Advise for the Beginning Chess Player

There is nothing that will improve you so much as playing with good players; never refuse, therefore, when any one offers you odds, to accept them: you cannot expect a proficient to feel much interest in playing with you upon even terms, and as you are sure to derive both amusement and instruction from him, it is but fair that he should name the conditions. It will soon happen that you yourself will be able to give odds to many amateurs whom you meet; when this is the case, avoid, if possible, playing them even, or you are likely to acquire an indolent, neglectful habit of play, which it will be very difficult to throw off.

Never permit your hand to hover over the board, or indeed to approach it, until you have completely made up your mind what Piece to move; a contrary habit begets a feeling of indecision that is fatal to success. Play invariably according to the laws of the game, neither taking back a move yourself, nor allowing your opponent to recall one. Do not exhibit impatience when your adversary is long in making his move. His slowness is a tacit compliment to your skill, and enables you to play with proportionate quickness, because while he is meditating on his next step you can take advantage of the time to consider what shall be your rejoinder; besides, it is absolutely necessary for every one desirous of excelling at chess to play slowly. A fine player examines occasionally from five to twenty or more moves on each side: can this be done in a moment? It is easy enough to play quick against inferior play; but against equal and very good play one cannot play quick without losing.

Learn to play indifferently either with the white or black men. Do not play too many games at a sitting—and never suffer the loss of a game to occasion you much disquietude. Think of how many thousand games a Philidor must have lost before he attained his highest excellence; besides, the loss of one well-fought game with a fine practitioner will do more towards your improvement than the gain of ten light skirmishes with weaker players than yourself. Endeavor to play all your Pieces equally well. Many young players have a predilection for a particular Piece, as the Knight or the Queen, and lose both time and position in trying to prevent exchanges of their favorite. In opening your game, endeavor to bring your superior officers into action speedily, but avoid all premature attacks. Take care not to play a Piece to a square where it impedes the action of another, and beware of venturing an unsupported Piece in the adversary's game.

If subjected to a violent attack, you may often disconcert your opponent by compelling the exchange of two or three Pieces. When, however, you are about to exchange officers, you must calculate not only their ordinary value, but their peculiar worth in the situation in question; for example, a Rook is generally more valuable than a Knight or a Bishop; but it will happen, that by exchanging a Rook for one of the latter you may greatly improve your game.

It is mostly good play to exchange the Pieces off when you are superior in power, so that when you have the odds of a Piece given to you by a finished player, you should endeavor to exchange as often as you can consistently with safety.

When an exchange of two or more Pieces appears inevitable, look closely to see whether it is better for you to take first or to compel your opponent to do so. When one of the enemy is completely in your power, do not be too eager to make the capture—there may perhaps be a move of importance which you can make before you take him. Beware also of snatching hastily a proffered man, it may be only given as a bait to catch a more important advantage from you.

If at the end of a game you remain with Pawns against a Knight and find it difficult to evade his repeated checks, recollect that by placing your King on the same diagonal as the Knight, with but one intervening square between them, you cannot again be checked under three moves.

When you have lost a game which has cost you great attention, it is a good practice to play it over afterwards in private, and endeavor to discover where the error occurred through which your opponent gained his first advantage. This custom will improve both your memory and your play.

Take review of the lessons presented so far. In the next post, I will explore some opening moves for the beginning chess player.

The Relative Value of the Chess Pieces

An attempt to establish a scale of powers whereby the relative values of the several men could be estimated with mathematical exactitude, although it has frequently engaged the attention of scientific minds, appears to be an expenditure of ingenuity and research upon an unattainable object. So ever varying, so much dependent on the mutations of position which every move occasions, and on the augmented power which it acquires when combined with other forces, is the proportionate worth of this with that particular man, that it would seem to be beyond the reach of computation to devise a formula by which it can be reckoned with precision.

But still an approximation to correctness has been made, and the result arrived at gives the following as the ultimate respective values:—

Pawn	= 1.00
Knight	= 3.05
Bishop	= 3.50
Rook	= 5.48
Queen	= 9.94

The King, from the nature of the game, which does not admit of his being exchanged or captured, is invaluable, and he is not, therefore, included in the calculations.

The Pawn, it is seen, is the least valuable of all the men, the Knight being worth at least three Pawns.

The Bishops and Knights are practically considered of equal value, although there is a difference in the estimate here given.

A Rook is of the value of five Pawns and a fraction, and may be exchanged for a minor Piece and two Pawns. Two Rooks may be exchanged for three minor Pieces.

The Queen is usually reckoned equal, in average situations, to two Rooks and a Pawn, but towards the end of a game she is hardly so valuable as two Rooks.

These comparative values may be of service to the student in general cases of exchanging men, but he will find in practice the relative worth of his soldiers is modified by so many circumstances of time, opportunity, and position, that nothing but experience can ever teach him to determine accurately in every case "which to give up and which to keep."

The next lesson will be the Laws of Chess (aka Chess Rules) so check back soon.

Illustrations of Technical Chess Terms

Welcome to part two of Chess Definitions and Technical Terms... I encourage you to open two browser windows to view the illustrations while reading part one - chess definitions to make understanding them easier.

Chess Illustrations for Technical Chess Terms

The Operation of "Castling" and "Discovered Check."

In this situation (diagram 8) the white King is threatened with what is called "a discovered check," that is, his opponent, by removing the Bishop, would discover check from the Queen, a proceeding in the present instance, which would speedily involve the loss of the game to White. Not being at the moment in check, however, and having moved neither King nor Rook, and there being no intervening Piece between the King and his own Rook, White is enabled to castle, giving check to the adverse King at the same time, and win the game easily, for Black has no square to which he can move his King without going into check, and is consequently obliged to interpose his Q. at K. B's second, or K. B's third square, in either case being checkmated in two more moves, as you will soon be able to see.

No. 8.

BLACK.

WHITE.




Checkmate.
No. 9.

BLACK.

WHITE.

The above position represents the appearance of the forces on each side towards the end of a game, and will assist to explain the application of two or three of the technical terms described in the present section, as well as to exhibit the King in a situation of checkmate. You already understand that the moves at chess are played by each party alternately; in this case it is White's turn to play, and he will checkmate his antagonist in two moves. Place the chess-men on your board exactly in the order they stand in the diagram; having done this, suppose yourself to be playing the White men, and take the Black King's Pawn with your Queen, in the manner before shown, i.e., by taking the Pawn from the board and stationing your Queen on the square it occupied. By this act, you not only take his Pawn, but you attack his King, and must apprise him of his danger by calling "check." He has now two ways only of parrying this check. It is clear he cannot move his King, because the only two squares to which he could move without going into check are occupied by his own men; he is forced then either to take the Queen with his K. B's Pawn, or to interpose the Bishop at King's second square. If he take the Queen with his K. B's Pawn, you must reply by playing your King's Bishop (which you will know by the color of the diagonal on which he travels) to K. Kt's sixth square, crying "check." Examine the position attentively, and you will find that Black has no square to which he can move his King, the only vacant one being attacked by your Queen's Bishop, that he has nothing wherewith to take the Bishop that has given check, and neither Piece nor Pawn with which to interpose between it and his King, and that consequently, he is not only checked, but checkmated. In like manner, if, at his first move, instead of capturing your Queen, he interpose his Bishop at King's second square, you immediately take the Bishop with your Queen, who is protected by her Bishop, and say "checkmate."

We append a diagram here, showing a position which has frequently been misapprehended by unpracticed players.

By inspecting the diagram it will be seen that the White King is in check of the Black Queen. By the simple move of the White Rook to K. Kt's 5th square, checking the Black King, and at the same time discovering check by the White Queen, Black is checkmated, although having by far the strongest force of men. We give the position to show that any Piece or Pawn, although employed in covering a check of its own King, has nevertheless the power to check the adverse King.

No. 10.


BLACK.

WHITE.


Perpetual Check.

This diagram will enable you to understand what is meant by perpetual check as well as the most elaborate arrangement of the men could do. Place the men on your chess-board according to the diagram, suppose yourself to be playing the white Pieces, and that it is your turn to move. Your adversary, you will observe, has the advantage in point of force, but this is counterbalanced by the situation, which enables you to draw the game. To do this, you must first play your Queen to one of the three squares where she will check the King, i.e., to K's 4th, Q's 5th, or Q. B's 6th; it is indifferent which, say, therefore, Q. to K's 4th (check). Black has no option, his King cannot move, he must interpose his Queen. If now you were to take the Queen you would lose the game, on account of his two Pawns; but instead of doing so, you play the Queen to King's 8th sq, giving check. The black Queen must again interpose; you repeat the check at K's 4th, Black can only parry it with his Queen, and you may persist in giving the same two checks, ad infinity. In such cases, the game is resigned as "drawn by perpetual check."

No. 11.

BLACK.

WHITE.


Smothered Mate.

This is a familiar example of smothered mate, which you will find can be effected by no other Piece than the Knight. White first move is, Queen to her 5th square checking. Black is obliged to retreat his King to the R's sq., because, were he to play him to his B's sq.K. B's 7th; this brings the King back again to , and affords to White an opportunity of giving double check, which he does by moving the Knight to K. Rook's 6th, checking with both Q. and Knight; as before, the King must go to Rook's sq.; and now follows a beautiful move—White plays his Queen down to K. Kt's 8th (next square to the Black King), giving check; the King cannot take on account of the Knight; he is compelled, therefore, to capture with his Rook, and the Knight then gives the smothered mate at K. B's 7th square.

No. 12.


BLACK.

WHITE.


Stalemate.

Here you observe that White has the great advantage of a Queen against a Rook; but with all this, and the move to boot, it is impossible for him to do more than draw the game. It is evident that he cannot move his Queen from the front of his King on account of exposing him to check with the Rook. If he move his King, Black takes the Queen, and the game is drawn. And lastly, if he take the Rook with his Queen, he places the adverse King in the position before described of stalemate.

No. 13.

BLACK.

WHITE.

Now that you have an thorough understanding of chess terms and knowledge of how the pieces move about the chess board, we will begin to explore the strengths and weaknesses of the chess pieces in the next lesson.

Chess Definitions and Technical Terms in Use Among Chess Players

This post is broken into two parts. Part one includes the chess definitions and technical terms. Part two includes chess illustrations so that you can see a visual interpretation of the term. The reason it is broken into two post is that you, the student, can open two separate browser windows simultaneously to view the illustration while reading the definition with out having to jump back and forth between the two.

Chess Definitions and Technical Terms

Castling.—Although, as a general rule, the move of the King is restricted to one square at a time, he has the privilege, under certain conditions, once in the game, of moving in conjunction with either of the Rooks two squares. This peculiar movement is called Castling, and is performed in the following manner:—If a player wishes to castle on his King's side of the board, he moves the King to K. Kt's sq., and then places the K's Rook on K. B's square. If he castles on the Queen's side, he plays his King to Q. B's sq, and Q's Rook to Q's sq. The object of this compound move is to place the royal Piece in safety, and at the same time bring the Rook from the corner square into better play.

The conditions under which a player is permitted to castle are:—1st. The King must not be in check. 2d. The King must not have moved. 3d. The Rook must not have moved. 4th. The King must not pass over or on to any square attacked by an enemy's man. And 5th. There must be no Piece, either of his own or the adversary's, between the King and the Rook.

In exemplification of the importance of castling, to escape from an attack, and to retort one on the adversary, see diagram No. 8.

Check and Checkmate.—The King is said to be in check when he is attacked by any Piece or Pawn, for it being a fundamental law of chess that the King can never be taken, whenever any direct attack upon him is made, he must be warned of his danger by the cry of check, and the player is then compelled either to remove his King out of check, or parry the check by interposing a man between the King and the attacking Piece, or capture the checking man.

When he can do none of these three things, he is checkmated, and the game won by the other side. (See diagrams Nos. 9 and 10.) When the King is directly attacked by the Piece played, it is a simple check; but when the Piece moved does not itself give check, but unmasks another which does, it is called a discovered check. (See diagram No. 8.) The third species of check is named the double check, where the King is attacked both by the Piece moved and the one discovered. The fourth description is called perpetual check, a case which arises when a player has two or more squares on which he can give check, and his opponent can only parry one check by affording an opportunity for another. If the first player then persists in the repetition of these particular checks, the game must be abandoned as drawn. (See diagram No. 11).

Doubled Pawn.—When two Pawns of the same color are on the same file, the front one is called a doubled pawn.

Drawn Game.—When neither party can give checkmate, the game is drawn. This may arise from several causes, as:—1st. Perpetual check. 2d. Where there is not sufficient force to effect a mate, as a King and a Knight only, or a King and two Knights, &c., &c. 3d. Where one party has force sufficient, but is ignorant of the proper mode of applying it, and thus fails to checkmate his helpless adversary within the fifty moves prescribed by the "Code". 4th. Where both parties persist in repeating the same move from fear of each other. 5th. Where both parties are left with the same force at the end, as a Queen against a Queen, a Rook against a Rook, and the like, when, except in particular cases, the game should be resigned as a drawn battle. And 6th. When one of the Kings is stalemated.

En Prise.—When a Piece or Pawn is in a situation to be taken by the enemy, it is said to be en prise. To put a piece en prise, is to play it so that it may be captured.

The Exchange.—When a player gains a Rook for a Bishop or a Knight, it is termed winning the exchange.

False Move.—Any illegal move, such as castling when the King has been moved or is in check, moving a Rook diagonally, or a Bishop like a Knight, is called a false or an "impossible" move.

Fool's Mate.—This is the simplest of all checkmates, being accomplished in two moves in the following manner:—

WHITE.	BLACK.
1. K. Kt. P. to K. Kt's 4th.	1. K. P. to K's 4th.
2. K. B. P. to K. B's 4th.	2. Q. to K. R's 5th, checkmate.

It cannot possibly be given by the first player.

Forced Move.—When a player has one only legal move at command, it is said to be a forced move.

Gambit.—This word is derived from an Italian phrase in wrestling, and signifies a movement by which the adversary is tripped up. In chess, this is attempted by the first player putting a Pawn en prise

WHITE.	BLACK.
1. K. P. to K's 4th.	1. K. P. to K's 4th.
2. K. B. P. to B's 4th.	2. P. takes K. B. P.

The Pawn offered by the first player here at his second move is called the Gambit Pawn, and when taken by the adversary the opening becomes a gambit.

The varieties of the gambits are often designated by the names of the players who invented or first brought them into vogue—as the Muzio gambit, the Salvio gambit, the Allgaier gambit, the Lopez gambit; while others obtain their names from the opening moves of the first player, as the King's Bishop's gambit, which begins thus:—

WHITE.	BLACK.
1. K. P. to K's 4th.	1. K. P. to K's 4th.
2. K. B. P. to B's 4th.	2. P. takes P.
3. K. B. to Q. B's 4th.

and is so called because the K's Bishop is played out at the 3d move instead of the K's Knight.

There is also the Queen's gambit, of which the opening moves are—

WHITE.	BLACK.
1. Q. P. to Q's 4th.	1. Q. P. to Q's 4th.
2. Q. B. P. to B's 4th.	2. P. takes P.

The gambits are the most brilliant and animated of all the openings, full of hair-breadth 'scapes and perilous vicissitudes, but affording an infinitude of beautiful and daring combinations.

"Giuoco Piano," a solid and instructive modification of the King's Knight's game, is safe and for drawing games generally practised by the leading players. The opening moves are:

WHITE.	BLACK.
1. P. to K's 4th.	1. P. to K's 4th.
2. K. Kt. to B's 3d.	2. Q. Kt. to B's 3d.
3. K. B. to Q. B's 4th.	3. K. B. to Q. B's 4th.

To Interpose.—When the King is checked, or any valuable Piece in danger from the attack of an enemy, you are said to interpose a man when you play it between the attacked and attacking Piece.

Isolated Pawn.—A Pawn which stands alone, without the support and protection of other Pawns, is termed an isolated Pawn.

J'adoube.—A French expression, signifying "I arrange," or "I replace," which is used by a player when he touches a man merely to adjust its position on the board, without intending to play it. (See the 7th law or rule of chess.)

Minor Pieces.—The Bishop and Knight, in contradistinction to the Queen and Rook, are called Minor Pieces.

The Opposition.—A player is said to have the opposition when he can place his King directly in front of the adverse King, with only one square between them. This is often an important advantage in ending games.
Party.—From the French partie. Frequently used by modern writers instead of the word "game."

Passed Pawn.—-A Pawn is said to be a passed one when the adversary has no Pawn to obstruct its march on the same file, or on either of the next files to the right or left.

Pion Coiffé, or Marked Pawn.—This is a description of odds but rarely given, and only when there is a vast disparity between the skill of the players. It consists in one party placing a cap or ring on one of his Pawns, and undertaking to checkmate his opponent with that particular Pawn. He is not allowed to Queen the Pawn, and if he loses it, or happens to checkmate his opponent with any other man, he forfeits the game. The Pawn usually capped is the King's Knight's, because it can be more readily and effectually surrounded by protecting Pieces.

To Queen a Pawn, or to advance a Pawn to Queen.—When a player has contrived to advance a Pawn to the eighth or last square of the file, it assumes the rank and power of a Queen, or of any other Piece he chooses, and he is then said to have queened his Pawn.

Scholar's Mate.—A checkmate occasionally given at the opening of a game by a practised player to one but little tutored in the science. The following are the moves:—

WHITE.	BLACK.
1. P. to K's 4th.	1. P. to K's 4th.
2. K. B. to Q. B's 4th.	2. K. B. to Q. B's 4th.
3. Q. to K. R's 5th.	3. Q. P. one.
4. Q. takes K. B. P., giving checkmate.

Smothered Mate.—A checkmate which is sometimes given by the Knight when the adverse King is hemmed in, or smothered, by his own forces. (See diagram No. 12.)

Stalemate.—When one party has his King so circumstanced that, not being at the moment in check, he cannot play him without going into check, and at the same time has no other Piece or Pawn to move instead, he is said to be stalemated, and the game is considered drawn. (See diagram No. 13.)

Taking a Pawn en Passant, or in Passing.—It has been shown before, in speaking of the action of the Pawn, that he is limited in his march to one square forward at a time, when not capturing, and one square forward diagonally, either to the right or left, when he takes an adversary, but that he has the privilege, on being first played in the game, to advance two squares, unless in so doing he pass a square which is attacked by a hostile Pawn; in which case the opponent may, at his option, permit him to make the two steps forward, and there remain, or may capture him in his passage in the same way as if he had moved but one step.

Be sure to view the illustrations in the next post for a complete understanding of these chess terms.

Chess Notation - The Language Adopted to Describe the Moves of the Men

Today's lesson - Chess Notation is the most important skills required to mastering chess. There is no portion of an elementary work on Chess of so much importance to the student, and none which requires more resolute mastering than mastering chess notation.

The notation may be called the language of the game and a knowledge of it is absolutely indispensable to every one who is himself ambitious of excelling, or who is desirous of appreciating the excellencies of other players.

Having marshaled the men in battle order, as shown in the first diagram, you will observe that each party has two ranks of men, on the first of which stand the superior Pieces, and on the next the eight Pawns. The eight squares which compose the first rank are each distinguished by the name of the Piece which occupies it when the men are first arranged. There are, therefore, the King's square, the King's Bishop's square, King's Knight's square, and King's Rook's square, and in like manner, the Queen's square, Queen's Bishop's square, Queen's Knight's and Queen's Rook's squares. The files, that is, the row of squares running from top to bottom of the board, are also named by the Pieces occupying the first square in each file. Thus each of the superior officers has a file or row of eight squares running from his end of the board to the corresponding Piece of the enemy, and every one of these eight squares takes its name from such officer.

Bear in mind that White names every square on the board, in accordance with its relative position to one of his eight Pieces, and that Black does the same. Hence it follows that Black's first squares are White's eighth, and vice versa.


Before proceeding further, it will be desirable for the student to familiarize himself with the respective moves of the Pieces, names of the squares, etc. A very little practice will enable him to do so, especially with the aid of any friend acquainted with them. He should, in the first place, accustom himself to the setting up the men in order of battle; after a few repetitions of the process, and comparing their position with diagram No. 1, he will soon have no difficulty whatever in arranging them correctly without referring to the book. It will then be well to clear the board of all but a single Piece, and practice with that until perfect in its movements; another, and then another, may be added, until the action of every one is as familiar as the alphabet.

Suppose, as a first exercise, you begin by placing your Queen on her square (i.e., her first square), then play her to Q's 5th square, then (diagonally, observe) to Q. Rook's 8th square, then to King's Rook's 8th square, then to Q. R's square, and then home again to her square. It is proper to mention that the directions for moving a Piece are not usually printed in full, and that, according to the modern abbreviations in the present and other chess-books, these several instructions would be given thus:—

1. Q. to her sq.

2. Q. to her 5th.

3. Q. to her R's 8th.

4. Q. to K. R's 8th.

5. Q. to her R's sq.

6. Q. to her sq.

As a next exercise, put the Queen's Bishop on his square, beside the Queen, and play him as follows:—

1. Q. B. to K. R's 6th.

2. Q. B. to K. B's 8th.

3. Q. B. to Q. R's 3d.

4. Q. B. to his sq.

To these two Pieces now add the Queen's Knight, on his own square, and play as follows:—

1. Q. Kt. to Q's 2d.

2. Q. Kt. to K's 4th.

3. Q. Kt. to K. B's 6th.

4. Q. Kt. to K's 8th.

5. Q. Kt. to Q. B's 7th.

6. Q. Kt. to Q. Kt's 5th.

7. Q. Kt. to Q. B's 3d.

8. Q. Kt. to his sq.

By taking all the Pieces in succession thus, you will speedily obtain sufficient knowledge of their movements to commence the opening of a game; but before attempting this, it is needful for you to be acquainted with the technical terms in use among chess-players, and the code of laws which governs the game.

Study this! Study this! Study this! It is imperative that you have total command of the chess language. The next lesson will describe the various chess definitions so you will have complete mastery of the game when you finish this online chess class.

Movement of the Chess Pieces and Pawns and Mode of Capturing an Adverse Man

In the previous post, you learned the names of the chess pieces and how to how to setup a chess board for beginning play. This lesson will teach you how the pieces and pawns move about the board and how to capture an opponent.

A knowledge of the moves peculiar to these several men is so difficult to describe in writing, and so comparatively easy to acquire over the chess-board, from any competent person, that the learner is strongly recommended to avail himself of the latter means when practicable: for the use, however, of those who have no chess-playing acquaintance at command, the subjoined description will, it is hoped, suffice.

The "Pieces," by which title the eight superior officers are technically designated, in contradistinction to the "Pawns," all take in the same direction in which they move. This act consists in removing the adverse Piece or Pawn from the board, and placing the captor on the square the former occupied. To make this clear, we will begin with the King, and show his mode of moving and of capturing an adverse man.

The King.

The King can move one square only at a time (except in "Castling," which will be explained hereafter), but he can make this move in any direction, forwards, backwards, laterally, or diagonally. He can take any one of the adversary's men which stands on an adjoining square to that he occupies, provided such man is left unprotected, and he has the peculiar privilege of being himself exempt from capture. He is not permitted, however, to move into check, that is, on to any square which is guarded by a Piece or Pawn of the enemy, nor can he, under any circumstance, be played to an adjacent square to that on which the rival King is stationed. Like most of the other Pieces, his power is greatest in the middle of the board, where, without obstruction, he has the choice of eight different squares. At the sides, he may play to any one of five, but when in the angles of the board, three squares only are at his command.

No. 2.

BLACK.

WHITE.

Supposing diagram No. 2 to show the position of the men towards the conclusion of a game, and it being either party's turn to play, he could take the adverse Pawn from the board, and place his King on the square it occupied; and, by doing so, the King would not depart from the order of his march, which, as we have before said, permits him to move one step in every direction. In each of these instances we have placed the Pawn in front of the King, but he would be equally entitled to take it were it standing on any other part of the eight squares immediately surrounding him, always provided it was not sustained or guarded by some other Piece or Pawn.

The Queen.

The Queen is by much the most powerful of the forces. She has the advantage of moving as a Rook, in straight lines, forwards, backwards, and sideways, to the extent of the board in all directions, and as a Bishop, diagonally, with the same range. To comprehend her scope of action, place her alone in the center of the board; it will then be seen that she has the command of no less than twenty-seven squares, besides the one she stands on. (Diagram No. 3.)

No. 3.

Thus placed in the middle of the board, the range of the Queen is immense. She has here the option of taking any one of eight men at the extremity of the board, on the squares respectively numbered 1, 2, 3, 4, 5, 6, 7, and 8, should her line of march be unobstructed; and if these men were nearer, on any of the intermediate squares, she would be equally enabled to take any one of them at her choice. Like all the other Pieces and Pawns, she effects the capture by removing the man from the board and stationing herself on the vacated square.

The Rook.

No. 4.

BLACK.

WHITE.

The Rook, or Castle, is next in power to the Queen. He moves in a straight line, forwards, backwards, or sideways, having a uniform range, on a clear board, of fourteen squares, exclusive of the one he occupies.
The Rook has the same power in taking as the Queen, forwards, backwards, and sideways, but he cannot, like her, take any man diagonally.

For example, place the Rook in the center of the board, and an opposing man on each of the squares numbered, and the Rook has the power of taking any one of the four; and he has the same power if the Pieces are one or two squares closer to him, or immediately surrounding him, in the direction indicated by the four figures. (See Diagram No. 4.)

The Bishop.

The Bishop moves diagonally forwards or backwards, to the extent of the Board. It follows, therefore, that he travels throughout the game only on squares of the same color as the one on which he stands when the game begins, and that each player has a Bishop running on white squares, and one on black squares. When placed on a center square of a clear board, he will be found to have a range of thirteen squares.

No. 5.

The Bishop takes, as he moves, diagonally, either forwards or backwards, his range extending, on unobstructed squares, to the extent of the diagonal line on which he travels. (See Diagram No. 5.)

The Knight.

in a straight line, and one in an oblique direction; or it may be perhaps better understood by saying that he moves two squares in a straight line, and one in a side direction.

No. 6.

BLACK.

WHITE.

His power and method of taking an opponent's man will be seen from the diagram (No. 6) on page 14.
In this situation, in the center of the board, he would have the power of taking any one of the men stationed on the squares numbered, by removing the man and placing himself on the vacant square.

The Pawn.

The Pawn moves only one square at a time, and that straight forward, except in the act of capturing, when it takes one step diagonally to the right or left file on to the square occupied by the man taken, and continues on that file until it captures another man. It may, however, for its first move advance two steps, provided no hostile Pawn commands the first square over which he leaps, for, in that case, the adverse Pawn has the option of taking him in his passage, as if he had moved one step only. A Pawn is the only one of the forces which goes out of his direction to capture, and which has not the advantage of moving backwards; but it has one remarkable privilege, by which, on occasions, it becomes invaluable, whenever it reaches the extreme square of the file on which it travels, it is invested with the title and assumes the power of any superior Piece, except the King, which the player chooses. From this circumstance it frequently happens that one party, by skillful management of his Pawns, contrives to have two, and sometimes even three Queens on the board at once, a combination of force which of course is irresistible.

As we before observed, the Pawn is the only man which captures in a direction different from his line of march. Suppose, at the opening of the game, White begins by playing King's Pawn to King's fourth square (see the article on Notation), Black may reply in the same manner with King's Pawn to King's fourth square, and neither Pawn can do more than remain an obstruction to the onward march of the other, but if Black answer instead with King's Bishop's Pawn to Bishop's fourth, or as in the diagram, with Queen's Pawn to Queen's fourth, then White, if he choose, may take the adverse Pawn from the board and place his own in its stead.

No. 7.

BLACK.

WHITE.

The next lesson will be one of the most important aspects for the serious chess student (and beginning chess player) - chess notation.

Description of the Chess Board and the Pieces or Men

The game of Chess is played by two persons, each having at command a little army of sixteen men, upon a board divided into sixty-four squares. The squares are usually colored white and black, or red and white, alternately; and custom has made it an indispensable regulation, that the board shall be so placed that each player has a white square at his right-hand corner.

The following diagram (No. 1.) represents the board with all the men arranged in proper order for the commencement of a game:

No. 1.

BLACK

WHITE

Each player, it will be observed, has eight superior Pieces or officers, and eight minor ones which are called Pawns; and, for the purpose of distinction, the Pieces and Pawns of one party are of a different color from those of the other.

A King
A Queen
Two Rooks (or Castles as they are indiscriminately called)
Two Bishops
Two Knights
Eight Pawns (or Foot-Soldiers) making in all an army of sixteen men on each side

On beginning a game, these Pieces and Pawns are disposed in the manner shown on the foregoing diagram. The King and Queen occupy the center squares of the first or "royal" line, as it is called, and each has for its supporters a Bishop, a Knight, and a Rook, while before the whole stand the Pawns or Foot-soldiers in a row. (To prevent a common error among young players, of misplacing the King and Queen on commencing a game, it is well to bear in mind that at the outset each Queen stands on her own color.) The Pieces on the King's side of the board are called the King's, as King's Bishop, King's Knight, King's Rook; and the Pawns directly in front of them, the King's Pawn, King's Bishop's Pawn, King's Knight's Pawn, and King's Rook's Pawn. The Pieces on the Queen's side are, in like manner, called the Queen's Bishop, Queen's Knight, and Queen's Rook; and the Pawns before them, Queen's Bishop's Pawn, Queen's Knight's Pawn, and Queen's Rook's Pawn.

In the next post,  I will describe the movement of the pieces and pawns and the mode of capturing an adverse man.

Welcome to Learn to Play Chess...

 This website is dedicated to those students who are learning the noble game of Chess.

Often, people have been confused and discouraged at the very outset of the study by the great variety and the delicate distinctions between the different opening moves; and this has constituted a flaw in many otherwise excellent manuals for the beginner.

My chief aim is to fill this void by simplifying the openings and by giving to the student chiefly such moves as are recognized to be the best, both in attack and defense. By playing over carefully the illustrative games, the learner will also see, at each opening, the variations made by experienced players in accordance with circumstances.

A great variety of actually played games has been given as was possible in a work of such limited scope. To this end the games of the distinguished players of different nations have been introduced, classified according to the different openings; and thus the reader will find the combined genius and skill of the old heroes like Philidor, Morphy, Staunton, Anderssen, Harrwitz, Evans, Montgomery and Cochrane, together with such recent masters as Lasker, Steinitz, Schlechter, Pillsbury, Marshall, Tarrasch, Janowsky, Tchigorin, and many other players of world-wide celebrity.

The basis of this website is Staunton's "Chess Player's Handbook;" but other standard books have been drawn upon to fit it to be a manual for the beginner of today and tomorrow.

So get your board out and follow along. The free lessons and methods presented will be perfect for the beginner chess player as well as the advanced chess player looking to enhance their chess tactics.

In addition to learning the basics of chess, I will be analyzing and illustrating opening chess moves so that you can follow the sequence of moves and understand the variations made by experienced players.