHITE. 
 
 
 BLACK. 
 
 1. 
 
 27 to 32. 
 
 
 28 to 24. 
 
 2. 
 
 23 " 18. 
 
 
 24 
 
 " 28. A, 
 
 3. 
 
 18 " 15. 
 
 
 28 
 
 " 24. 
 
 4. 
 
 32 " 28. 
 
 
 24 
 
 " 27. 
 
 5. 
 
 16 " 18. 
 
 
 12 
 
 " 16. 
 
 6. 
 
 28 " 32. 
 
 
 27 
 
 " 24. 
 
 1. 
 
 18 " 15. 
 
 
 24 
 
 " 28. 
 
 8. 
 
 15 " 11. 
 
 
 16 
 
 " 19. 
 
 9. 
 
 32 " 27. 
 
 
 28 
 
 " 32. 
 
 10. 
 
 27 " 31. 
 
 
 19 
 
 " 23. 
 
 11. 
 
 11 " 15. 
 
 
 82 
 
 " 28. 
 
 12. 
 
 15 " 19, and 
 
 wins. 
 
 
 
 A. 
 
 The above letter is placed after Black's second move, to 
 show that he may vary the play, such being termed a varia- 
 tion. Suppose now that instead of moving from 24 to 28, 
 Black had gone from 12 to 16, beginning back, thus : 
 
 WHITE. 
 
 BLACK. 
 
 12 to 16. 
 
 3. 18 to 15. 
 
 16 u 20. 
 
 4. 15 " 18. 
 
 24 " 19. 
 
 5. 32 " 28. 
 
 19 " 16. 
 
 6. 18 " 23. 
 
 16 " 11. 
 
 7. 23 " 19. 
 
 11 " 8. 
 
 8. 28 " 32. 
 
 8 " 11. 
 
 9. 82 " 27. 
 
 11 " 8. 
 
 10. 27 " 23. 
 
 8 " 8. 
 
 11. 23 " 18. 
 
 8 " 8. 
 
 12. 18 " 15, and wins, 
 
 
or, Beginners' Sure Guide. 39 
 
 While on the subject of " variations," I would inform you 
 that there are an unlimited number growing out of every 
 game, in many cases giving rise to the most intricate and 
 beautiful combinations. To give you something of an idea 
 of their extent, I would state, that in the " Fife opening," 
 Mr. Drummond gives one hundred and ninety-six variations ! 
 You will clearly perceive the impracticability of the attempt 
 to be thus diffuse in a work of our present limits. When 
 you have digested this volume, you will be fully prepared to 
 take hold of Anderson's work, or that of Mr. Drummond, 
 either of which will furnish you with subject-matter for years 
 of contemplation. The principal advantage to be derived 
 from tracing out a great number of variations, is the ten* 
 dency that it produces to fix the leading moves (on both 
 sides) in the memory. 
 
4-Q The Elements of Draughts ; 
 
 chapter x. 
 
 STRATAGEMS. 
 
 I will next direct your attention to what is generally 
 termed "traps," which consist of certain "inventions of 
 the enemy," employed by the more experienced player, for 
 the purpose of " upsetting " his unfortunate antagonist. 
 
 Diagram VIII. 
 
 WHITE. 
 
or, Beginners' Sure Guide. 
 
 41 
 
 When you have become a strong player, these devices nd 
 longer annoy, although, through inattention, you will occa- 
 sionally "get a rap over the knuckles" even then. Dia- 
 gram VIII. represents a case in point. 
 
 It being Black's move, he now moves from 1 to 6 ; upon 
 which White very properly moves from 24 to 19, thus win- 
 ning three pieces ! 
 
 Beware of positions similar to the following : 
 
 Diagram IX. 
 
 BLACK. 
 
 WHITE. 
 
 4 
 
42 The Elements of Draughts: 
 
 Here, White having the move, will win the game, by 
 moving from 29 to 25. 
 
 I am aware that the above appears so very obvious that 
 most authors would pass it unnoticed; but I assure you that 
 you will find cases of this kind very frequently occur in the 
 experience of the beginner, and it is only because these 
 cautions are not given, that he continues to suffer frequent 
 defeat through ignorance, as well as want of care. 
 
 Diagram X. 
 
 WHITE. 
 
or, Beginners' Sure Guide. 43 
 
 Another " trap" of an exceedingly annoying and dangerous 
 character, will be found exposed in diagram X. 
 
 Black last moved from 15 to 19, which left the position as 
 it appears on the diagram. White has only to move from 
 12 to 8, when Black must jump from 4 to 11. White, as 
 you perceive, can now clear the board ! The above appears 
 simple, but beware. I know of no class of stratagems 
 which are so often, and so successfully employed against the 
 inexperienced player as this. Similar situations arise in 
 almost every game, when an adept is contending against a 
 tyro. Beware of allowing an adverse King to be posted 
 back of the square upon which one of your men may be 
 forced to occupy, by being made to jump. An unstudied 
 move, as in the case above, where Black moves from 15 to 
 19, may " enter a link" in the " chain of evidence" which 
 will " bind you to the rack." 
 
44 The Elements of Draughts; 
 
 There is another stratagem to which we would call espe- 
 cial attention, it being very apt to be employed at the clos- 
 
 Diagram XI. 
 
 BLACK. 
 
 WHITE. 
 
 ing part of the game. In fact, it occurs at a certain point 
 of the preliminary game already given. Give it your close 
 attention. 
 
 Black last moved from 14 to 17. By mcving from 26 to 
 22, White wins the game. 
 
 There is yet another error into which the amateur is pe- 
 culiarly liable to fall ; in fact, he seems fated to be victimized 
 
or, Beginners' Sure Guide. 45 
 
 by this combination to an almost unlimited extent, during 
 his M probation." Here we have an example : 
 Diagram XII. 
 
 BLACK. 
 
 WHITE. 
 
 Here Black last moved from 12 to 16. White can now 
 exchange ; and then Black has suffered for his error. 
 White, of course, goes from 24 to 19. 
 
 There is another nearly resembling the above, which I 
 deem necessary to place before you, it being highly proba* 
 ble to occ xy in play. 
 
46 The Elements of Draughts; 
 
 Diagram XIII. 
 
 BLACK. 
 
 Black last moved from 9 to IS. White replies by going 
 from 21 to 17, and then takes three, landing at $0. 4. 
 
 We now subjoin six problems, copied from the New York 
 Clipper, the acknowledged "Draught Player's Organ" for 
 the United States and the Canadas. We sincerely regret 
 that our space will not ailow us to present a greater number. 
 
or, Beginners' Sure Guide. 47 
 
 Problem I. 
 
 BY MR. H. SPAYTH, OF BUFFALO, N. Y.* 
 
 (Occurring in actual play.) 
 black (Spayth). 
 
 white (Mr. M). 
 Conditions, — Black prevents White from obtaining a King. 
 
 SOLUTION. 
 
 black. 
 1. 15 to 19. 
 
 WHITE. 
 
 24 to 15. 
 
 * We take sincere pleasure in notifying all draught players, that 
 Mr. S. is preparing a treatise on the game, which will appear soon. It 
 will be well worthy of his fame and of th air attention. 
 
48 The Elements of Draughts; 
 
 BLACK. WHITE. 
 
 2. 23 to 26. 31 to 22. 
 
 3. 25 u 2. 
 
 Problem II, 
 
 BY " N E M . " 
 BLACK. 
 
 WHITE. 
 
 White to move and win. 
 
 SOLUTION. 
 
 WHITE. BLACK. 
 
 1. 16 to 11. 1 to 16. 
 
 2. 6 " 10. 14 u 7. 
 
 8. 27 u 24. 5 " 14, 
 
or, Beginners' Sure Guide. 49 
 
 WHITE BLACK. 
 
 4. 23 " 18. 14 " 23. 
 
 5. 22 " 17. 21 " 14. 
 
 6. 30 " 25. 29 " 22. 
 1. 24 " 19. 15 " 24. 
 8. 28 " 19, and wins. 
 
 Problem III, 
 
 BY "FOO POO." 
 
 Dedicated to I. D. J. Sweet. 
 
 BLACK. 
 
 WHITE. 
 
 White to move and win. 
 
\ 
 
 50 The Elements of Draughts; 
 
 SOLUTION. 
 
 WHITE. BLACK. 
 
 1. 11 to 16. 17 to 10. 
 
 2. 15 " 6. 1 " 10. 
 
 3. 19 " 15. 10 " 19. 
 
 4. 26 " 22. 18 " 25. 
 
 5. 30 " 25. 23 " 30. 
 
 6. 16 " 23, and wins. 
 
 Problem IV. 
 
 BY J. P. SWEET. 
 BLACK. 
 
 WHITE. 
 
 White to play and win. 
 
or, Beginners' Sure Guide. 51 
 
 
 SOLUTION. 
 
 
 WHITE. BLACK. 
 
 1. 
 
 25 to 29. 11 to 4. 
 
 2. 
 
 12 " 8. 4 " 11. 
 
 3. 
 
 26 " 23. 19 " 26. 
 
 4. 
 
 18 " 15, and wins. 
 
 
 Problem V. 
 
 
 RY E. HULL, 
 
 
 END-GAME. 
 
 
 BLACK. 
 
 WHITE. 
 
 White to move and win. 
 
52 The Elements of Draughts; 
 
 SOLUTION. 
 
 
 WHITE. 
 
 
 BLACK. 
 
 1. 14 to 10. 
 
 
 19 to 28. 
 
 2. 30 " 25. 
 
 
 13 " 22. 
 
 3 10 " 6. 
 
 
 1 " 10. 
 
 4. 20 " 16. 
 
 
 11 " 20. 
 
 5. 27 " 24. 
 
 
 20 " 27. 
 
 White now wins. 
 
 Problem VI 
 
 
 BY C. ALLEN, 
 
 OF ROXBURY, MASS. 
 
 (A masterly and 
 
 beautiful 
 
 BLACK. 
 
 composition) 
 
 WHITE. 
 
 White to move ar.d win. 
 
or. Beginners' Sure Guide. 53 
 
 SOLUTION. 
 WHITE. BLACK. 
 
 1. 18 to 14. 9 to 25. 
 
 2. 26 " 23. 2 " 9. 
 
 3. 11 " 1. 4 " 11. 
 
 4. 1 ** 16 12 " 26. 
 
 5. 28 " 24. 20 u 27. 
 
 6. 32 " 6, and wins. 
 
 The foregoing are all that our space will allow us to pre 
 sent. Those who are in possession of files of the Clipper 
 for the past four years, congratulate themselves in the 
 ownersnip of between three and four hundred original 
 draught problems, which, taken together, form an unbounded 
 source of delight and instruction. 
 
 This splendid collection will be lost to thousands of play- 
 ers, should it not be gathered together in the form of a little 
 book. It is the intention of the author to arrange these 
 compositions for publication, before many months, and at a 
 figure low enough to enaole all to possess the work. 
 
 ft* 
 
54 The Elements of Draughts ; 
 
 GAMES. 
 
 I now proceed to fulfill my promise to more advanced 
 players, before whom I present the following games, with 
 analysis of each appended. They are selected from the 
 Clipper, which is the repository of the best games and 
 problems in the United States. Containing the games of 
 the most accomplished practitioners throughout the country, 
 no higher authority can be required or accorded. It is, 
 perhaps, unnecessary to add, that the following games are 
 presented for the examination of those players who are not 
 correspondents of the Clipper, as such are already familiar 
 with their merits. 
 
 Game I* 
 
 (From Anderson's Work.) 
 (Published with notes, in the Clipper, about two years ago.) 
 
 "OLD 
 
 FOUKTEENTH. ' 
 
 BLACK. 
 
 WHITE. 
 
 1. 11 to 15. 
 
 23 to 19. 
 
 2. 8 " 11. 
 
 22 " 17. 
 
 3. 4 " 8. 
 
 11 " 13. 
 
or, Beginner's Sure Guide. 55 
 
 
 BLACK 
 
 
 
 WHITE. 
 
 4. 
 
 15 to 18. 
 
 
 24 to 20 
 
 5. 
 
 11 
 
 « 
 
 15. 
 
 
 28 " 24. (a) 
 
 6. 
 
 8 
 
 ti 
 
 11. 
 
 
 26 " 23. 
 
 1. 
 
 9 
 
 II 
 
 14. 
 
 
 31 " 26. (6) 
 
 8. 
 
 6 
 
 II 
 
 9. 
 
 w 
 
 13 " 6. 
 
 9. 
 
 2 
 
 II 
 
 9. 
 
 
 26 " 22. (d) 
 
 10. 
 
 1 
 
 II 
 
 6. 
 
 (e) 
 
 32 " 28. 
 
 11. 
 
 8 
 
 tc 
 
 8. 
 
 
 80 " 26. 
 
 12. 
 
 9 
 
 (I 
 
 13. 
 
 
 19 " 16. 
 
 13. 
 
 12 
 
 II 
 
 19. 
 
 
 23 " 16. 
 
 14. 
 
 13 
 
 II 
 
 IT. 
 
 (/) 
 
 22 " 13. 
 
 15. 
 
 8 
 
 II 
 
 12. 
 
 
 24 " 19. 
 
 16. 
 
 15 
 
 u 
 
 81. 
 
 
 26 " 22. (g) 
 
 IT. 
 
 12 
 
 II 
 
 19. 
 
 
 22 " 8. 
 
 18. 
 
 14 
 
 II 
 
 IT. 
 
 
 21 " 14. 
 
 19. 10 " IT. Drawn. 
 
 Notes. 
 
 (a) It is unnecessary to suggest to old players, that this Is a very 
 " natural opening." 
 
 (&) Daring ; but perfectly sound. 
 
 (c> This move will change the views of young players, as regards 
 breaking the " King row." 
 
 (d) A fine " gambit "* in view. 
 
 (e) Strange as it may appear, 9 to 18 would be a " dead beat" for 
 Black. 
 
 (/) This portion of the game should be carefully observed by the 
 student, as it is very instructive. 
 
 * Sacrificing a piece, to gain an advantage In position. 
 
56 The Elements of Draughts ; 
 
 Game II. 
 Played between Messrs. Mercer and Spayth, who rank as 
 first-rate players. 
 
 "the cross." 
 black (Mr. Mercer.) white (Mr. Spayth.) 
 
 1. 11 
 
 to 15. 
 
 2. 8 
 
 " 11. 
 
 3. 4 
 
 " 8. 
 
 4. 9 
 
 " 14. 
 
 6. 5 
 
 " 14. 
 
 6. 15 
 
 " 18. 
 
 7. 11 
 
 " 15. 
 
 8. 7 
 
 « 11. (a) 
 
 9. 6 
 
 " 13. 
 
 10. 15 
 
 " 24. 
 
 11. 1 
 
 " 10. 
 
 12. 14 
 
 " 18. 
 
 13. 3 
 
 u 7. 
 
 14. 2 
 
 " 6. 
 
 15. 11 
 
 " 18. 
 
 16. 8 
 
 " 11. 
 
 17. 11 
 
 " 15. 
 
 
 Notes* 
 
 («) Strong, and perfectly sound. 
 
 (&) A fine combination for actual play. 
 
 23 to 18. 
 
 27 
 
 44 
 
 23. 
 
 23 
 
 (C 
 
 19. 
 
 18 
 
 U 
 
 9. 
 
 22 
 
 U 
 
 11. 
 
 26 
 
 u 
 
 22. 
 
 17 
 
 u 
 
 18. 
 
 13 
 
 u 
 
 9. 
 
 24 
 
 1$ 
 
 20. 
 
 22 
 
 (C 
 
 6. 
 
 28 
 
 (C 
 
 19. 
 
 31 
 
 a 
 
 26. 
 
 26 
 
 a 
 
 22. 
 
 22 
 
 ti 
 
 15. 
 
 32 
 
 a 
 
 27. 
 
 80 
 
 it 
 
 26. 
 
 (*) 
 
 Game III. 
 
 (From Anderson's Work.) 
 
 "AYRSHIRE LASSIE. " 
 
 BLACK. 
 
 WHIT& 
 
 1. 11 to 15. 
 
 24 to 20. 
 
 2. 8 « 11. 
 
 28 " 24. 
 
or, Beginners' Sure Guide. 57 
 
 BLACK. WHITE. 
 
 3. 9 to 13. 23 to 19. (a) 
 
 4 6 " 9. 27 " 23. 
 
 5. 9 " 14. 32 " 28. 
 
 6. 4 " 8. 22 " 18. 
 
 7. 15 " 22. 25 " 9. 
 
 8. 5 " 14. 19 " 16. (6) 
 
 9. 12 " 19. 24 " 6. 
 
 10. 1 " 10. 29 » 25. 
 
 11. 10 " 15. 23 " 19. 
 
 12. 15 " 24. 28 " 19. 
 
 13. 8 u 12. 26 " 23. 
 
 14. 7 " 10. (c) 25 " 22. 
 
 15. 11 " 15. 30 " 26. 
 
 16. 15 " 24. 22 " 18. 
 
 17. 3 " 7. 18 " 9. 
 
 18. 12 " 16. 20 " 11. 
 
 19. 7 « 16. 21 " 17. 
 
 20. 13 " 22. 2fc" 17. 
 
 Drawn. 
 
 Notes. 
 
 (a) Such an opening is but seldom adopted, except by the finest 
 players 
 
 (b) At this point we observe a great manifestation of cautiousness 
 and sagacity. 
 
 (c) Observe the great beauty of the game at this point. 
 
 Game IV. 
 
 "FIFE ' ' OPENING. 
 (From Anderson's Work.) 
 
 BLACK. WHITE. 
 
 . 11 to 15. 23 to 19. 
 
 . 9 " 14. 22 " 17. 
 
58 The Elements of Draughts; 
 
 
 BLACK. 
 
 
 WHITE. 
 
 3. 
 
 5 to 9. 
 
 
 17 to 13. 
 
 4. 
 
 14 
 
 " 18. 
 
 (a) 
 
 19 
 
 M 16. 
 
 5. 
 
 12 
 
 " 19. 
 
 
 26 
 
 " 23. 
 
 6. 
 
 19 
 
 " 26. 
 
 
 30 
 
 " 5. (6) 
 
 1. 
 
 15 
 
 " 18. 
 
 
 25 
 
 " 22. 
 
 8. 
 
 18 
 
 " 25. 
 
 
 29 
 
 a 22. 
 
 9. 
 
 10 
 
 " 14. 
 
 
 22 
 
 " 18. 
 
 10. 
 
 14 
 
 " 23. 
 
 
 27 
 
 " 18. 
 
 11. 
 
 8 
 
 " 11. 
 
 
 32 
 
 " 21. (c) 
 
 12. 
 
 4 
 
 M 8. 
 
 
 21 
 
 " 23. 
 
 13. 
 
 8 
 
 " 12. 
 
 
 24 
 
 " 20. (d) 
 
 14. 
 
 7 
 
 u 10. 
 
 W 
 
 31 
 
 " 26. (/) 
 
 15. 
 
 10 
 
 " 15. 
 
 
 26 
 
 " 22. 
 
 16. 
 
 12 
 
 " 16. 
 
 
 28 
 
 il 24. 
 
 17. 
 
 3 
 
 " 8. 
 
 
 21 
 
 " 17. (# 
 
 18. 
 
 15 
 
 " 19. 
 
 
 24 
 
 " 15. 
 
 19. 
 
 6 
 
 " 9. 
 
 
 13 
 
 " 6. 
 
 20. 
 
 1 
 
 " 26. 
 
 
 18 
 
 " 15. 
 
 Drawn. 
 
 Notes* 
 
 (a) This has the appearance of being unsound for Black, but still 
 with the best play, White can only draw the game. 
 
 (&) At this point White has the man, but the " two families " are 
 more than can be supported to advantage. 
 
 (c) White has nothing better. 
 
 id) Those three men on the perpendicular line are good for fifty per 
 cent. 
 
 (e) Struggling for equality. 
 
 (/) What else ? 
 
 (0) Black breathes easier. 
 
or, Beginners' Sure Guide. 59 
 
 Game V. 
 
 "suter" opening. 
 
 Played between W. J. A. Fuller, Esq., of New York, and 
 Mr. Hodges, of Buffalo, one of the strongest players in the 
 United States. 
 
 BLACK. (M: 
 
 r. F.) 
 
 WHITE 
 
 (Mr. H.) 
 
 1. 11 to 15. 
 
 22 to 17. 
 
 2. 9 
 
 (I 
 
 14. 
 
 23 
 
 " 19. 
 
 3. 6 
 
 II 
 
 9. 
 
 17 
 
 " 13. 
 
 4. 2 
 
 It 
 
 6. 
 
 25 
 
 " 22. 
 
 5. 8 
 
 II 
 
 11. 
 
 29 
 
 11 25. 
 
 6. 4 
 
 u 
 
 8. 
 
 22 
 
 " 17. 
 
 7. 14 
 
 tc 
 
 18. 
 
 27 
 
 " 23. (a) 
 
 8. 18 
 
 a 
 
 27. 
 
 32 
 
 " 23. 
 
 9. 15 
 
 u 
 
 18. {b) 
 
 23 
 
 " 14. 
 
 10. 9 
 
 II 
 
 18. 
 
 17 
 
 " 14. 
 
 11. 10 
 
 a 
 
 11. 
 
 21 
 
 " 14. 
 
 12. 11 
 
 it 
 
 16. 
 
 19 
 
 " 15. (<?) 
 
 13. 18 
 
 u 
 
 23. 
 
 26 
 
 11 19. 
 
 14. 16 
 
 u 
 
 23. (d) 
 
 24 
 
 " 19. 
 
 15. 6 
 
 u 
 
 9. 
 
 13 
 
 " 6. 
 
 16. 1 
 
 u 
 
 11. 
 
 25 
 
 " 21. 
 
 17. 17 
 
 a 
 
 22. 
 
 21 
 
 " 17. 
 
 18. 7 
 
 a 
 
 11. 
 
 15 
 
 " 10. 
 
 19. 11 
 
 (l 
 
 16. 
 
 19 
 
 " 15. 
 
 20. 16 
 
 11 
 
 20. 
 
 10 
 
 " 6. 
 
 21. 23 
 
 11 
 
 27. 
 
 31 
 
 a 24. 
 
 22. 20 
 
 11 
 
 27 (e). and wins. 
 
 
 Notes. 
 
 (a) This move loses the game. 
 
 (6) Here Mr. Fuller displays a portion of that bold originality for 
 which his play is so remarkable. 
 
6o The Elements of Draughts; 
 
 (<?) Many would have exchanged at this point ; but in that case Black 
 would soon have forced a king, which would have " raked " White's 
 "stern sheets." 
 
 id) All up, 
 
 {e) The game was protracted many moves, but is evidently lost. 
 
 Oanie VI. 
 
 Played between Messrs. Drysdale* and Mercer. 
 "single coknek." 
 black (Mr. Drysdale.) white (Mr. Mercer.) 
 
 1. 
 
 11 to 15. 
 
 22 to 18. 
 
 2. 
 
 15 " 22. 
 
 25 
 
 " 18. 
 
 3. 
 
 8 " 11. 
 
 29 
 
 "tf. 
 
 4. 
 
 4 " 8. 
 
 25 
 
 " 22. 
 
 5. 
 
 11 " 16. 
 
 24 
 
 " 20. 
 
 6. 
 
 8 " 11. 
 
 27 
 
 u 24. 
 
 7. 
 
 10 u 14. 
 
 24 
 
 " 19. 
 
 8. 
 
 7 " 10. 
 
 28 
 
 u 24. 
 
 9. 
 
 3 " 7. 
 
 30 
 
 " 25. 
 
 10. 
 
 9 u 13. 
 
 18 
 
 44 9. 
 
 11. 
 
 5 u 14. 
 
 22 
 
 44 18. 
 
 12. 
 
 13 " 17. 
 
 18 
 
 " 9. 
 
 13. 
 
 6 " 13. 
 
 21 
 
 " 14. 
 
 14. 
 
 10 a 17. 
 
 26 
 
 " 2V- 
 
 15. 
 
 17 " 26. 
 
 31 
 
 " 22. 
 
 16. 
 
 7 " 10. 
 
 25 
 
 "*!• (a) 
 
 17. 
 
 2 " 6. (b) 
 
 32 
 
 44 27. («) 
 
 18. 
 
 6 " 9. 
 
 22 
 
 " 18. 
 
 19. 
 
 1 u 5. 
 
 18 
 
 " 15. 
 
 20. 
 
 11 " 18. 
 
 20 
 
 44 11. 
 
 21. 
 
 18 " 22. Drawn. 
 
 
 
 * Mr. Drysdale claims to be " champion," and is certainly a flrst-rato 
 player. 
 
or, Beginners' Sure Guide. 61 
 
 Notes, 
 
 BY MR. MERCER. 
 
 (a) "White might have moved from 18 to i5, and have drawn easily; 
 but Mr. Mercer preferred a "harder road to travel." 
 
 (5) Here Mr. D. followed Drummond ; 18 to 15 would result in a beau- 
 tifully drawn game. — — /^^) 
 
 (c>) White has nothing else left. 32 to 28 would lose, without an " if." 
 
 Game VII. 
 
 BY H. SPAYTH, ESQ. 
 
 Dedicated to Andrew Anderson, Esq., champion of Scotland, 
 [The accompanying notes are by Mr. S.] 
 
 " whilter" opening. 
 
 BLACK. 
 
 WHITE. 
 
 1. 11 to 15. 
 
 23 to 19. 
 
 2. 7 " 11. 
 
 22 " 17. 
 
 3. 11 " 16. (a) 
 
 26 u 23. 
 
 4. 8 " 11. 
 
 17 " 13. (6) 
 
 5. 16 " 20. 
 
 25 " 22. 
 
 6. 9 " 14. 
 
 29 " 25. 
 
 7. 4 " 8. 
 
 31 " 26. 
 
 8. 2 " 7. 
 
 22 " 17. (c) 
 
 9. 11 " 16. 
 
 23 " 18. (d) 
 
 10. 15 " 29. (e) 
 
 26 M 22. 
 
 11. 16 " 23. 
 
 27 " 2. 
 
 12. 20 " 27. 
 
 2 <« 4. 
 
 13. 29 " 25. 
 
 32 " 23. 
 
 14. 25 u 27. (/) 
 
 4 " 8. 
 
 15. 10 u 15. 
 
 8 w 11. 
 
 16. 15 " 18. 
 
 17 * 14. 
 
 17. 18 " 22. 
 
 21 " 17. iff) 
 
 18. 22 " 26. 
 
 30 * 23. 
 
 6 
 
 
62 The Elements of Draughts; 
 
 
 BLACK. 
 
 WHITE. 
 
 19. 
 
 2T to 9. 
 
 13 to 6. 
 
 20. 
 
 1 " 10. 
 
 28 " 24. 
 
 21. 
 
 6 " 9. 
 
 IT " 13. 
 
 22. 
 
 9 " 14. 
 
 24 " 19. 
 
 23. 
 
 14 " IT. 
 
 11 " t. 
 
 24. 
 
 10 " 14. 
 
 T " 10. 
 
 25. 
 
 3 " 8. 
 
 19 " 15. 
 
 Drawn. 
 
 Notes. 
 
 (a) This forms the " Whilter." 
 
 (5) Anderson moves from 17 to 14 for a draw, and attempts to prove 
 17 to 13 a losing move. 
 
 (c) Instead of this move, the Scottish champion moves 21 to 17, and 
 26 to 18, which he correctly proves to be losing moves. 
 
 (d) This move will be appreciated when the jumping is over, when it 
 will be perceived that both sides are perfectly safe for a draw. 
 
 (6) The only safe capture. 
 
 if) Very seldom such strokes as from White's 9th to Black's 14th 
 move occur in good games. 
 ig) Bold; but best. 
 
 Game ViMI. 
 "old foukteenth." 
 Played between Mr. H. Brayton and J. P. Sweet. 
 
 S.) 
 
 BLACK (H. B.) 
 
 1. 11 to 15. 
 
 2. 8 " 11. 
 8. 4 " 8. 
 
 4. 15 " 18. 
 
 5. 11 " 15. 
 
 6. 8 " 11. 
 
 WHITE (J. P. 
 
 23 to 19. 
 22 " IT. 
 IT " 13. 
 
 24 " 20. 
 28 " 24. 
 26 " 28. 
 
or, Beginners' Sure Guide. 63 
 
 BLACK (H; B). 
 
 WHITE (J. P. S). 
 
 f. 
 
 9 to 14. 
 
 31 to 26. 
 
 8. 
 
 11 to 16. (a) 
 
 2Qto 11. 
 
 9. 
 
 1 " 16. 
 
 21 " 17. (b) 
 
 10. 
 
 14 " 21. 
 
 23 « 1. 
 
 11. 
 
 2 " 11. (€) 
 
 19 " 10. 
 
 12. 
 
 6 " 15. 
 
 26 " 23. 
 
 13. 
 
 3 " 1. 
 
 23 " 18. 
 
 14. 
 
 15 " 22. 
 
 25 " 18. 
 
 15. 
 
 1 " 10. 
 
 30 " 26. 
 
 16. 
 
 10 " 15. 
 
 18 « 14. 
 
 11. 
 
 16 " 19. (<*) 
 
 32 " 28. (e) 
 
 
 White 
 
 wins. 
 
 Notes. 
 
 BY J. P. SWEET. 
 
 <•*) We believe this move to be perfectly sound, 
 <&) Clearing the field. 
 
 (c) Anything else loses. 
 
 (d) Although {without reflection) a natural move, it must lose. 
 (fi) Quiet, indeed ! 
 
 ' Mr. B., although not " posted " in u book openings,' 
 is quite a strong player. 
 
 Game IX* 
 
 (Both play blindfold!) 
 GLASGOW 
 
 Played between " Apollo " and " Harry Leseme," both of 
 Philadelphia. 
 
 black (Apollo.) white (Harry L.) 
 
 1. 11 to 15. 23 to 19. 
 
 2. 8 " 11. 22 " 17. 
 & 9 " 14, (a) 26 " 23. 
 
64 The Elements of Draughts; 
 
 BLACK (Apollo). 
 
 white (Harry L.) 
 
 4. 4 to 8. 
 
 
 11 to 13. 
 
 5. 15 " 18. 
 
 
 24 " 20. 
 
 6. 11 " 15. (b) 
 
 
 28 " 24. 
 
 1. 1 " 11. 
 
 
 31 " 26. 
 
 8. 6 " 9. 
 
 
 13 " 6. 
 
 9. 2 " 9. 
 
 
 26 " 22. 
 
 10. 9 u IS. 
 
 
 20 " 16. 
 
 11. 11 " 20. 
 
 
 22 " 11. 
 
 12. 13 " 22. 
 
 
 21 " IT. 
 
 13. 14 " 21. 
 
 
 23 " 1. 
 
 14. 3 " 10. 
 
 
 25 " 4. (c) 
 
 White 
 
 wins. 
 
 
 Notes* 
 
 BY "APOLLO.'* 
 
 (0) Done merely to throw him off the " scent." 
 (&) To see if he was asleep. 
 (0) This answers the question. 
 
 flgg" We insert the above as a curiosity. Those wh© 
 have not tried the experiment can hardly be aware of the 
 difficulty of playing " blindfold." 
 
 Game X* 
 
 THE "CEOSS," BY "HAMILTON." 
 
 Dedicated to his friendj L. K., of New York* 
 
 BLACK. 
 
 
 WHITE. 
 
 1. 11 to 15. 
 
 
 23 to 13. 
 
 2. 8'" 11. 
 
 
 26 " 23. 
 
 8. 4 " 8. 
 
 
 30 " 26. 
 
 4. 15 " 19. 
 
 («) 
 
 24 " 15. 
 
 6. 10 " 19. 
 
 
 23 " 16. 
 
 6. 12 " 19. 
 
 
 22 " 11. 
 
or, Beginners' Sure Guide. 6 J 
 
 
 BLACK 
 
 . 
 
 
 WHITE. 
 
 1. 
 
 9 to 13. 
 
 
 17 to 14. (6) 
 
 8. 
 
 8 
 
 u 
 
 12. 
 
 
 27 
 
 a 
 
 24. (e) 
 
 9. 
 
 11 
 
 U 
 
 16. 
 
 
 24 
 
 u 
 
 15. 
 
 10. 
 
 1 
 
 l( 
 
 10. 
 
 
 14 
 
 u 
 
 7. 
 
 11. 
 
 3 
 
 u 
 
 19. 
 
 (d) 
 
 26 
 
 a 
 
 22. 
 
 12. 
 
 19 
 
 (i 
 
 24. 
 
 
 28 
 
 u 
 
 19. 
 
 IS. 
 
 16 
 
 u 
 
 23. 
 
 
 18 
 
 a 
 
 15. 
 
 14. 
 
 6 
 
 C( 
 
 10. 
 
 « 
 
 15 
 
 a 
 
 6. 
 
 15. 
 
 1 
 
 u 
 
 10. 
 
 
 22 
 
 a 
 
 !*.(/) 
 
 16. 
 
 13 
 
 u 
 
 22. 
 
 
 25 
 
 it 
 
 18. 
 
 17. 
 
 6 
 
 a 
 
 9. 
 
 
 29 
 
 a 
 
 25. 
 
 18. 
 
 12 
 
 a 
 
 16. 
 
 
 25 
 
 a 
 
 22. 
 
 19. 
 
 23 
 
 u 
 
 26. 
 
 w 
 
 22 
 
 (C 
 
 17. 
 
 20. 
 
 26 
 
 a 
 
 30. 
 
 
 17 
 
 a 
 
 14. 
 
 
 
 
 White wins. 
 
 
 
 
 Notes. 
 
 BY "HAMILTON." 
 
 <a) This is a touch the authors never thought of. 
 (5) A lost move, according to Anderson and Drummond. See Ander- 
 son's fifteenth variation of "Dyke." I claim it as draw-able, 
 (c) Anderson moves 25 to 22 instead. 
 (<£) A grand touch. 
 ifi) Best ; 2 to 7 would lose a man. 
 </) Drummond overlooked this move ; the only draw, 
 iff) Eather hasty ; 9 to 13 can draw " every time." 
 
 Game XI. 
 (From Anderson's Work.) 
 u BRISTOL." 
 ' The student will bear in mind that the notes accom- 
 panying all the games from Anderson's treatise (embraced 
 in the present volume) were originally prepared for the 
 Clipper. 
 
 6* 
 
66 The Elements of Draughts 
 
 BLACK. 
 
 WHITE. 
 
 1. 11 to 16. 
 
 24 to 20. 
 
 2. 16 " 19. (d 
 
 23 " 16. 
 
 3. 12 " 19. 
 
 22 " 18. 
 
 4. 9 " 14. 
 
 18 u 9> 
 
 5. 5 ll 14. 
 
 25 " 22. 
 
 6. 8 " 11. 
 
 22 " 17. 
 
 7. 4 " 8. 
 
 27 " 24. 
 
 8. 11 " 15. 
 
 20 " 16. 
 
 % 8 " 11. 
 
 24 " 20. 
 
 10. 6 u 9. 
 
 17 " 13. 
 
 11. 1 " 5. (b) 
 
 13 u 6. 
 
 12. 2 u 9, 
 
 29 " "25% 
 
 13, 9 u 13. 
 
 25 " 22. 
 
 14. 14 " 18. 
 
 22 " 17. 
 
 15. 13 " 22. 
 
 26 " 17. 
 
 16. 18 " 22. 
 
 17 " 14. 
 
 17. 10 " 17. 
 
 21 u 14. 
 
 18. 19 " 23. 
 
 SI " 27. 
 
 19. 15 " 18. 
 
 14 " 10. (e) 
 
 ao. 7 " 14. 
 
 16 " 7. 
 
 21. 3 " 10. 
 
 20 " 16. 
 
 22. 22 " 26. 
 
 16 " 11. 
 
 23. 26 " 8-1. 
 
 11 " 7. (d) 
 
 24. 31 " 24. 
 
 28 " 19. 
 
 25. 23 " 27. 
 
 32 " 23. 
 
 Brawn. 
 
 
 Notes. 
 
 
 (a) We have seldom seen this opening in actual play. 
 
 ( &) Depending on his skll in the open field. 
 
 (c, Combinations of this character are very instructive to the learner, 
 showing that a piece more does not always win. 
 
 {d) Black cannot possibly win. Position carries White through with 
 safety. 
 
or, Beginners' Sure Guide. 67 
 
 Game XII. 
 "maid of the mill." 
 Played between Messrs. Hodges and Mercer. 
 black (Mr. M). white (Mr. H). 
 
 1. 11 to 15. 22 to 17. 
 
 2. 8 " 11. 17 " 13. 
 
 3. 15 " 18. 23 " 14. 
 
 4. 9 " 18. 26 " 23. 
 
 5. 10 u 14. 24 " 19. 
 
 6. 6 " 10. 28 u 24. 
 
 7. 4 u 8. 24 " 20. 
 
 8. 1 " 6. 30 u 26. 
 
 9. 14 "17. (a) 23 " 14. 
 
 10. 11 " 16. {b) 20 " 4. 
 
 11. 3 " 8. (c) 4 " 11. 
 
 12. 7 " 30. 14 u 7. 
 
 13. 2 " 11. (d) 21 " 14. 
 
 14. 30." 21. (e) 14 " 9. (/) 
 
 15. 5 " 14. 29 " 25. 
 
 16. 21 " 30. 31 " 26. {ff) 
 
 17. 30 " 23. 27 " 2. 
 
 Black loses. 
 
 Notes* 
 
 (a) Tries an experiment. 
 
 (&) Determined to " see througn it•. , ' , 
 
 (c) Goes ahead. 
 
 (d) No " backing out." 
 
 (e) Caught. 
 
 (/) Has it all his own way. 
 
 (g) Gives him the finishing touch. 
 
68 The Elements of Draughts; 
 
 Game XIII. 
 
 
 
 [From Anderson's 
 
 Work.] 
 
 
 " GLASGOW." 
 
 
 
 BLACK. 
 
 WHITE. 
 
 1. 11 to 15. 
 
 23 to 19. 
 
 2. 8 " 11. 
 
 22 
 
 u 
 
 17. 
 
 3. 11 " 16. (a) 
 
 24 
 
 u 
 
 20. 
 
 4. 16 " 23. 
 
 27 
 
 u 
 
 11. 
 
 5. 7 " 16. 
 
 20 
 
 u 
 
 11. 
 
 6. 3 " 7. 
 
 25 
 
 u 
 
 22. 
 
 7. 7 " 16. 
 
 22 
 
 u 
 
 18. 
 
 8. 9 " 14. (b) 
 
 18 
 
 a 
 
 9. 
 
 9. 6 " 22. 
 
 26 
 
 a 
 
 17. 
 
 10. 5 " 9. 
 
 28 
 
 u 
 
 24. 
 
 11. 10 " 15. 
 
 24 
 
 n 
 
 20. 
 
 12. 16 " 19. 
 
 30 
 
 u 
 
 26. 
 
 13. 1" 6. 
 
 32 
 
 (i 
 
 28. 
 
 14. 2 " 7. (c) 
 
 31 
 
 u 
 
 27. (d) 
 
 15. 4 " 8. 
 
 29 
 
 a 
 
 25. 
 
 16. 8 " 11. 
 
 27 
 
 (C 
 
 24. 
 
 17. 7 " 10. 
 
 25 
 
 a 
 
 22. {e) 
 
 18. 9 " 14. (/) 
 
 17 
 
 u 
 
 13. 
 
 19. 14 " 18. 
 
 22 
 
 a 
 
 17. 
 
 20. 18 " 22. 
 
 17 
 
 a 
 
 14. (9) 
 
 21. 10 « 17. 
 
 21 
 
 u 
 
 14. 
 
 22. 22 " 31. 
 
 14 
 
 a 
 
 10. 
 
 23. 31 " 27. 
 
 10 
 
 a 
 
 1. 
 
 Drawn. 
 
 
 
 
 Notes* 
 
 
 
 
 (a) Eager for battle. 
 
 
 
 
 (&) Black likes plenty of ' 
 
 'sea room." 
 
 (o) Trying White's mettle 
 
 
 
 
or, Beginners' Sure Guide. 69 
 
 {d) Not alarmed. 
 
 (e) Such games generally interest spectators. 
 
 (/) Black seems to possess a slight advantage, yet can only draw 
 the game. 
 
 (g) The above game is more evidently drawn all the way through 
 than is usually the case. 
 
 Game XIV. 
 IRREGULAR OPENING. 
 
 Arranged and played by Mr. Charle3 Tarbell, of New York. 
 Jgp* This gentleman, although unfortunately blind, is 
 really a fine player. 
 
 
 BLACK. 
 
 WHITE. 
 
 1. 
 
 11 to 15. 
 
 21 to 17. 
 
 2. 
 
 7 
 
 u 
 
 11. 
 
 25 " 21. 
 
 3. 
 
 9 
 
 <( 
 
 14. 
 
 23 " 19. 
 
 4. 
 
 5 
 
 u 
 
 9. 
 
 26 " 23. 
 
 5. 
 
 9 
 
 (( 
 
 13. 
 
 30 " 25. 
 
 6. 
 
 15 
 
 << 
 
 18. 
 
 22 " 15. 
 
 7. 
 
 11 
 
 u 
 
 18. 
 
 24 " 20. 
 
 8. 
 
 13 
 
 « 
 
 22. 
 
 27 " 24. 
 
 9. 
 
 18 
 
 li 
 
 27. 
 
 25 " 9. 
 
 10. 
 
 6 
 
 it 
 
 13. 
 
 32 " 23. 
 
 11. 
 
 8 
 
 u 
 
 11. 
 
 23 " 18. 
 
 12. 
 
 3 
 
 u 
 
 7. 
 
 19 " 15. 
 
 13. 
 
 10 
 
 u 
 
 19. 
 
 24 " 8. 
 
 14. 
 
 4 
 
 CI 
 
 11. 
 
 29 " 25. 
 
 15. 
 
 7 
 
 u 
 
 10. 
 
 18 " 14. 
 
 16. 
 
 10 
 
 u 
 
 17. 
 
 21 " 14. 
 
 17. 
 
 13 
 
 u 
 
 17. 
 
 25 " 22. 
 
 18. 
 
 17 
 
 cc 
 
 26. 
 
 31 " 22. 
 
 19. 
 
 11 
 
 ti 
 
 15. 
 
 28 " 24. 
 
 20. 
 
 2 
 
 II 
 
 7. 
 
 22 " 17. 
 
70 The Elements of Draughts; 
 
 
 BLACK. 
 
 
 WHITE. 
 
 21. 
 
 T to 11. 
 
 
 14 to 10. 
 
 22. 
 
 12 " 16. 
 
 
 10 " T. 
 
 23. 
 
 16 " 19. 
 
 
 T " 3. 
 
 24. 
 
 19 " 28. 
 
 Drawn. 
 
 3 " T. 
 
 We forbear comments, as the originality will be observed 
 by all good players. 
 
 
 
 
 Game XV. 
 
 
 
 [Prom Anderson 
 
 's Work 
 
 J 
 
 
 (i 
 
 'laied and 
 
 LADY. 1 
 
 i? • 
 
 
 BLACK 
 
 . 
 
 
 WHITE. 
 
 1. 
 
 11 to 15. 
 
 
 23 to 19. 
 
 2. 
 
 8 
 
 ct 
 
 11. 
 
 
 22 
 
 " IT. 
 
 3. 
 
 9 
 
 H 
 
 13. 
 
 
 IT 
 
 " 14. 
 
 4. 
 
 10 
 
 (I 
 
 11. 
 
 
 21 
 
 " 14. 
 
 5. 
 
 15 
 
 « 
 
 18. 
 
 
 26 
 
 " 23. 
 
 6. 
 
 13 
 
 U 
 
 IT. 
 
 (a) 
 
 19 
 
 " 15. 
 
 T. 
 
 4 
 
 u 
 
 8. 
 
 
 23 
 
 " 19. 
 
 8. 
 
 6 
 
 a 
 
 9. 
 
 
 24 
 
 " 20, 
 
 9. 
 
 1 
 
 a 
 
 6. 
 
 
 28 
 
 " 24. 
 
 10. 
 
 9 
 
 c< 
 
 13. 
 
 
 15 
 
 " 10. 
 
 11. 
 
 6 
 
 H 
 
 15. 
 
 
 19 
 
 " 10. 
 
 12. 
 
 11 
 
 a 
 
 15. 
 
 (o) 
 
 31 
 
 " 26. 
 
 18. 
 
 8 
 
 u 
 
 11. 
 
 
 25 
 
 " 22. 
 
 14. 
 
 18 
 
 a 
 
 25. 
 
 
 29 
 
 " 22. 
 
 15. 
 
 11 
 
 a 
 
 16. 
 
 
 20 
 
 " 11. 
 
 16. 
 
 T 
 
 a 
 
 16. 
 
 
 26 
 
 " 23. (c) 
 
 IT. 
 
 it 
 
 u 
 
 26. 
 
 
 23 
 
 " 19. 
 
 18. 
 
 16 
 
 a 
 
 23. 
 
 
 2T 
 
 " 11. 
 
or, Beginners' Sure Guide. 71 
 
 
 BLACK. 
 
 
 WHITE. 
 
 29. 
 
 13 to 11. 
 
 (d) 
 
 80 to 23. 
 
 20. 
 
 H " 22. 
 
 
 23 " 19. 
 
 21. 
 
 22 " 26. 
 
 
 11 " 8. 
 
 22. 
 
 26 " 81. 
 
 
 8 " 4. 
 
 23. 
 
 31 " 26. 
 
 
 4 " 8. 
 
 24. 
 
 26 " 22. 
 
 
 8 " 11. 
 
 25. 
 
 22 " 18. 
 
 Drawn. 
 
 32 " 28. 
 
 
 Notes* 
 
 
 (a) The match games between Anderson and Wylie abound with 
 these singular moves. 
 
 (5) Confusion is generally the aim of Anderson, for he thus obtains 
 an opportunity for the display of his great genius. 
 
 (c) An " Andersonian " arrangement, peculiarly " Scottish." 
 
 (d) Few players would make this move, yet Black has nothing bet- 
 ter ; 26 to 31 would give him the " laboring oar." 
 
 Game XVI. 
 
 Match game played between Messrs. Anderson and Wylie. 
 Communicated to the author by Mr. A. H. Mercer, who was 
 present at their match at Edinburgh in 1847. 
 
 "second double corner." 
 
 black (Anderson). 
 
 1. 11 to 15. 
 
 2. 15 " 24. 
 
 3. 8 " 11. 
 
 4. 11 " 16. 
 
 5. 16 " 20. 
 
 6. 10 " 14. 
 1. 4 " 8. 
 
 white (Wylie). 
 
 24 to 19. 
 
 28 " 19. (a) 
 22 " 18. 
 
 25 " 22. 
 
 29 " 25. 
 18 " 15. 
 22 " 18. 
 
72 The Elements of Draughts ; 
 
 1CK 
 
 (Anderson). 
 
 WHITE 
 
 (Wylie). 
 
 8. 
 
 1 to 11. 
 
 26 to 22. (b). 
 
 9. 
 
 11 
 
 a 
 
 16. 
 
 30 
 
 " 26. 
 
 10. 
 
 3 
 
 a 
 
 T. 
 
 2T 
 
 " 24. (c) 
 
 11. 
 
 20 
 
 u 
 
 2T. 
 
 31 
 
 « 24. 
 
 12. 
 
 16 
 
 u 
 
 20. 
 
 32 
 
 " 2T. 
 
 13. 
 
 T 
 
 u 
 
 10. (d) 
 
 15 
 
 44 11. 
 
 14. 
 
 8 
 
 u 
 
 15. 
 
 18 
 
 41 11. 
 
 15. 
 
 9 
 
 u 
 
 13. 
 
 22 
 
 44 18. (6) 
 
 16. 
 
 5 
 
 u 
 
 9. 
 
 11 
 
 " 8. (/) 
 
 IT. 
 
 2 
 
 a 
 
 7. 
 
 8 
 
 44 3. 
 
 18. 
 
 13 
 
 a 
 
 IT. 
 
 3 
 
 44 8. 
 
 19. 
 
 IT 
 
 u 
 
 22. 
 
 26 
 
 44 IT. 
 
 20. 
 
 T 
 
 u 
 
 11. 
 
 8 
 
 44 15. 
 
 21. 
 
 12 
 
 u 
 
 16. 
 
 19 
 
 44 12. 
 
 22. 
 
 10 
 
 a 
 
 28. 
 
 IT 
 
 44 10. 
 
 23. 6 " 29, and wins. 
 
 Notes. 
 
 (a) This forms Anderson's " Second Double Corner.' 
 
 (6) White has no better move. 
 
 (c) 22 to 17, or 32 to 28, loses immediatel/y. 
 
 {d) Quiet. 
 
 (e) Why not make a King at once t 
 
 (/) Must do it now. 
 
 Game XVH. 
 wtlie's 18th game. 
 
 At the fourth move there is a variation from the 
 44 Second Double Corner." As this move is liable to occur 
 in play, I give it for the benefit of players who have not 
 access to Wylie's work. 
 
or, Beginners' Sure Guide. 73 
 
 IEREGTJLAB OPENING. 
 
 
 BLACK, 
 
 
 WHITE. 
 
 1. 
 
 11 to 15. 
 
 24 to 19. 
 
 2. 
 
 15 
 
 u 
 
 24. 
 
 27 
 
 u 
 
 20. (a) 
 
 3. 
 
 8 
 
 u 
 
 11. 
 
 22 
 
 a 
 
 18. 
 
 4. 
 
 10 
 
 u 
 
 15. 
 
 25 
 
 a 
 
 22. 
 
 5. 
 
 15 
 
 u 
 
 19. (b) 
 
 23 
 
 a 
 
 16. 
 
 6. 
 
 12 
 
 t( 
 
 19. 
 
 29 
 
 a 
 
 25. 
 
 1. 
 
 9 
 
 u 
 
 14. 
 
 18 
 
 a 
 
 9. 
 
 8. 
 
 5 
 
 u 
 
 14. 
 
 32 
 
 u 
 
 27. 
 
 9. 
 
 4 
 
 (« 
 
 8. 
 
 22 
 
 a 
 
 17. (c) 
 
 10. 
 
 19 
 
 u 
 
 23. 
 
 26 
 
 u 
 
 19. 
 
 11. 
 
 8 
 
 u 
 
 12. 
 
 11 
 
 a 
 
 10. 
 
 12. 
 
 6 
 
 u 
 
 24. 
 
 28 
 
 u 
 
 19. 
 
 13. 
 
 11 
 
 a 
 
 16. 
 
 20 
 
 (i 
 
 11. 
 
 14. 1 " 32, and wins. 
 
 Notes* 
 
 (a) 28 to 19 is the ordinary jump ; and one which we prefer, in this 
 case. 
 
 (5) Very strong, and attacking. 
 
 (c) Fatal for White ; now follows a truly beautiful combination. The 
 aame position occurs in the 58th game of Walker's edition of Sturges ; 
 yet the opening is original with Wylie. 
 
 Game XVIII, 
 
 Played between Mr. Dutton and a friend. 
 
 "WHILTEE." 
 
 black (Mr. Dutton). white (Friend). 
 
 1. 11 to 15. 23 to 19. 
 
 2. 1 " 11. 22 u 17. 
 
74 The Elements of Draughts; 
 
 ck (Mr. 
 
 Dutton). 
 
 WHITE 
 
 (Friend). 
 
 3. 11 to 16. 
 
 
 26 to 23. 
 
 4. 16 
 
 u 
 
 20. 
 
 
 31 
 
 u 
 
 26. (a) 
 
 5. 2 
 
 a 
 
 7. 
 
 
 11 
 
 a 
 
 13 
 
 6. 8 
 
 il 
 
 11. 
 
 
 19 
 
 If 
 
 16. 
 
 7. 12 
 
 u 
 
 19. 
 
 
 23 
 
 a 
 
 16. 
 
 8. 4 
 
 u 
 
 8. 
 
 
 16 
 
 u 
 
 12. 
 
 9. 11 
 
 u 
 
 16. 
 
 
 25 
 
 l< 
 
 22. 
 
 10. 9 
 
 a 
 
 14. 
 
 
 22 
 
 a 
 
 17. 
 
 11. 8 
 
 to 
 
 11. 
 
 
 26 
 
 a 
 
 23. (b) 
 
 12. 15 
 
 a 
 
 18. 
 
 w 
 
 29 
 
 a 
 
 25. 
 
 13. 5 
 
 a 
 
 9. 
 
 
 24 
 
 u 
 
 19. 
 
 14. 11 
 
 a 
 
 15. 
 
 
 28 
 
 (( 
 
 24. 
 
 15. 1 
 
 u 
 
 11. 
 
 
 32 
 
 u 
 
 28. 
 
 16. 1 
 
 a 
 
 5, 
 
 and 
 
 wins, (d) 
 
 
 
 Notes. 
 
 BY A SPECTATOR. 
 
 (a) Anderson lays down 30 to 26 as a draw, but 31 to 26 is probably 
 as good, if well followed up. 
 
 (&) Here Mr. D's. opponent hesitated for some time. 
 
 (G) Dutton played this move with his usual boidness, when aware 
 that he has a winning position— literally " walking into his friend's 
 affections." 
 
 (6?) This game is a favorite with Dutton ; and his success in this en- 
 counter is characteristic, unless playing against an opponent well " up" 
 in Anderson's draw. 
 
 Game XIX. 
 
 Played between " Martin, of Boston," and a Boston ama- 
 teur ; with notes by " Martin." 
 
 "the cross." 
 BLACK ("Martin' ). white (Mr. ). 
 
 1. 11 to 15. 23 to 18. 
 
 2. 8 " 11. 18 " 14. (a) 
 
or, Beginners' Sure Guide. 75 
 
 ILAC 
 
 k (Martin). 
 
 WHITE 
 
 (Mr. ). 
 
 3. 
 
 9 to 18. 
 
 24 to 19. 
 
 4. 
 
 15 
 
 u 
 
 24. 
 
 22 
 
 a 
 
 8. 
 
 5. 
 
 4 
 
 cc 
 
 11. 
 
 28 
 
 c< 
 
 19. 
 
 6. 
 
 11 
 
 u 
 
 15. 
 
 27 
 
 a 
 
 24. 
 
 1. 
 
 5 
 
 (t 
 
 9. 
 
 25 
 
 a 
 
 22. 
 
 8. 
 
 9 
 
 u 
 
 14. 
 
 22 
 
 (( 
 
 17. 
 
 9. 
 
 7 
 
 u 
 
 11. 
 
 29 
 
 u 
 
 25. 
 
 10. 
 
 3 
 
 u 
 
 8. 
 
 26 
 
 « 
 
 23. 
 
 11. 
 
 6 
 
 u 
 
 9.(6) 
 
 • 17 
 
 a 
 
 13. (c) 
 
 12. 
 
 15 
 
 u 
 
 18. 
 
 13 
 
 (I 
 
 6. 
 
 13. 
 
 18 
 
 u 
 
 27. 
 
 32 
 
 u 
 
 23. 
 
 14. 
 
 2 
 
 u 
 
 9. 
 
 25 
 
 a 
 
 22. 
 
 15. 
 
 11 
 
 C( 
 
 15. 
 
 30 
 
 u 
 
 26. 
 
 16. 
 
 8 
 
 (1 
 
 11. 
 
 22 
 
 a 
 
 17. 
 
 17. 
 
 9 
 
 (< 
 
 13. 
 
 26 
 
 t< 
 
 22. 
 
 18. 
 
 1 
 
 a 
 
 5. 
 
 31 
 
 a 
 
 27. 
 
 19. 5 " 9, and wins. 
 
 Notes. 
 
 («) I believe this move to be safe, although I prefer Black's game, as 
 being for some time easier to play. 
 (6) A trap which might catch a fine player in " off-hand " play. 
 (c) I regard this as being the losing move. 
 
 Game XX. 
 Played between " Harry," of Buffalo, and Mr. Jenkinn. 
 
 SINGLE COENEE. 
 
 black ("Harry"), white (Mr. Jenkins). 
 
 1. 11 to 15 22 to 18. 
 
 2. 15 " 22 25 " 18. 
 
 3. 12 " 16. 29 " 25. 
 
 4. 16 " 20. 25 " 22. 
 
76 The Elements of Draughts; 
 
 black '" Harry"), white (Mr. Jenkins), 
 
 5. 8 to 12. 18 to 15. 
 
 6. 10 " 19. 24 " 15, 
 '7. 4 " 8. 21 " 17. 
 
 8. 7 " 10. 23 " 19. (a) 
 
 9. 9 " 14. 17 " 13. 
 
 10. 14 " 18. 22 " 11. (b) 
 
 11. 18 " 22. 27 " 23. 
 
 12. 5 " 9. 23 " 18. 
 
 13. 3 " 7. 32 " 27. 
 
 14. 1 " 5. (e) 28 " 24. (d) 
 
 15. 12 " 16. 19 " 3. 
 
 16. 10 " 28. 3 " 1. 
 11. 28 " 32. 13 " 6. 
 
 18. 32 " 21. 26 " 11. 
 
 19. 21 " 14, and wins. 
 
 Notes. 
 
 (a) This " plugging " frequently fails in its object. 
 (&) Seems to lack " material." 
 
 (c) Decidedly "aggressive." 
 
 (d) The game is now critical and interesting. 
 
 Game XXI. 
 
 " DOUBLE COKNEB." * 
 
 Dedicated to Martin, of Boston, by "Harry," of Buffalo. 
 
 BLACK. WHITE. 
 
 1. 9 to 14. 22 to 18. 
 
 2. 5 " 9. 25 " 22. 
 
 3. 10 " 15. 29 " 25. 
 
 * So named from the first move, which is from one double corner to» 
 ward the other. 
 
or, Beginners' Sure Guide. 77 
 
 
 BLACK. 
 
 WHITE. 
 
 4. 
 
 1 to 10. 
 
 24 to 19. 
 
 5. 
 
 15 " 24. 
 
 28 " 19. 
 
 6. 
 
 11 " 16. 
 
 18 " 15. 
 
 1. 
 
 3 " 1. 
 
 22 " 18. 
 
 8. 
 
 n " 11. 
 
 26 " 22. 
 
 9. 
 
 16 " 20. 
 
 SI " 26. {a) 
 
 10. 
 
 11 " 16. 
 
 32 " 28. (b) 
 
 11. 
 
 1 " 5. 
 
 28 " 24. (c) 
 
 12. 
 
 8 " 11. 
 
 15 " 8. 
 
 13. 
 
 4 " 11. 
 
 18 " 15. (d) 
 
 14. 
 
 11 " 18. 
 
 22 " 18. 
 
 15. 14 " l'T, and wins. 
 
 Notes. 
 
 {a) This move loses the game. Els best, at this stage, is from 2T to 
 24, making the exchange. 
 (&) He has no other. 
 
 (c) Nothing else. 
 
 (d) Forced to " drink the hemlock." 
 
 
 Game XXII. 
 
 
 Original Game by Wylie. 
 
 
 SINGLE 
 
 OOENEE. 
 
 
 BLACK. 
 
 WHITE. 
 
 1. 
 
 11 to 15. 
 
 22 to 18. 
 
 2. 
 
 15 " 22. 
 
 25 " 18. 
 
 3. 
 
 8 " 11. 
 
 29 " 25. 
 
 4. 
 
 4 " 8. 
 
 24 " 20. 
 
 5. 
 
 10 " 15. 
 
 25 " 22. 
 
 6. 
 
 12 " 16. 
 
 21 " 11. 
 
 fc 
 
 8 " 12. 
 
 27 u 24. 
 
 8. 
 
 16 " 19. 
 
 23 " 16. 
 
 1* 
 
78 The Elements of Draughts; 
 
 
 BLACK. 
 
 WHITE. 
 
 9. 
 
 12 to 19. 
 
 20 to 16. (0) 
 
 10. 
 
 11 " 27. 
 
 18 " 11. (ft) 
 
 11. 
 
 1 " 16. 
 
 31 " 15. 
 
 12. 
 
 9 " 13. 
 
 26 " 23. 
 
 13. 
 
 16 " 20. 
 
 15 " 11. 
 
 14. 
 
 6 " 10. 
 
 23 " 18. 
 
 15. 
 
 2 " 7. 
 
 11 " 2. 
 
 16. 
 
 1 " 6. 
 
 2 " 9. 
 
 17. 5 " 23, and wins. 
 
 Notes. 
 
 (a) We believe that this variation of the Single Corner game is no- 
 ticed only by Wylie. In every case he makes it a losing game for 
 White. 
 
 <o) Strange as it may appear, Mr. Wylie does not give any other 
 move or jump at this point. Yet we believe that 32 to 1& makes it 
 possible to draw. 
 
 Game XXIII. 
 
 Match Game played between Messrs. Wylie and Price fox 
 £50 a side. 
 
 "ayeshike lassie." 
 
 LA< 
 
 3K (Wylie). 
 
 white (Price). 
 
 1. 
 
 11 to 15. 
 
 24 to 20. 
 
 2. 
 
 8 " 11. 
 
 28 " 24. 
 
 3. 
 
 4 " 8. 
 
 23 " 19. (a) 
 
 4. 
 
 15 " 18. 
 
 22 " 15. 
 
 5. 
 
 11 " 18. 
 
 32 " 28. 
 
 6. 
 
 10 " 14. 
 
 25 " 22. 
 
 1. 
 
 18 " 25. 
 
 29 " 22. 
 
 8. 
 
 1 " 11. 
 
 22 ".17. 
 
or, Beginners' Sure Guide. 79 
 
 BLA) 
 
 2K (Wylie). 
 
 white (Price). 
 
 9. 
 
 14 to 18. 
 
 17 to 13. (b) 
 
 10. 
 
 9 
 
 a 
 
 14. 
 
 30 
 
 u 
 
 25, 
 
 11. 
 
 5 
 
 u 
 
 9. 
 
 26 
 
 K 
 
 23. 
 
 12. 
 
 2 
 
 u 
 
 7. 
 
 31 
 
 a 
 
 26. 
 
 13. 
 
 1 
 
 M 
 
 5. 
 
 19 
 
 a 
 
 15. (c) 
 
 14. 
 
 7 
 
 u 
 
 10. 
 
 24 
 
 a 
 
 19. 
 
 15. 
 
 3 
 
 u 
 
 7. 
 
 28 
 
 u 
 
 24. 
 
 16. 
 
 14 
 
 u 
 
 17. 
 
 21 
 
 a 
 
 14. 
 
 It 
 
 10 
 
 a 
 
 17. 
 
 23 
 
 (( 
 
 14. 
 
 18. 
 
 11 
 
 a 
 
 18. 
 
 25 
 
 u 
 
 21. 
 
 19. 
 
 18 
 
 cc 
 
 22. 
 
 26 
 
 u 
 
 23. 
 
 20. 
 
 9 
 
 u 
 
 18. 
 
 23 
 
 « 
 
 14. 
 
 21. 
 
 22 
 
 a 
 
 26. 
 
 19 
 
 a 
 
 15. 
 
 22. 
 
 26 
 
 a 
 
 31. 
 
 27 
 
 a 
 
 23. 
 
 23. 
 
 8 
 
 u 
 
 11. 
 
 15 
 
 u 
 
 8. 
 
 24. 
 
 6 
 
 (C 
 
 9. 
 
 13 
 
 (C 
 
 6. 
 
 25. 
 
 7 
 
 u 
 
 10. 
 
 14 
 
 CI 
 
 7. 
 
 26. 
 
 31 
 
 u 
 
 27. 
 
 21 
 
 u 
 
 14. 
 
 27. 27 " 4, (d), and Mr. Price resigned. 
 
 Notes. 
 
 (a) Forming the " Ayrshire." 
 (&) He has no other good move. 
 
 (c) Loses. 26 to 22 looks better. 
 
 (d) Beautiful ending. 
 
 Game XXIV. 
 
 THE "WHILTEE," 
 
 [From Anderson's Work.] 
 BLACK. WHITE. 
 
 1. 11 to 15. 23 to 19. 
 
 2. 9 '' 14. 22 " 17- 
 
8o The Elements of Draughts; 
 
 
 BLACK. 
 
 
 
 WHITE. 
 
 3. 
 
 7 to 11. 
 
 (a) 
 
 25 to 22. 
 
 4. 
 
 11 
 
 u 
 
 16. 
 
 (*) 
 
 26 
 
 u 
 
 23. 
 
 6. 
 
 5 
 
 a 
 
 9. 
 
 
 IT 
 
 u 
 
 13. 
 
 6. 
 
 3 
 
 a 
 
 7. 
 
 M 
 
 29 
 
 a 
 
 25. 
 
 7. 
 
 1 
 
 a 
 
 5. 
 
 
 22 
 
 a 
 
 17. 
 
 8. 
 
 8 
 
 a 
 
 11. 
 
 
 31 
 
 u 
 
 26. 
 
 9. 
 
 16 
 
 u 
 
 20. 
 
 
 19 
 
 (< 
 
 16. ($ 
 
 10. 
 
 12 
 
 a 
 
 19. 
 
 
 23 
 
 u 
 
 16. 
 
 11. 
 
 14 
 
 (( 
 
 18. 
 
 
 26 
 
 a 
 
 23. 
 
 12. 
 
 18 
 
 (( 
 
 22. 
 
 (<0 
 
 25 
 
 (( 
 
 18. 
 
 13. 
 
 15 
 
 u 
 
 22. 
 
 
 23 
 
 u 
 
 18. 
 
 14. 
 
 22 
 
 << 
 
 25. 
 
 
 17 
 
 t< 
 
 14. 
 
 15. 
 
 10 
 
 u 
 
 1,7. 
 
 
 21 
 
 a 
 
 14. 
 
 16. 
 
 11 
 
 u 
 
 15. 
 
 (/) 
 
 18 
 
 u 
 
 11. 
 
 in. 
 
 9 
 
 a 
 
 18. 
 
 
 30 
 
 u 
 
 21. 
 
 18. 
 
 18 
 
 a 
 
 22. 
 
 
 21 
 
 u 
 
 17. 
 
 19. 
 
 22 
 
 u 
 
 26. 
 
 
 24 
 
 u 
 
 19. 
 
 20. 
 
 26 
 
 u 
 
 30. 
 
 
 19 
 
 a 
 
 15. (ff) 
 
 21. 
 
 30 
 
 a 
 
 26. 
 
 
 17 
 
 u 
 
 14. 
 
 22. 
 
 26 
 
 a 
 
 22. 
 
 
 13 
 
 u 
 
 9. (h) 
 
 23. 
 
 6 
 
 u 
 
 13. 
 
 
 15 
 
 a 
 
 10. 
 
 24. 
 
 22 
 
 a 
 
 17. 
 
 Drawn. 
 
 
 
 
 
 
 
 Notes* 
 
 
 
 
 (a) This forms the " Whilter." 
 
 (&) One of Anderson's favorite moves. 
 
 (c) All secure. 
 
 (d) The battle now commences in earnest. 
 
 (e) Making a " point " for the *■* kingdom." 
 (/) A singular, but sound move. 
 
 (g) There are better looking moves, but Black can regain the pieces 
 {ti) He has cithing better. 
 
or, Beginners' Sure Guide. 81 
 
 THE 
 
 THEORY OF THE MOVE, 
 
 AND ITS CHANGES. 
 
 In compliance with a wish expressed by our correspond- 
 ents, we insert the '* Theory of the Move, and its Changes," 
 by Mr. John Paterson, of Scotland. Although this ex- 
 tends the work some thir ty-six pages beyond our original 
 calculation, and is of itself well worth the price of the entire 
 work; still, as the price had been named, and many orders 
 inclosing remittances forwarded, no other honorable course 
 remained open. We congratulate our readers, and assure 
 them that a careful examination of the following beautiful 
 and scientific analysis, will well repay the attention bestowed. 
 
 [From Anderson's Work.] 
 Definitions. 
 
 1. The Move. — To have the move signifies the occupying 
 of that position on the board, which, in playing piece against 
 piece, backward or forward, without regard to the others, 
 
82 The Elements of Draughts; 
 
 till only one square intervene between the pieces in each 
 pair, will eventually cause the player who occupies that posi- 
 tion, to have the last play. 
 
 2. Homologous. — A term signifying of the same descrip- 
 tion ; thus, reckoning from the single corner the 1st,* 3d, 
 5th, and 7th rows, and all the squares in them are homolo- 
 gous, and are quoted as the odd set. Also, the 2d, 4th, 6th, 
 and 8th rows, and all the squares in them are homologous, 
 and are quoted as the even set. 
 
 3. Squares. — A term used by Payne and others, signify 
 the whole of the intervening squares, all the pieces on the 
 board being paired. 
 
 4. A Capture. — When either of the players takes one, 
 two, three, or any number of pieces at one play. 
 
 5. Counters. — Small pieces, which the learner may place in 
 the room of the pieces captured, to show where they have 
 been. 
 
 6. Homologous Counters. — All those counters which are 
 in the same set with each other. 
 
 7. A Capture from the Odd Set. — An expression signify- 
 ing that the capturing piece is in the odd set. 
 
 8. A Capture from the Even Set. — A similar expression ; 
 signifying that the capturing piece is in the even set. 
 
 Method of Calculating the Move. 
 
 To find whether you have the move when it is your turn 
 to play : 
 
 Rule. — Add together all the pieces, both black and white, 
 in either set of homologous rows, and if their sum is odd, 
 you have the move ; but if even, you have not. 
 
or, Beginners' Sure Guide. 83 
 
 As in reckoning from your single corner, according to 
 definition 2d, the rows in the odd set, whether taken verti- 
 cally or horizontally, always begin with a black square (the 
 play being on the black squares), and the rows in the even 
 set with a white square ; this furnishes an excellent guide to 
 the eve in applying the rule ; and it matters not whether you 
 use the vertical or horizontal rows, the squares in these 
 being identical, though we count vertically, and from our 
 own side of the board toward that of our adversary. 
 
 Note. — In place of adding the pieces, you can calculate 
 the move with equal accuracy by adding the vacant squares 
 in either set ; an odd number of vacant squares will indicate 
 that you have the move ; for if the pieces in either set are 
 odd, the number of vacant squares in either set must also 
 be odd. 
 
 Abbreviation of the Rule. 
 
 Add together all the single pieces and all the single vacant 
 squares on the rows of either set. and if their sum be odd, 
 you have the move, but if even, you have not. Let it be 
 observed, that you will find the single pieces only on such 
 rows of the set as contain one piece, and the single vacant 
 squares only on such as contain three pieces ; and you omit 
 all rows of the set which contain two or four pieces, because 
 an even number does not affect the result, the principle of 
 the rule being obviously to ascertain whether the number in 
 either set is odd or even, without regard to its magnitude. 
 In using this abbreviated form of the rule, you will never 
 count more than one on any given row ; and three will be 
 the greatest sum in the whole set when you have the move, 
 and four when you have not. 
 
 The rule may be expressed otherwise, thus : Find all those 
 rows in either set which contain an odd number of pieces, 
 
84 The Elements of Draughts; 
 
 if the sum of these rows be odd you have the move, but if 
 even, you have not. In the original series of letters to Mr. 
 Neilson, while we gave this second form of the abbreviated 
 rule, we also showed it to be less expeditious than the first, 
 though it has a more specious appearance. It is better 
 always to adhere to the same method, and we decidedly 
 prefer the first. 
 
 To find the Principle which determines the 
 Squares. 
 
 In equal forces the entire pieces may be distributed into 
 pairs, consisting each of pieces mutually adverse,* and form- 
 ing two classes, arising from a difference in their internal 
 arrangement. In class 1st may be reckoned every pair 
 whose two pieces are in the same set with each other ; and 
 in class 2d, every pair whose two pieces are in contrary 
 sets. In a pair of the 1st class, the intervening squares 
 being always odd, may be represented by the odd number 1. 
 In a pair of the 2d class, the invariably even intervening 
 squares, by the even number 0. 
 
 Now, let the number of pairs in these two classes be re- 
 spectively denoted by p and q; then the sum of all the in- 
 tervening squares on the board is equal to p x 1+q x 0==p. 
 Hence, if p is odd, the squares are odd, and if p is even, 
 the squares are even. That is, if the number of pairs in 
 class 1st is odd, the squares are odd ; but if not, they are 
 even. 
 
 To find an Easy Method of Calculating the 
 Squares. 
 
 In a pair of the 1st class, the intervening squares being 
 always odd, may be represented by one of the pieces com- 
 
 * The demonstration will equally apply, though the pieces should be 
 paired without any regard to color. 
 
or, Beginners' Sure Guide. 85 
 
 posing that pair ; say, for example, the black piece, if the 
 pair is in the odd set, or the white piece, if in the even set. 
 In all the pairs of this class the sum = the number of pairs 
 = p. In a pair of the 2d class, represent the invariably 
 even squares by both pieces when the black piece is in the 
 odd, and consequently the white piece in the even set ; but 
 if the pieces are not so situated, add neither of them. In all 
 the pairs of this class, the sum = 0, or = an even number, 
 which does not affect the result. By this process, it is ob- 
 vious that every black piece in the odd, and every white 
 piece in the even set is counted, and yet the result is not 
 different from that obtained by the previous method ; for, 
 the entire sum of the squares = p -\- 0, or p -f- an even 
 number, and is, therefore, of the same affection with p. 
 
 Hence, if the sum of the black pieces in the odd set, and 
 of the white pieces in the even set of homologous rows is 
 odd, the squares are odd ; but if not, the squares are even. 
 
 Method of Calculating the Move Demonstrated. 
 
 By adding the men to this sum, the move is calculated 
 according to the principle involved in the long-established 
 rule enunciated by Mr. William Payne, Teacher of Mathe- 
 matics, in his treatise on Draughts, published in 1756. 
 Had the process of simplifying Payne's rule terminated at 
 this point, it would still have been a very considerable im- 
 provement of his method, as the determination of the squares 
 is much facilitated, and proceeds upon a system exactly 
 analogous to the new system of calculating the move. It 
 was the leading step which, after a brief interval, and within 
 the same season, conducted us to the discovery of the rule 
 as it now stands. A slight transmutation of form accom- 
 plishes the metamorphosis, so slight, indeed, that the reader, 
 with little effort, may connect in his memory and his judg» 
 
86 The Elements of Draughts; 
 
 inent ; and in both with equal facility, the two improved 
 methods, one of which enables him to work out Payne's 
 original method after a superior fashion, and with consider- 
 able addition of speed, while the other supersedes it alto 
 gether, or rather, being that method changed into a more 
 beautiful form, reveals almost instantaneously the state of 
 the move. 
 
 The first improved form of Payne's original rule may be 
 thus expressed : Add the black in the odd, and the white 
 in the even set to all the white, and if their sum be odd, 
 you have the move, but not otherwise. Here it is obvious 
 that the white in the even set are in reality repeated, being 
 included in " all the white." Now, any whole number when 
 repeated, must, of necessity, yield a sum which is even ; and 
 which, on that very account, must be adjudged to possess no 
 efficacy in contributing to the final result, whatever it is, in 
 any imaginable case, and consequently the addition of this 
 even sum will not make any change in the previous quantity 
 as regards its being odd or even, and therefore it will not 
 affect the state of the move. Let us reject it, therefore ; 
 and what now remains of the white ? Only the white in the 
 odd set ; and the rule, now extricated from the burden of 
 vain repetitions, stands before us in all its theoretical sim- 
 plicity. Add together the black in the odd, and the white 
 in the odd. In other words, if the sum of the black and 
 white in the odd set is odd, you have the move, but not 
 otherwise ; which is the rule to be demonstrated.* 
 
 Otlierwise 9 
 
 Calculate the move by a slightly amended form of Payne's 
 
 * As those rows which are odd to the one player are even to the 
 other, and vice versa, it is not absolutely necessary, in stating a rule 
 of this kind, to mention more than one set. 
 
or, Beginners' Sure Guide. 87 
 
 rule,* for a single pair of each of the two classes before 
 mentioned, and multiply the sums thus obtained respectively 
 by p and q, the number of pairs in each class ; if the sum 
 of the product is odd, you have the move; if even, you 
 have not. Kow, in a pair of the 1st class, the sum of the 
 men and squares is invariably an even number, and as we 
 may choose any even number, let us count both pieces, when 
 the pair is in the odd set, but neither of them when the 
 pair is in the other set, for 2 and are both even numbers. 
 The first class consists of p pairs, of which let m pairs be 
 in the odd set, and n pairs in the even set. Hence, the sum 
 of the men and squares in the first class will be 2m+n x 0=2m, 
 an even number not affecting the result. Hence, 2m pieces 
 in the odd set express the sum of the men and squares in 
 class first. 
 
 Again, in a pair of the second class, consisting of q pairs, 
 the sum of the men and squares is invariably an odd num- 
 ber, and as we may choose any odd number, let us select 
 the odd number 1 for that purpose, or, which amounts to 
 the same thing, let us, in conformity to the plan adopted in 
 the first class, count all those pieces in the q pairs, which 
 are in the odd set. This number, in every possible arrange- 
 ment of the pieces in the second class will invariably be q. 
 For, as every pair has a piece in each set, in q pairs there 
 will be q pieces in each set. 
 
 Hence we have q pieces in the odd set, representing the 
 sum of the men and squares in the second class. But it has 
 already been shown that 2m pieces in the odd set, represent 
 the sum of the men and squares in the first class. There- 
 fore, their sum, viz. : 2m+q pieces, which are all the pieces 
 in the odd set on the board, will express the sum total of 
 
 * If the sum of the men and squares is odd, you have the move,* 
 If even, you have not. 
 
88 The Elements of Draughts ; 
 
 the men and squares, and consequently will determine the 
 move. Hence, etc. — Q. E. D.* 
 
 Note. — In following this demonstration, the reader is re* 
 quested to take a particular example, and to substitute for 
 m » n » P> <1> their actual numerical values in that example. 
 He will thus test the truth of that demonstration ; but if 
 the result be different, the reader may rest satisfied that he 
 has committed some mistake. 
 
 Scholium* 
 
 It has been seen that p determines the squares, q the 
 move. If q is odd, you have the move, and the pieces in 
 either set are odd ; if p is odd, the squares are odd. In 
 finding the squares, you count only one of the pieces in 
 each of the p pairs ; and in the q pairs you count both 
 pieces, or neither of them. But, on the contrary, in calcu- 
 lating the move, you count only one of the pieces in each 
 of the q pairs ; both pieces in the p pairs, or neither of 
 them. This is the root of the matter. 
 
 Cor. 1. — In place of saying that the player had the move, 
 we may express our meaning by stating that the pieces in 
 each set are odd ; and when the player has not the move, 
 we may conveniently express the fact by stating that the 
 pieces in each set are even. 
 
 Cor. 2. — So long as no taking occurs, and the pieces on 
 each side are equal, the entire number of pieces in each set 
 will be alternately odd and even ; for at each play a piece is 
 deducted from the pieces in one set and annexed to those in 
 the other set; and as the players also play alternately, the 
 one player will always find the pieces in each set odd, when 
 
 * The demonstration would equally apply, although the pairs were 
 chosen by ballot, and without reference to color. 
 
or, Beginners' Sure Guide. 89 
 
 it is his turn to play, and the other, in the same circum- 
 stances, will always find them even. 
 
 Cor. 3. — Hence, in ordinary play (that is, when no taking 
 occurs), the move is never altered, and hence the grand key 
 for opening the mysteries of the great problem of the 
 change of the move is negatively revealed ; for in the dis- 
 cussion of this problem we throw entirely out of considera- 
 tion all ordinary plays, as having no effect whatever in in- 
 ducing any change in the state of the move. 
 
 Cor. 4. — A capturing play, abstractly considered, imme- 
 diately alters the move, for the piece so played continues in 
 the same set, and thus the pieces in each set will continue 
 exactly the same in number as before, for we are not sup- 
 posing any of the pieces to be lifted from the board. Hence, 
 if, by mistake, a player should play a piece two squares 
 instead of one, the move would be changed, and vice versa ; 
 if the move has been found to be changed when no captures 
 have taken place, either such a mistake must have occurred, 
 or one of the parties must have played twice in succession, 
 which amounts to the same thing. 
 
 Cor. 5. — If an even number of pieces be arbitrarily re- 
 moved, without any play, from each set, the move will not 
 be changed, for if the pieces in each set were previously odd, 
 they will continue odd; and if previously even, they will 
 continue even. 
 
 Cor. 6. — If an odd number of pieces be arbitrarily re- 
 moved, without any play, from each set, the move will be 
 changed; for if the pieces in each set were previously odd, 
 they will beeome even; and if previously even, they will 
 become odd. 
 
 The three preceding corollaries furnish the principle for 
 determining the conditions on which the move either be- 
 comes changed or remains unaltered ; for if one capturing 
 8* 
 
90 The Elements of Draughts ; 
 
 play alters the move, a second will restore the original state 
 of the move, while a third will alter it again ; so that an odd 
 number of capturing plays, or captures, will indicate, per se, 
 a change in the move ; and as for the pieces taken, we may 
 suppose them to continue to lie on the board until the whole 
 series of capturing operations is terminated, when they may 
 be arbitrarily removed without any play, and will indicate 
 by their number in either set their own proper effect upon 
 the move. Let us examine the result of the combination of 
 the two effects separately produced by the captures and by 
 the pieces taken, which by Definition 5th are called coun- 
 ters. If the captures are odd, they will change the move ; 
 and if the counters recovered in either set (not in both sets) 
 are odd, they by themselves would also effect a change in 
 the move. In this case the two effects neutralize each other, 
 and the move will not be changed. If the captures and 
 those counters which are recovered in either set are both 
 even, neither will tend to change the move, and therefore 
 their joint action will have no effect upon the move. If the 
 captures are odd and the counters are even, or the captures 
 even and the counters odd, the move will be changed by the 
 odd captures in the one instance, or by the odd counters in 
 the other, for even captures and even counters are quite 
 inert and have no tendency to change the move. If, then, 
 they are both odd, or both even, the move is not changed ; 
 but if the one is odd and the other even, the move is 
 changed. Now, when they are both j odd, or both even, 
 their sum must be even ; and if the one is odd and the other 
 even, their sum must be odd. Hence the following import- 
 ant rule, to be applied in all cases where the pieces on each 
 side are equal at the beginning and the end of captures. 
 
or, Beginners' Sure Guide. 91 
 
 General Rule of Captures and Counters. 
 
 If the sum of the captures and homologous counters is 
 odd, the move is changed; if even, the move is not 
 changed. This rule is susceptible of an easy mode of ab- 
 breviation. The counters may be entirely dismissed, but. 
 not without being paired off with a portion of the captures. 
 The most natural method which suggests itself, and which 
 has the merit of extreme simplicity, is to pair off a counter 
 with the corresponding capture. If one, three, five, or any 
 odd number of pieces have been taken at one capture, these 
 may all be paired off, for the sum of one capture and of an 
 odd number of counters must be even, and may therefore be 
 disregarded in the calculation. If, however, among the 
 counters selected it should happen that two, four, six, or 
 any even number of them had been taken at one capture, it 
 is obvious that these counters may be paired off among 
 themselves, and that the capture itself is not paired off 
 with these counters, but is left outstanding, and must be 
 reckoned in the sum total of the captures. Having pre- 
 mised these principles for our guidance, we proceed to show 
 how the work of abbreviation may be accomplished. Let 
 us suppose we have, according to the general rule, taken 
 the sum of all the captures, and of those counters whieh are 
 in the odd set. 
 
 Now, a counter is a piece taken, and all the counters in 
 this instance, being in the odd set, must have been taken 
 by pieces played from and to the contrary or even set, and 
 must if possible be paired off with the captures from that 
 even set. This being done, all the counters in the odd set, 
 and all the captures from the even set (always excepting, as 
 aforesaid, any of those captures in which an even number 
 
92 The Elements of Draughts; 
 
 of pieces may have been taken), have been paired off against 
 each other, and have disappeared from our notice, leaving 
 merely a portion of the captures, viz. those which were 
 made from the odd set. But if, in applying the general 
 rule, we had selected the counters in the jsven set, then, after 
 pairing off, nothing would have been left but the captures 
 from the same or even set, with sometimes a capture or two 
 from the odd set, when two, four, or other even number of 
 pieces had been taken at once. Hence this simple rule. 
 
 Abbreviated Rule of Captures* 
 
 If the sum of all the captures from one set, without ex- 
 ception, and of those captures from the other set in which 
 an even number of pieces may have been taken, is odd, the 
 move has been changed ; if even, the move is not changed. 
 Hence, as all captures of an even number of pieces must in- 
 variably be counted from whichever set they are made, it 
 follows that in every single mutual capture of two, four, or 
 other even number of pieces, the move is not changed, as 
 the capture made by each party must in this case be counted, 
 and the captures are two, an even number indicating no 
 change. But in every single mutual capture of one, three, 
 or other odd number of pieces, since the result must depend 
 upon the situation of the capturing pieces, or the captured 
 pieces, if these are in contrary sets, the move is changed., 
 but if they are in the same set, the move is not changed. 
 
 Another Form of the General Rule. 
 
 ♦ 
 
 If the sum of all the captures — of the homologously situ- 
 ated pieces to be taken — and of giving or striking moves 
 followed by actual captures resulting from these, is odd, the 
 move is changed*; if even, the move is not changed. 
 
or, Beginners' Sure Guide. 93 
 
 The Theory of the Move ana" Its Changes applied 
 to Unequal Forces, 
 
 This curious and novel branch of draught science naturally 
 resolves into two cases, but the application of the theory is 
 alike in both. The first case is that in which one party has 
 one, three, five, or any other odd number of pieces ahead ; 
 the second, that in which one party has two, four, six, or 
 any other even number of pieces ahead. In the first case 
 the sum of the pieces is invariably odd in one set of homo- 
 logous rows and even in the other ; for as the sum total of 
 black and white pieces on the whole board is an odd num- 
 ber, it cannot be divided into two odd or two even numbers, 
 In the second case, as the total number of the pieces on the 
 board is even, it is obvious that if an odd number of pieces, 
 the number in the other set must also be odd, and if an 
 even number of pieces is one set, the number in the other 
 set must also be even, as in the case of equal forces, 
 Hence, generally, if the pieces in any set are either odd or 
 even, when you have to play, they will always continue to 
 be so, when it is your turn to play, so long as no taking 
 occurs, for ordinary plays never in any case, whether of 
 equal or unequal forces, produce the slightest change in this 
 arrangement Thus, for example, suppose when it is your 
 turn to play, you find an odd number of pieces in one set 
 and an even number of pieces in the other, this arrangement 
 will constantly recur, as often as you have to play, provided 
 that no captures have taken place ; and in the same circum- 
 stances, your adversary will always find the arrangement of 
 the pieces in each set to be contrary. When a piece is 
 played between two others, so as to insure the capture of one 
 of them, it invariably obtains the move over the other, in 
 consequence of the capture, which is a double advantage 
 
94 The Elements of Draughts; 
 
 belonging to this position. Of the two squares in the double 
 corner, one is situated in the odd, the other in the even set. 
 In pursuing a king into the double corner with two kings, 
 it is easy to calculate into which of the two squares you will 
 be able to force an entrance. You have only to observe in 
 which of the two sets an odd number of pieces is placed, 
 when it is your turn to play, and you will invariably find 
 that you will succeed in dislodging your adversary from that 
 square in the double corner which is situated in the same 
 set. When the pieces are reduced to two on each side, and 
 you have not the move, you cannot take two for one ; for 
 to effect this the three captured pieces, except in the case 
 of slipping, explainable on the same principle, must be in 
 the same set before you play, which cannot be unless you 
 have the move. When the pieces have been reduced to 
 three on each side, and you have the move, you cannot 
 give two at once and take three, nor give two separately to 
 the same piece, and take any two, and fix the third piece of 
 your opponent ; and in the same circumstances, by giving 
 two pieces separately to other two, you cannot capture these 
 last two, and also fix the third. But it is possible, when 
 you have the move, to capture the three pieces of your op- 
 ponent by first giving two separately to the same piece, or 
 to give two for two at once and fix the third ; or to give two 
 separately to other two, and fix one of these last two by 
 capturing the others. These cases are reversed when you 
 have not the move. On the open board, and in the same 
 diagonal line, three pieces are required on one side to effect 
 or enforce the taking of one for one. But it is not possible 
 to effect an exchange under these conditions, unless the 
 party having the three pieces has the move upon his adver- 
 sary's single piece; that is, unless an odd number out of 
 these four is in homologous rows, when it is his turn to 
 
or, Beginners' Sure Guide. 93 
 
 play. Such an arrangement, once happening, would be 
 permanent, if no captures were attempted, and if the play 
 wej^e restricted to these four pieces. Hence, in Sturges' 
 Critical Position, No. 18, in which three white kings on the 
 open board are against two black kings communicating with 
 the two double corners. Since, with White to play, this ar- 
 rangement obtains against each of the black kings, it is 
 obvious that White, by directing his whole force against that 
 piece of his adversary which is first played, would take that 
 piece at the fourth play. To prevent this catastrophe, 
 Black is compelled to play his second piece to square 28. 
 At this stage two rounds are finished, and the original ar- 
 rangement of the pieces is reversed, together with the tac- 
 tics of both parties. White can no longer compel the first 
 black king to discontinue play to avoid capture ; on the 
 contrary, by his next shift he can force him to continue 
 play, and to retire, so as to enable White to occupy the 
 second diagonal with the whole of his forces. If Black now 
 withdraw his other piece to square 32, the move will again 
 be reversed ; and White, examining the position of his three 
 pieces, and either of Black's, will find that the pieces thus 
 reckoned in each set are odd, while he can so dispose his 
 pieces as to immediately enforce a mutual capture in the 
 same diagonal line. At the end of a game it not unfre- 
 quently happens that three kings united together against 
 four make a protracted resistance, while the attacks of the 
 stronger party are generally of an unsystematic, ill concerted, 
 wavering, and desultory character, and if finally successful, 
 are only so mainly through the exhaustion of the weaker 
 party. We recommend this problem to be studied by skill- 
 ful players, especially as Payne, Sturges, and others, have 
 not given a solution of it. Perhaps most players are not 
 aware that the problem has two cases, requiring, doubtless, 
 
96 The Elements of Draughts; 
 
 distinct modes of strategy, yet nothing can be more obvious 
 on actual inspection, for if all the pieces above mentioned 
 are placed on the board, the two varieties to which we ad- 
 vert will result from giving the first play in succession to 
 both Black and White. We proceed to show how the ar- 
 rangement of unequal forces in each set is affected by one 
 or more captures. To find how the arrangement is affected 
 in the odd set, take the following rule : If the sum of all the 
 captures, and of those counters which are in that odd set, 
 is odd, the number of pieces in the set, if previously odd, 
 will become even — to be counted at his proper turn by the 
 same player ; and if previously even, will, under like restric- 
 tions, become odd. But if the sum is even, the pieces re- 
 maining in the set will continue odd or even as at first, if 
 these are also counted by the same player at his own turn. 
 The same rule, mutatis mutandis, applies to the even set. 
 The rule may be more briefly stated by adopting, as a sort 
 of conventional phraseology, the terms or expressions natu- 
 rally employed in the case of equal forms, thus : If the sum 
 of all the captures and of the counters in either set is odd, 
 the move is changed in that set ; but if even, the move is 
 not changed in that set. Here it is obvious that the rule of 
 Captures and Counters must be put twice into operation, in 
 order to ascertain the state of the move in both sets ; other- 
 wise dismissing the counters. Apply the former " Rule op 
 Captures" to each of the sets separately, taking care to 
 reckon in both cases all captures upon the board of an even 
 number of pieces. In this manner the state of the move is 
 found for each set, as in the case of equal forces it is found 
 for either, so that the Rule of Captures is in this way used 
 twice instead of once, and this is all the difference subsisting 
 between equal and unequal forces, in regard to the applica- 
 tion of the rule. We might indeed, with perfect propriety, 
 
or, Beginners' Sure Guide. 97 
 
 and with unerring precision, apply in every instance, and at 
 each successive capture, the rule of unequal forces, for as 
 no mutual captures are actually simultaneous, a temporary 
 inequality of forces is the never-failing accompaniment of 
 capturing operations. Nor would the final result procured 
 by this means differ from that of the single and compendious 
 calculation which presents the aggregate of the changes 
 down to the point of restoration of the numerical equili- 
 brium — a strong and satisfactory evidence certainly of the 
 practicability of ascertaining at every point of our progress 
 the precise condition of the elements on which the calcula- 
 tion of the move depends, and of their complete independ- 
 ence of a fixed and equal proportion between the numbers 
 severally representing antagonistic forces. When it occa- 
 sionally happens that a series of captures occurs, commencing 
 with unequal and terminating with equal forces, what other 
 rule has ever yet been discovered that could conduct us, as 
 if through the mazes of a labyrinth, with such unequalled 
 and wonderful facility, to the concluding stage, when the 
 calculation can be instantly verified by a simple inspection 
 of the ensuing arrangement of the pieces in the two sets, 
 and when the state of the move is found to have been ac- 
 curately determined? 
 
)8 The Elements of Draughts; 
 
 PATERSON'S NOTATION. 
 
 JTIie Board Numbered according to Mr, Paterson's 
 Theory. 
 
 The annexed diagram exhibits Mr. Paterson's "Natural 
 System of Numbering the Board ;" which is beyond all 
 
 WHITE. 
 
 1 28 1 1 48 1 1 68 I 1 88 
 
 17 m 37 H 5r H 77 H 
 
 1 26 1 1 46 1 | 66 j 1 86 
 
 15 B 35 B 55 B 75 B 
 
 1 24 1 1 44 I I 64 I 1 84 
 
 13 1 33 1 63 H n 9 
 
 I 22 1 1 42 1 1 62 1 1 82 
 
 &&& WSM mm mm 
 
 . . -. 
 
 BLACK, 
 
<or, Beginners 9 Sure Guide, 99 
 
 praise. Taken in connection with the " theory," which so 
 admirably applies to, and harmonizes with this method, both 
 form a highly scientific and beautiful illustration of the 
 "Move." 
 
 £>n tlie Natural System oC Nurat>erafig tlte Boards 
 
 The idea of numbering the squares on the board mu3t 
 (have been coeval with the first attempts to-register the game 
 of draughts in writing ; and as the pieces are played on 32 
 •squares, so these squares have invariably been numbered 
 from 1 t© 32. In the originally crude state of the science, 
 this system fully answered the single purpose contemplated, 
 that of enabling the student to play the published games 
 from the book. Any other purpose it is wholly incapable of 
 subserving; and, indeed, it oonveys an inaccurate idea of 
 the mutual relations of the squares ; for it cannot be dis- 
 puted that the contiguous squares on the board, reckoned 
 in a diagonal line, are alternately odd and even, and that it 
 is natural to represent them by numbers also alternately odd 
 and even. Again, if the odd vertical rows consist wholly 
 of odd squares, and the even vertical rows of even squares 
 ithese terms of course being used relatively), why should 
 this important fact be lost sight of entirely through the 
 whole of the book, when it is verily the especial province 
 of numbers to convey to the mind, with perfect and supe- 
 rior clearness, the distinction between odd and even ? This 
 .defect, existing in the system hitherto used, requires a 
 •remedy ; and accordingly in the above diagram, a new plan 
 as exhibited, which has received the appropriate designation 
 of the *' Natural System of Numbering the Board." By 
 examining the numbers, you will observe that the digit in 
 the tens' place indicates the number of the vertical row; 
 while the one in the units 1 place points out the nun>&eJ of 
 
ioo The Elements of Draughts; 
 
 the horizontal row. The position of each square is deter- 
 mined by reference to the two sides of the board, which 
 meet at the single corner text to the player who has the 
 black pieces, which are now by general consent to be played 
 first, and from the smaller numbers. If we may be allowed 
 to compare small things with great, we may say that the 
 situation of a square on the face of the board, like that of 
 a city on the great globe, is ascertained by marking its lati- 
 tude and longitude ; and yet this is done with such sim- 
 plicity as to remove all appearance of art ; and the player 
 may soon learn to attach to each square its particular num- 
 ber, in which he will be much assisted by the collocation of 
 all the odd and of all the even figures in corresponding ver- 
 tical rows. It is not difficult to understand the diagram. 
 Thus, if a piece is placed on square 46, it is in the fourth 
 vertical row, and in the sixth square from the bottom, as in 
 chess, though the author of this article had matured the 
 idea before he became acquainted with that game. If, for a 
 moment, we were to suppose the vertical rows to be called 
 streets,, and the individual squares places of residence in 
 these streets, the signification of the diagram would become 
 beautifully apparent. Thus, a man in square 57 is located 
 in the fifth street, No. 7. A man placed on square 86 re 
 sides in the eighth street, which is the last in order. What 
 number? No. 6. It would be a vain task to attempt to 
 elicit any such information as to the whereabouts of a piece* 
 upon the old system; and the most expert proficient in 
 draughts would be absolutely puzzled by a few questions of 
 this kind in regard to the existing numbers with which he 
 is familiar. The two digits expressing the number of any 
 square in the natural system must always be of the same 
 affection, for in the odd rows only the odd squares, as num- 
 bered from the bottom of the boards are rased m play; and 
 
or, Beginners 5 Sure Guide. ioi 
 
 m the even rows only the even squares. Therefore, both 
 digits are invariably both odd or both even, and conse- 
 quently are always of the same affection. The two digits 
 expressing the number of any square in the row between 
 the single corner, which we may term the axis of the board, 
 must be the same; as 11, 22, 33, 44, 55, 66, 11, 88. And, 
 in the diagonals crossing the axis, the digits constituting 
 the number of equi-distant squares are alike and reversed, as 
 (13, 31); {24, 42); (15, 51); (35, 53); (26, 62); (11, 11); 
 {46, 64); (37, 73); (28, 82); (51, 15); (48, 84); (68, 86); 
 while the sum of the digits in any cross diagonal, or their 
 difference In any parallel one, is a constant quantity, by 
 which curious properties the direction of &ny play can in 
 general be readily ascertained. Science has been called the 
 knowledge of relations ; and, on the ground of this truthful 
 assertion, we may justly and logically lay claim to somewhat 
 of a scientific character, as belonging to this new system, 
 which is yet merely a candidate for public favor, though it 
 might proudly boast (if it had a tongue) of having won the 
 admiration of all the great draught players to whom it has 
 been communicated. This system is beautifully adapted to 
 the theory of the move. The odd and even sets of homolo- 
 gous rows are rendered perfectly distinct; the sixteen 
 squares in the first, third, fifth, and seventh vertical rows 
 being represented by numbers wholly of odd figures, and, 
 on the other hand, the sixteen squares in the second, fourth, 
 sixth, and eighth vertical rows, being represented by num- 
 bers which consist wholly of even figures. 
 
 Hence, in games registered upon the natural system of 
 numbering the board, ordinary plays are from odd to even, 
 or from even to odd numbers, and the captures can be 
 readily perceived; for, as the capturing piece is played from 
 odd to oddj or from even to even, the four figures indicating 
 
 9* 
 
I02 The Elements of Draughts; 
 
 the capture will be respectively a?ll ©dd, or all even. Cap- 
 tures could be fi.rther distinguished from ordinary plays by 
 placing marks of punctuation between the numbers ; the 
 others,, when numerically expressed, having only blank in- 
 terstitial spaces. Even the marks might be invested or 
 clothed with additional meanings, which they would repre- 
 sent as their symbols or indices. In the specimens given,, 
 captures of even pieces made from both sets alike,, are dis- 
 tinguished by colons, thus (t)> because a colon is a double 
 mark, as it consists of too, or an even number of points, and ! 
 may,, on that account, be readily associated in the mind, with 
 the idea ©f an even number of captured pieces ; and, on the 
 other hand^. captures of odd pieces are represented by single 
 marks, as a period or comma, because a single mark being 
 simply one, that is, edd r may be conventionally used to sug- 
 gest the idea of an odd number of captured pieces, without 
 in any way overloading or fatiguing the memory. The 
 period is employed to denote smch captures made from the 
 odd set ;. the comma, to denote similar captures from the 
 even set. Hence, in forces known t® he equal^ at the begin- 
 ning and end t the following rule is to be observed : 
 
 Mule. — Add together the periods and colons, or the 
 commas and colons. If their sum is odd the move is 
 changed, bu<t not otherwise. But if the forces are unequal,, 
 or not certainly known to be e%ual, the state of the move,, 
 in regard to each set,, may be thus ascertained: Mule — Add 
 together the periods and colons for the odd set, and the 
 commas and colons for the even set. If the sum in either 
 case is odd, the move is changed in that set,, but not other- 
 wise. If both sums are odd,, the move is changed in boths 
 sets ; if both are even, the move is changed in neither of 
 the sets. This operation may also be performed at once^ 
 from the commencement of the game,, dawn to. any stage m 
 
or, Beginners' Sure Guide. 103 
 
 it, w even for the whole game. The result will show at a 
 glance how the move stands, after the last capture in the 
 series under examination ; for if, when so recorded, from 
 the commencement of the game, both sums are of the same 
 affection ; that is, both odd or both even, the eventual dif- 
 ference of the forces is either 0, 2, or some other even 
 number ; if of contrary affections, the difference is either 
 1, 3, or some other odd number; and, in whichever set the 
 sum is odd, Black (the first player) has the move, and in 
 whichever set the sum is even, White (the second player) 
 has the move. Hence, in calculating from the beginning to 
 any stage of the game, in which the pieces are known to be 
 equal, the final state of the move may be thus ascertained : 
 Rule — If either of the sums aforesaid is odd, Black (the first 
 player) has the move ; if even, White (the second player) 
 has the move. 
 
 Note. — In these rules, by periods, commas, or colons, is 
 meant all the periods, commas, etc., in the given series, 
 without exception. The calculation of the state of the 
 move in games published on the natural system, with the 
 proper addenda of the three marks above mentioned, is a 
 work requiring only seconds for its accomplishment. All 
 the changes in the whole course of a game might be cast 
 together, and the final balance, without fear of error, struck 
 in an almost incredibly brief space of time ; so that it may 
 be said, that in this particular department, we have arrived 
 at the ne plus ultra of all possible improvements, The ra- 
 pidity of the process greatly exceeds what can be attained 
 on the board ; for, in this case, the whole is presented to 
 the eye, as it were, simultaneously, and in a state for almost 
 instant determination ; and the writer may here affirm, that 
 he both began the improved system, and carried it through 
 all its grades, to the last stage of perfection. His most 
 
104 The Elements of Draughts; 
 
 grateful acknowledgments are cine to Mr, James Neiliora, 
 Prince street, Glasgow, who has also rendered important 
 services to the science of Draughts, and without whose 
 active intervention and patronage, he is of opinion that he 
 might have scribbled where he pleased, in dead earnest, the 
 words of the Roman poet — 
 
 M Sic vos non vobis '.—Sic vos non voMs !" 
 
 DEMONSTRATION OF PAYNE'S RULE. 
 
 In the preceding part of this Exposition, the truth of 
 Payne's rule was implicitly acknowledged, or taken for 
 granted : and it was assumed as the basis of the improved 
 theory. It is desirable, however, to demonstrate the rule 
 Algebraically for the satisfaction of the student. Let there 
 be rn men on each side : consequently the whole pieces on 
 the board will make m pairs (the men and pairs being then 
 represented by the same quantity), and we may suppose the 
 men composing each pair, to be moved toward each other 
 until one of them be set or staled, at the distance of one 
 square from the other, so that the sum of the finally inter- 
 vening squares will be equal to m. Let the entire number 
 of plays necessary to complete the fixing or staling of the 
 pieces on one side, be represented by n. Now let m + n=s y 
 a quantity representing the squares as defined or used by 
 Payne. Hence n=s— m, and the party who makes the nth 
 play has the move. But w, according to the equation, 
 varies as s — m, or as s + m, that is, according to the differ- 
 ence, or the sum of the men and squares. Now, when the 
 rule is so framed as to suit the party that has to play first, 
 it is evident, if the player m question has the first and last 
 
or, Beginners' Sure Guide. 105 
 
 play, that he has the move, and that n is odd. But when 
 n is odd, s— m, or s + m, is also odd, because these quantities 
 are of the same affection as n. Hence, if s— m, or s + m, ie 
 odd, s and m must be of contrary affections, so that if s is 
 even, m must be odd, and if s is odd, m must be even. 
 
 THE PLAYING TABLES 
 
 OP ONE OF THE 
 
 GLASGOW DRAUGHT CLUBS.* 
 
 [From Anderson's Treatise.] 
 TABLE FOR TEN MEMBERS. 
 
 A 
 
 B 
 
 
 
 D 
 
 E 
 
 F 
 
 G 
 
 H 
 
 I 
 
 J 
 
 1st Time. 
 
 A 
 
 C 
 
 B 
 
 D 
 
 E 
 
 G 
 
 F 
 
 J 
 
 H 
 
 ■ 
 
 2d " 
 
 A 
 
 D 
 
 B 
 
 F 
 
 
 
 E 
 
 G 
 
 I 
 
 H 
 
 J 
 
 8d " 
 
 A 
 
 E 
 
 B 
 
 G 
 
 G 
 
 I 
 
 D 
 
 J 
 
 F 
 
 H 
 
 4th " 
 
 A 
 
 F 
 
 B 
 
 E 
 
 C 
 
 H 
 
 D 
 
 I 
 
 G 
 
 J 
 
 5th " 
 
 A 
 
 G 
 
 B 
 
 J 
 
 c 
 
 F 
 
 D 
 
 H 
 
 E 
 
 I 
 
 6th " 
 
 A 
 
 H 
 
 B 
 
 I 
 
 
 
 G 
 
 D 
 
 F 
 
 E 
 
 J 
 
 1th " 
 
 A 
 
 I 
 
 B 
 
 H 
 
 
 
 A 
 
 D 
 
 E 
 
 F 
 
 G 
 
 8th " 
 
 A 
 
 J 
 
 B 
 
 C 
 
 D 
 
 G 
 
 E 
 
 H 
 
 F 
 
 I 
 
 9th " 
 
 * This table was prepared by Messrs. Neilson and Paterson, and fa 
 liere given for the convenience of clubs. 
 
io6 The Elements of "Draughts ;} 
 
 Expl .ansstioiiv 
 
 In these clubs lb 4 © members compete annualy for prizes* 
 All the members are^ as nearly as possible y equalized, by 
 being di Tided into 5 Several classes-, and each class handi* 
 capped. The letters A B 0, etc,-, are drawn by lot, and 
 each member is distinguished, during the course, by his own 
 letter. The first horizontal line of the table shows the pairs 
 who play together for the first time; the second line shows' 
 for the second- time : and so* on to* the last. 
 
 GENERAL RULES FOR FLAY, 
 
 £Frtta Walker's HditSon of Sturges.} 
 
 The following remarks contain so much real merit, thai 
 we cannot resist the desire to lay them before the reader: 
 
 "' Accustom yourself to play slowly at first, and, if a be- 
 ginner, prefer playing with those who will agree to allow an 
 unconditional time for the consideration of a difficult posi- 
 tion, to those who rigidly exact the strict observance of the 
 Jaw. Never touch a man without moving it, and do not 
 permit the loss of a few games to ruffle your temper, but 
 rather let continued defeat act as an incentive to greater 
 efforts both of study and practice. Never play with a bet- 
 ter player without offering to take such odds as he may 
 choose to give. Finally, bear in mind what may well be 
 -ermed the three golden rules to be observed in playing all 
 ^urnes of calculation : Firstly, to avoid all boasting and loud 
 talking about your skill ; secondly, to lose with good temper ; 
 ■aid, thirdly, to win with silence and modesty." 
 
or, Beginners' Sure Guide. 107 
 
 STANZAS, 
 
 WRITTEN BY THE AUTHOR, 
 
 And Inscribed on the back of a Draughtboard presented to a 
 
 Belative* 
 
 Dear Uncle, this board is an emblem of life, 
 
 Consider attentively— you'll see the same ; 
 Our lives are made up of continual strife, 
 
 And he that plays sharpest must sure " win the game." 
 
 What's plainer an emblem of life's varying path 
 
 Thau^ this board, with its checks, formed in ample array ? 
 
 The men, too, personify mortals at last, 
 Continually changing, and gone in a day* 
 
 In your journey through life, be ye careful and ready, 
 To always have men at your call in distress, 
 
 Who will quickly step forward ; be firm, and be steady, 
 Then " push " for the " King row " — you well know the 
 rest. 
 
 So when life's u game is up," and the " King" of all terrors 
 The last " man " shall "jump " and " sweep clear of the 
 board," 
 
 May we (at last safely delivered from errors), 
 
 Leap slap over Satan! — my muse is now "floored!" 
 
 * When the author was but a lad, he conceived the idea of making a 
 Draught-board and presenting it to a valued uncle, who long since left 
 him for that region where the expanded intellect soars far beyond the 
 limits of the " magic squares," and revels in the never-ending combina* 
 tions of the divine Creator. The board was constructed — and the 
 above lines were written on a half sheet of M foolscap," and " wafered" 
 upon the back. " 
 
lo8 The Elements of Draughts, 
 
 CLOSING REMARKS. 
 
 Having brought our labors to a close, we feel a sincere 
 regret that we must bid you farewell ; and would fain dwell 
 longer on a theme so gratifying to both author and reader. 
 Every care has been exercised on our part to exclude errors 
 (which are so apt to be incorporated in a work of this kind), 
 and we confidently believe that none will be found. Trust- 
 ing that we may meet as author and reader at no very 
 distant day, we extend the parting hand. 
 
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 1 mmen se i koff< 
 Bell Goes A-Ringing for 
 Sai-rah. 
 
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 I Knew that I Was Dream - 
 
 ins*. 
 I Should Eike to fee a Fairy, 
 The Hallelujah Band. 
 
 Complaints.' 
 ]?fediciiic Jack. 
 Dutchman's Courtship. 
 She Was Just About the 
 A?re. 
 
 Soda and 5? 
 
 [ JBel^ravife. 
 I'll 'Have Your Hat. 
 
An Everlasting Cornucopia of Fun ! 
 
 BLACK JOKES 
 
 FQK 
 
 DisiriitS. 
 
 Broad Grins from Young Africa! Huge Guffaws from 
 Sable Age ! Wit from the Plantation ! 
 
 Wit from the Kitchen! Fun Ashore' Fnn Af?™>f f t i *• -n- ^ 
 and Low Life ! Woolly Complicationtcondudve to Loll: ifathteT ^ 
 <terkij*°r ace fUU *"* ™^ WtT wM sid ^P^ing fun "pecooliar" to the 
 
 CHOCK FULL OF COLORED PHILOSOPHY ! 
 
 Illustrated witti One Hundred of the most Comic of all 
 Comic Designs ever Engraved on Wood. 
 
 BE3T* But at once a copy of 66 RFi/KrVK" T<rvrc--ffr<6! Tr-n^vr* m* *-r^n, 
 
 rclaffriZ° PieSOfth,! alme - B °°' C Sent t0 a "y add ™ s > Poa-paid, on receipt of 
 
 ROBERT M. RE WITT, Publisher, 
 
 33 Rose Street. (Between Duane ana. Frankfort Sis N T) 
 
GBT THIS BEST ! GET THE BEST I 
 
 DE WITT'S PERFECT ORATOR. 
 
 COMPRISING A GREAT NUMBER OF 
 
 E,3aiin^s, Recitations, Dialogues, and Harangues, 
 
 From the Most Celebrated Tragedies, Poems «nd 
 S2>eec!aes. Adtled to which are Very Carefully Com- 
 posed 2'ref'itory Remarks; Historical, Explanatory 
 ami Instructive. -Together with a Number of Useful 
 
 Suggestions as to the Stage Arrangements, Making' 
 
 the Costumes, Scenery, JEtc, 9 Etc. 
 
 How to Get up Amateur Plays. 
 How to Recite Heroic Poetry. 
 How to Read Pathetic Pieces. 
 How to properly deliver nearly 
 
 ONE HUNDRED SPKFCHES find 
 
 poems, written by the wisest, 
 most eloquent and popular Dram- 
 atists and Poets of the "World. 
 
 THIS BOOK TEACHES PLAINLY 
 
 How to Set a Stage. 
 How to Arrange Scenery. 
 How to M ike 'Dresses. 
 How to Guard Against Fire. 
 How to Dispose See aery. 
 How co Enter and Exit. 
 H.nv to Declaim Tragedy. 
 How to Enact Comedy. 
 How to Study and Rehearse. 
 
 THIS BOOK 
 
 Has a full page carefully drawn and elegantly engraved Picture of a 
 perfectly set st.*gk, with full verbal descriptions; so that one who has 
 never seen a Stage, can arrange the Scenery, Properties, Drop Curtain, Lights, 
 and all the paraphernalia, as well as a Regular Stage Manager or Prompter. 
 
 THIS BOOK. 
 
 Will be a Guide to the Young Reader. 
 Will be a Guide to the Youthful Amateur. 
 Will be a Guide to the Young Stage Manager. 
 Will be a Guide to the Young Prompter. 
 Will be a Guide to the Young Lawyer. 
 Will be a Guide to the Young Elocutionist* 
 Will be a Guide to the Young Minister. 
 Will be a Guide to the Young Debater. 
 Will be a Guide to the Young Tragedian. 
 Will be a Guide to the Young Comedian. 
 Will be a Guide to the Young Teacher. 
 
 IN SHORT, 
 
 There is no subject connected with acting and elocution, too grand or too 
 trivial, to escape comment and elucidation, in the pages of "DE WITT'S 
 PERFECT ORATOR." 
 
 This book contains over 290 pages, bound in boards, with a splendid illu- 
 minated cover. Price 50 Cents. 
 
 A handsome and durable edition of this work, bound in cloth, elegantly 
 lettered in gilt. Price 75 Cents. 
 
 E£F" Copies of the above Booh sent to any address in the United States or 
 CanadaSy postage free, on receipt of price. Address. 
 
 R. M. DE WITT, Publisher, 
 
 No. 33 ROSE STREET, N. Y. 
 
 {Between Duane and, Frankfort Streets.) 
 
GET TME ffEST! HM ff THE KEST ! 
 
 FORTUNE-TELLING BY CARDS; 
 
 OS, CARTOMANCY HADE EASY. 
 
 ISeing- a, Pictorial and Practical Exp Sanation of tlie 
 Marvel Sons Art of Prophetic Fortune-Telling-j-wItCEe- 
 !>y 9 tlirougii ssM|)!euse off ordinary playing* carets, any 
 person off coin anon intelligence, can ^lean, fc'uil, Per- 
 ffect and Exact E&nowledge oft the Past, the Present, 
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 set fforth, so tha\£ every one can read their own Fou 
 tune and that of miners. To which is added a Treatise 
 upon Cliirom-f»ncy , or, the Art off I>iviisati«;n through. 
 Reading 1 the Huntsm Hand, and a ffull Description off 
 the Sacred Book off Tnot, the Egyptian Oracle off 
 Destiny. 
 
 MY MiBAME CAMNBM,E I'.E NOKMAND. 
 THE MODEliN SYBIL. 
 
 Illustrated hj 1750 Engraving's. 
 
 It' you buy a "Fortune-Teller "J' at all, buy the above. 
 
 IT TEACHES YOU TRULY 
 All about 
 
 —the result of your Loving- " not 
 Wisely, but too Well," 
 
 — the Robbery of your Plate and 
 Jewels, 
 
 — the results of that Di voice Suit, 
 
 — that splendid -Set of Furs that 
 you hope for, 
 
 —the sex of the expected "Li tile 
 Treasure," 
 
 — the Lady that rode in the cars 
 with you, 
 
 — the Strange Gentleman that was 
 so attentive to you at the ball, 
 
 — the Size of your Expected Family, 
 
 — the Money you expect to be le'lt 
 .to you, 
 
 — whether your hopes will be Ful- 
 filled, 
 
 — your Title to that Estate, 
 
 — your joys, sorrows, anticipations, 
 rei rets, guizis, losses. In ,- hoi t, 
 from, this book you can I am 
 everything that can be truly (aught 
 by any person or bt.ok in the world, 
 as to ymir future fortune. 
 3, bound in boards, with a sr pi rMfi T'o- 
 
 oOfftXs, 
 
 of this work, bound in cloth v .-"•■- v i 
 
 For the following - reasons 
 
 All about 
 — "A certain Bio de Female," 
 —Agreeable Intelligence, 
 — a Dark Complexion ed Woman, 
 — a Widow Seeking to Marry again, 
 — a certain Fast Female, and her 
 designs, 
 
 — a certain Improper Intrigue, 
 
 — i certain Present of Jewelry, 
 — a Strange Lady that you are to 
 
 see, 
 — a Declaration of Love from a Rich. 
 
 Suitor, 
 — Disappointment s, both in Love 
 
 or Money Matters, 
 — discord in the Family Circle, 
 — Good and Bad News, 
 —Journeys by Land or Water, 
 
 — Marriage, 
 —Men of Tact and Cunning, 
 
 — Malignant Females, 
 
 — Money to be Received, 
 
 — Marriages to be broken off, or 
 
 Offers refused, 
 — the Sep;. ration between you and 
 
 a Widow, 
 This book contains over 200 pages, 
 
 minated cover. Price 
 
 A handsome and durable edition 
 le'^-i i n rriH p ,'-. . 
 
 V£W '" >,>'■'■* (>/ I'u aj ><• ■ L> >>;c 6-i.it Co a,n; aldrt 
 Ca..adus 9 postage free, on receipt of price. Address. 
 
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 No. 33 ROSE STREET, N. Y. 
 
 (Between Duane and Frankfort Streets.) 
 
Get the Best ! Q-et the Best ! 
 
 MPOLEOS'S 
 
 COMPLETE DREAM BOG 
 
 coNT^fK" r'LU,ru^ lv:, acc 
 
 ., C^PLAixA 
 
 »'?1iirLlN(l ]b / 
 
 ii* All 3, VI.ll.-L J, L- 
 
 i L c .t*M» U consulted I;y 
 
 "The only 'i'me «*»* i I&.el2 a.S>Z 
 Wrc;it Ca»-^icciai) i»p«n ihal mc&i t^ct'ui and Ularv 
 lous Art. Complied from Original Sources. 'JL'c 
 gether with ail Anccdotical Account off IEe« 
 mark able Visions and Apparitions, and a 
 General Dictionary off the Signification of 
 Dreams and Reveries. Arranged and 
 explained in the most Familiar and 
 Intelligible Manner, for the In- 
 struction off ordinary readers. 
 BY MADAME CAMILLE E.JE NORLAND, 
 The Modern Sibyl, and authoress of "Fortune- Telling by Cards," etc. 
 
 t:ie 
 
 CONTENTS. 
 
 PAET I. 
 
 Preliminary Notice, 
 
 Second Sight : or, the Correct In- 
 terpretation of Dreams. 
 
 Remarkable Dreams, Visions, Or- 
 acles, etc. 
 
 General Explanation of Dreams, 
 Yisions, etc. 
 
 PART II. 
 
 Truthful Explanation of Dreams, 
 Visions, Omens and Forewarn- 
 ing^, placed in alphabetical or- 
 der, and interpreted in accord- 
 ance with the teachings of the 
 wisest authorities, together with 
 designation of numbers fortunate 
 for human happiness, bearing re- 
 lation to dreams and visions be- 
 neath every possible aspect. 
 
 What Napoleon was to Generals this work is to Bream 
 Books, away ahead and above the&n all. No other 
 Dream Book contains a tithe of its contents. AB1 clear- 
 ly and plainly shown, so that the Beast learned can 
 understand both the words and the pictures. 
 
 This book contains over 200 pages, bound in boards, with a splendid 
 illuminated cover. Price 50 Cents. 
 
 A handsome and durable edition of this work, bound in cloth, tl ^antly 
 lettered in gilt. Price 75 Cents. 
 
 PART ni. 
 
 Somnambulism, Second Sight, 
 Visions. — Authenticated in- 
 stances of wonders while in 
 sleep, and of Prevoyance. 
 A Clairvoyant Dream. 
 Swedenborg's Waking Vision. 
 Seeing with the Eyes closed. 
 Natural Second Sight. 
 Zschokke's " Inward Sight,'* 
 Prevoyant Vision of John Knox. 
 The Ropemaker of Nuremberg. 
 Dr. Petetin's Patient. 
 The Estatica of Bologna. 
 Alexis the Seer. 
 The Sexton at Sudbaxton. 
 A Protective Apparition. 
 A Pastor's Vision. 
 Buckingham's Murder. 
 
 B3F" Copies of the above Book sent to any address in the United Slops or Can' 
 ada,free of postage, on receipt of retail price. Send Cash Orders Jo 
 
 E. M. DE WITT, 33 Rose St., New York, 
 
 Between Duane and Frankfort Streets. 
 
OET THE BEST! GET THE BEST!! 
 
 " Most perfect book on the horse ever written." 
 
 DE WITT'S COMPLETE 
 
 AMERICAN FARRIER 
 
 AND 
 
 HORSE DOCTOR, 
 
 An American Book for American Horsemen, 
 
 With Copious Notes from the best English and American 
 
 authorities, showing- plainly bow to Breed, Hear, 
 
 Buy, Sell, Cure, Shoe and Keep that most 
 
 Useful and Valuable Animal, 
 
 the Morse. 
 
 By COL. CKHXS. FORREST. 
 
 CONTENTS. 
 
 CHAPTER FIRST.— The Horse in America. 
 CHAPTER SECOND.— How to Buy a Horse. 
 CHAPTER THIRD.— Looking at a Horse. 
 CHAPTER FOURTH. -More About Buying a Hobsi. 
 CHAPTER FIFTH. — Ext fen al Signs of Disease. 
 CHAPTER SIXTH.— Trying Your Purchase. 
 CHAPTER SEVENTH.— Some General Advice. 
 CHAPTER EIGHTH —Stables and Food. 
 CHAPTER NINTH.— Stabling and Grooming. 
 CHAPTER TENTH.— Pasture Hints. 
 CHAPTER ELEVENTH.— The Horse's Foot. 
 CHAPTER TWELFTH.— Hints on Harness. 
 CHAPTER THIRTEENTH. —Stable Tricks and Vices. 
 CHAPTER FOURTEENTH. —Out of Door Tricks and VlCBS. 
 CHAPTER FIFTEENTH.— Diseases of Horses. 
 CHAPTER SIXTEENTH.— Diseases of Horses. 
 CHAPTER SEVENTEENTH.-Diseases of the Horse. 
 CHAPTER EIGHTEENTH.— Diseases of the Horse. 
 CHAPTER NINETEENTH— Diseases of Horses. 
 CHAPTER TWENTIETH -Miscellaneous Diskases. 
 CHAPTER TWENTY-FIRST.— Diseases of the Ear, Eye, etc. 
 CHAPTER TWENTY-SECOND —Fever— Typhoid Fever. 
 CHAPTER TWENTY-THIRD— Breeding. 
 CHAPTER TWENTY-FOURTH.— Training for "Work. 
 
 Illustrated with many very superior Pictures of the Horse in Health and 
 Dieease 
 
 This book contains over 200 pages, bound in boards, with a splendid ilium* 
 inated cover. Price - ■ - ■ - " . " «^ Cents. 
 
 A handsome and durable edition of this work, bound in cloth, elegantly 
 lettered in gilt. Price ■■■■■■ To Cents. 
 
 IJ^* Copies of the above Boole sent to any address in the United States or Cana- 
 das, free of postage, on receipt of retail price. 
 
 Send Cash Orders to R. M. DE WITT, 
 
 No. 33 HOSE STREET, N. Y. 
 
OET THE BEST! GET THE BEST!! 
 
 The aim of the author of "De Witt's Connecticut Cook Book " lias 
 been to strip the art of cooking- or all useless preparations, and all the un- 
 meaning' jargon of the cuisine,; and to write in a plain, common-sense way, 
 giving only directions that have been tried and not found wanting. Every 
 mode of Cooking and Preserving described in these pages are the results of 
 actual personal experience ; and have never failed to produce the best tasting 
 as well as the best looking dishes that can be placed on the table. Let any 
 housewife follow the directions, and our word for it : Good digestion will 
 surely " wait on appetite." 
 
 DE WITT'S 
 
 Connecticut Cooe Book, 
 
 AND HOUSEKEEPER'S ASSISTANT. 
 
 Containing Plain and Economic Styles of Dressing and Cooking every kind 
 of Fish, Flesh, Fowl and Vegetable, in the most Healthful and Inviting 
 Manner. With full Directions for Laying and Decorating the Table ; 
 Carving the Meat, and Serving the Vegetables and the Desert. To which 
 is added, a large number of Tried Receipts for Preserving, Canning, and 
 Curing all sorts of Vegetables and Fruits, so as to Retain their Original 
 Flavor and Appearance. 
 
 By MRS. N. ORR. 
 
 ABSTRACT OP CONTENTS. 
 
 Cooking Implements. 
 
 SOTTPS. 
 
 Fish. 
 
 Shell-Fish. 
 
 Sauces. 
 
 Meats. 
 
 Roasting and Baking. 
 
 Broiling and Frying. 
 
 Stewing. 
 
 Miscellaneous Dishes of Meat. 
 
 Pickle for Beef or Pork. 
 
 Vegetables. 
 
 Pickles. 
 
 Approximate Measures. 
 
 Bread, Biscuit, Rolls, etc. 
 
 Yeast. * 
 
 This Book contains over 200 pages, bound in boards, with a splendid 
 illuminated cover. Price - - - - - - 50 Cents. 
 
 A handsome and durable edition of this work, bound in cloth, elegantly 
 lettered in gilt. Price ------- 75 Cents. 
 
 IST' Copies of the above Book sent to any address in the United States or 
 CanadaSf free of postage, on receipt of retail price. 
 
 Send Cash Orders to R. M. DE WITT, 
 
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 Pies. 
 
 Puddings. 
 
 Cakes. 
 
 Custards, Creams, etc. 
 
 Jelliks.— 18 Recipes. ' 
 
 Preserving Fruits. 
 
 Coffee, Tea, etc. 
 
 beverage's. 
 
 Pood and Drink for Invalids. 
 
 Butter and Cheese. 
 
 Miscella neous Hecipes.— More than 
 
 100, very valuable. 
 Useful Hints. 
 Useful Sanitary Rules. 
 Carving. 
 
DE WITT'S 
 HALF HUE MUSIC. 
 
 FOR VOI'E AND PIANO. 
 
 JDE WITT'S HALF DIME MU.IC wLl contain the most choice and. exqui- 
 site pieced, by the most able, giited and popular Composers. This se- 
 lection will comprise every style of really good music— from, the solemn 
 and pathetic to the light and humorous. The repertoires of the most 
 talented English and Continental, equally with those of our own native 
 composers, will enrich the series— which will continually range from 
 "grave to gay, from lively to severe." 
 
 now ready: 
 
 Pretty Polly, if you Love me, do 
 
 say Yes. 
 The Fisherman's Daughter that 
 
 Lives o'er the Water. 
 The Lover's Letter-Box. 
 I'll Tell Your Wife. 
 Thy Voice is Near. 
 Blue-Eyed Violets. 
 Up in a Balloon. 
 The Maiden and Her Linnet. 
 Captain Jinks. 
 Little Blue Butterfly, 
 Champagne Charlie. 
 Thady O'Flynn. 
 Tassels on the Boots. 
 The Soft Dew is Sleeping. 
 Tommy Dodd. 
 When the Roses Blow. 
 That's the Style for Me. 
 Pretty Little Flora 
 Bother the Men. 
 Beautiful Bells. 
 The Mother's Dream. 
 I wish I was a Fish; or, Sweet 
 
 Polly Primrose. 
 My Spirit Star. 
 Put it down to Me. 
 Little Maggie May. 
 The Vagabond. 
 A Loving Daughter's Heart. 
 Oh, Wouldn't You like to Know. 
 The Paradise of Love. 
 Where is My Nancy. 
 My Heart is o'er the Sea; or, 
 
 Maggie's Secret. 
 Maggie's Welcome. 
 Immenseikoff. 
 The Way of the World. 
 Breaming of Nellie. 
 It's all the Same to Sam. 
 
 Five O'clock in the Morning. 
 
 " Good-bye, John ; " or, Chicka- 
 biddy. 
 
 She Came and Vanished like a 
 Dream. 
 
 The Beau of Saratoga. 
 
 Meet Me in the Lane; 
 
 Not for Joseph. 
 
 Tapping at the Garden Gate. 
 
 California Gold ; or, She was such 
 a Nice Young Girl. 
 
 Sleeping on Guard ; or, Katie's 
 Love-Letter. 
 
 It's Better to Laugh than to Cry, 
 
 The Summer Dew. 
 
 Susan, Susan, Pity my Confusion. 
 
 Oh, My Lost Love. 
 
 Walking in the Park. 
 
 Far Away. 
 
 The Bell Goes, a-ringing for Sai- 
 rah. 
 
 Call Her Back and Kiss Her. 
 
 On, Boys, on, the Course is always 
 Clear. 
 
 Jess MacFarlane. 
 
 The Flying Trapeze, 
 
 Yes, I'll meet Thee, Dearest. 
 
 It's Nice to be a Father. 
 
 Hattie Bell. 
 
 Act on the Square, Boys. 
 
 Whisper, " Yes," or " No," Love. 
 
 Her Bright Smile Haunts me Still. 
 
 Oh, Cast that Shadow from thy 
 
 Brow. 
 
 Love Not. 
 
 i~he Wore a Wreath of Roses. 
 
 She Danced like a Fairy. 
 
 I Never Go East of Madison 
 
 Square. 
 
 The Lancashire Lass. 
 
 DM WITTS HALF DIME MUSTCcan always be obtained at all the News 
 Depots and Music and Book Stores throughout the United States and 
 Oanadas. Remember, each No. contains a complete piece of Music, 
 elegantly printed on fine Music paper, and are sold for only 
 
 FIVE CENTS. 
 
 |gp" Copies of any of the above Works will be sent, free of postage, on receipt of 
 the retail prioe. 
 
 to E. M. DE WITT, No. S3 Rose St., N. Y. 
 
GET THE BEST! GET 'k'iHE I$ES 
 
 In this free oountry, where every mm that does his duty as a citizen may 
 be at any moment called upon to p-resW ; over, or assist in, the deliberations 
 and debates of Public Meetings— i , behooves all to h i thoroughly " posted" 
 as to th? ways and means of properly 'con-ducting Bach assemblages. '11ns 
 book will be t'oan i to contain '" •■■•■ «t and praeMc.i digest of the many vol- 
 umes devoted to this important matter; it is the honey extracted from the 
 hoarded stores of the most eminent writers. A careful study of its 1 norousrh- 
 ly prepared pages wdl rind either Chairman or S-peaker »' armed at ad points" 
 that can possibly arise. ^ 
 
 WEBSTEE'S 
 
 CHAIRMAN'S MANUAL, 
 
 AND SPEAKER'S GUIDE. 
 
 Sliowinsf plainly nn£ clearly Hi»w to Preside Over sit\A 
 Conduct Every Kind of Public Meeting*. With full Ex- 
 positions of tue Manner of Procedure in tlie American 
 Oonsrress. tlie British. Parliament, the legislature of 
 New ¥ork, tlie Crand L.odge of F. and A. Masons, etc. 
 
 TO WHICH IS ADDED 
 
 Numerous Precedents from tlie best authorities. A1s*», 
 tSie Full Text of tbe Constitution of tbe United States, 
 with all its Various Amendments. 
 
 By the Author of " Webster*s Practical Letter Writer," lt Webster's Reciter," etc. 
 
 ABSTRACT OF CONTENTS : 
 
 Preface "What is Public Easiness? Rules of Order Motions how 
 
 made Oh lirmin — his requisites ; necessity of his impartiality; dignity re- 
 quisite The Meeting 1 Points of Order Debate Speakers — -Ar- 
 ranging for a Meeting The " Call " A New Club Alma Mater 
 
 Boys in Blue -Committee of Arrangements Caucus and caucusing 
 
 Conventions Cown M ietings Ward Meetin gs Committees Reso- 
 lutions and Motions Amsadmmts Rules Divisions Yeas and 
 
 Nays A Quorum 3pe ikiag Points of Order and Appeals De- 
 bate Questions Privileged Questions Committee of the Whole 
 
 Call of the House — -Adjournment By-Laws of Citizens Central Com- 
 
 mitte Forms and Formulas Farmer's Club Insurance Club 
 
 ocial Ciub British Parliament Congress of United States Business 
 
 ftulesof U. S Senate Basin -ss Rules of U. S. House of Representatives 
 
 Joint Business Rules of the two H mses Rules of the Senate of New York 
 
 Relating to Order Rules and Order of the New York Assembly Joint 
 
 Rules of the Senate aid Assembly Routine of a Business Meeting 
 
 Masonic Rules of Order Parliamentary Authorities Parliamentary 
 
 Summary ) mstitutioa of the United States with all the Amendments. 
 
 This Book OTV-irn ovir 200 Pa»3i. brail m ImrV? vr\f\ i «g\ n.M\ II- 
 tuminatad Cover Pi i c M) Cen*a 
 
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 ly \**??7*. } \\ v\t ••• r_e 75 Cents- 
 
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 (Jan i. /us .ii. i ti re.xinL of retail price. 
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 (Between Dunne and Frankfort Street*.) 
 
GET THE BEST ! GET THE BEST ! ! 
 
 WEBSTEE'S 
 
 BUSINESS MAN; 
 
 OR, 
 
 Counting-House Correspondent, 
 
 Containing Plain, Practical Directions for Carrying 
 
 on every Kind of Commercial and 
 
 Banking Business. 
 
 Including- Mercantile Letters oh very Conceivable Sub- 
 ject, Laws and Usages of Banking* and Brokerage, 
 Forms and Official Papers of S Slipping, Insurance, 
 etc., etc. Also containing- an Extensive and very 
 ^Useful Glossary of Words and Piirases used in Com- 
 mercial and Banking Circles, Together with a very 
 Full Exposition of the Specie and Paper Currency of 
 the Whole World, and their Intrinsic and Nominal 
 Value* 
 
 BY THE AUTHOR OF 
 
 "webster's chaxbman's manual," " Webster's reciter," Webster's prac- 
 tical LETTER-WRITER," ETC., ETC. 
 
 WEBSTEK'S BUSINESS MAN treats upon every topic incidental 
 to the experience of a business man. While its main design is to instruct the 
 reader in the details of commercial correspondence, the subject matter of these 
 specimen letters embrace all points of interest to the general trader. 
 
 Prominence has been given to banking, and the relationship between bank- 
 ers and their dealers, inasmuch as hundreds of thousands of persons main- 
 taining accounts of deposit and discount, are in ignorance of the duties of 
 bankers and of the the rights and privileges of the dealer. 
 
 To the body of the work has been appended :— 
 
 1. A Glossary of the Technicalities of Commerce, or terms employed by mer- 
 cantile men at home and abroad, as a peculiar and distinctive, language not 
 familiar to the general reader. 
 
 2. A table of moneys in which mercantile accounts are kept in various 
 foreign countries, information all important to dealers in imported merchan- 
 dize; and 
 
 3. Several forms of important documents not to be found in a majority of 
 works upon book-keeping. 
 
 This work has been submitted to the perusal of several of our most eminent 
 bankers and traders, and has invariably met with their approval. 
 
 This Book contains over 200 pages, bound in boards, with a splendid illum- 
 inated cover. Price 50 Cents, 
 
 A handsome and durable edition of this work, bound in cloth, elegantly 
 lettered in gilt. Price 75 Cents. 
 
 8KF* Copies of the above Book sent to any address, post-paid, on receipt of retail 
 price, 
 
 ROBERT M. BE WITT, Publisher, 
 
 33 Rose Street, [Between Duane and Frankfort Sis., N T.)