Chess Problem Gems (Gnv64)

CHESS PROBLEM GEMS BY EIGHT EMINENT AMERICAN COMPOSERS Kenneth S. Howard DOVER PUBLICATIONS, INC. NEW YORK Copyright © 1972 by Dover Publications, Inc. A l l rights reserved under P a n A m e r i c a n and International C o p y r i g h t Conventions. Published in C a n a d a by G e n e r a l Publishing C o m p a n y , L t d . , 30 Lesmill R o a d , Don Mills, Toronto, Ontario. Published in the United K i n g d o m by Constable and C o m p a n y , L t d . , 1 0 O r a n g e Street, L o n d o n W C 2 . Chess Problem Gems by Eight Eminent American Composers is a new work, first published by D o v e r Publications, Inc., in 1 9 7 2 . International Standard Book Number: 0-486-22166-0 Library of Congress Catalog Card Number: Jg-i8g348 M a n u f a c t u r e d in the United States of A m e r i c a D o v e r Publications, Inc. 180 V a r i c k Street New York, N . Y . 10014 Contents page Eight Eminent Composers i T h e Problemist's Vocabulary 4 Notation 9 E u g e n e B. C o o k 11 Samuel Loyd 16 William Meredith 32 George E. Carpenter 41 William A. Shinkman 48 D. J. Densmore 64 Henry Wald Bettman 72 Otto Wurzburg 85 V The Chess Palladium. A single e x c e p t i o n i s t h a t o f s o m e o f S a m L o y d ' s c o m p o s i t ions. they did not become as prominent. W h i l e E u g e n e B. D e n s m o r e b e c a m e n o t e d f o r his s t r a t e g i c p r o b l e m s . the first problem published being one of Stanley's own that was p r i n t e d i n n o t a t i o n i n t h e M a r c h 1 . Although W i l l i a m M e r e d i t h w a s b o r n b e f o r e L o y d . since it was only in foreign periodicals that problems might be published. T h i s p r i m a r i l y is because no collections of their p r o b l e m s a r e currently in print a n d they are only to be found in books t h a t occasionally m a y be secured in the secondhand market. So the present volume reproduces typical examples of the work of eight of the most e m i n e n t of these problemists whose c o m p o s i n g c a r e e r s d a t e d f r o m t h e last c e n t u r y . Cook a n d S a m u e l L o y d were the earliest of t h e m o r e p r o m i n e n t p i o n e e r s . t h e r e w a s l i t t l e incentive for p r o b l e m composition. his p r o b l e m s o n l y b e g a n t o b e p u b l i s h e d i n t h e e i g h t e e n .s e v e n t i e s a n d his w o r k did not attract a n y widespread attention until years afterward. Shinkman. 1845 issue. n o r chess c o l u m n s i n n e w s p a p e r s . D a r s o J .Eight Eminent Composers FEW chess e n t h u s i a s t s t o d a y m a y b e f a m i l i a r w i t h m u c h o f t h e outstanding work of the early A m e r i c a n p r o b l e m composers. especially for those f e a t u r i n g black interferences. T h e c o m p o s i n g activities o f H e n r y W a l d B e t t m a n a n d o f O t t o W u r z b u r g c o n tinued far into the present century. P r i o r t o t h e m i d d l e o f t h e last c e n t u r y t h e r e w a s o n l y a m i n i m u m o f chess a c t i v i t y i n this c o u n t r y a n d a s t h e r e w e r e n o chess m a g a z i n e s . t h e y w e r e f o l l o w e d closely b y George E. T h e f i r s t m a g a z i n e . w a s issued by N a p o l e o n M a r a c h e in . While other early composers published m a n y fine problems. in N e w Y o r k . Carpenter and William A. T h e e a r l i e s t A m e r i c a n chess c o l u m n w a s o n e e d i t e d b y C h a r l e s H e n r y S t a n l e y in The Spirit of the Times. Densmore. T h i s v o l u m e fortunately is n o w available in a p a p e r b a c k reprint. " i l l u s t r a t e d w i t h m a n y o f h i s c o m p o s i t i o n s . 326 by Cook a n d 64 by Carpenter. T h e n The Golden Argosy. " a t r e a t i s e o n chess p r o b l e m s . H . a c o l l e c t i o n of 6 0 0 of S h i n k m a n ' s p r o b l e m s . w h i c h b e g a n i n t h e l a t e r e i g h t e e n fifties and aroused so m u c h national enthusiasm that m a n y n e w s p a p e r s b e g a n t o c a r r y chess c o l u m n s . Orestes A. t h a t w i t h t h e c o o p e r a t i o n o f William R. K e i d a n z p u b l i s h e d a c o l l e c t i o n o f all o f Cook's k n o w n compositions. some 650 positions. T h e birth of American problem-book literature dates f r o m t h e f o l l o w i n g d e c a d e . a s t h e t w e n t y . a n d a s e c o n d . of w h i c h 353 were by Loyd. c o n t a i n i n g 2 4 0 6 problems. No collections of the problems of Dr. A g r e a t chess a w a k e n i n g i n this c o u n t r y c a m e w i t h t h e a d v e n t o f P a u l M o r p h y ' s exploits. Brownson. a n d in 1920 A Memorial to D. In 1916 100 Chess Problems by William Meredith w a s p u b l i s h e d as t h e t w e n t y . H e n r y a n d Charles A. t h e t h i r t y s e v e n t h v o l u m e of t h e Christmas Series. I n 1881 L o y d p u b l i s h e d his Chess Strategy. the book was p u b l i s h e d u n d e r t h e title of American Chess Nuts. c o n t a i n i n g a c o l l e c t i o n of D e n s m o r e ' s p r o b l e m s . . It w a s n o t u n t i l 1868. Henry Wald Bettman nor of Otto W u r z b u r g have as yet been published. T h e second section of the sixteenth v o l u m e of Alain W h i t e ' s Christmas Series. issued in 1913. h o w e v e r . h o w e v e r . J r . p u b l i s h e d a c o l l e c t i o n of 2 0 0 of C a r p e n t e r ' s p r o b l e m s i n 1875. Gilberg. t h e American Chess Magazine. N u m a P r e t i o f P a r i s also b r o u g h t o u t a c o l l e c t i o n o f 2 0 0 o f C a r p e n t e r ' s p r o b l e m s i n 1901. Gems 1846. b a s e d on m a t e r i a l left by L o y d a t his d e a t h . J. I n 1859 C o o k a n d L o y d p l a n n e d t o issue a collection of a t h o u s a n d p r o b l e m s by A m e r i c a n composers. a p p e a r e d in 1847.s e c o n d v o l u m e of t h e Christmas Series. w h o founded a n d edited the Dubuque Chess Journal. T h i s n a t u r a l l y led t o a s t e a d i l y i n c r e a s i n g i n t e r e s t in p r o b l e m s .14° Chess Problem. as previously m e n t i o n e d . is a r e v i s i o n of t h e Strategy. a p p e a r e d in 1929. . a n d h a s o v e r 5 0 0 o f h i s p r o b l e m s . I n 1926 D r . e n t i t l e d Sam Loyd and his Chess Problems. All o f t h e s e b o o k s w e r e issued i n c o m p a r a t i v e l y l i m i t e d editions a n d . w i t h t h r e e l a t e r e d i t i o n s . B o t h . only a selection of L o y d ' s p r o b l e m s is readily o b t a i n a b l e at present.s i x t h v o l u m e . h a d s h o r t lives. Since some readers m a y not be familiar with various terms u s e d b y p r o b l e m i s t s . m a n y o f t h e m o r e c o m m o n o n e s a r e exp l a i n e d in t h e next section. .Eight Eminent Composers 3 S o t h e a u t h o r believes t h a t t h e selections i n this v o l u m e w i l l b e w e l c o m e d b y all w h o m a y b e i n t e r e s t e d i n e a r l y o u t s t a n d i n g c o m p o s i t i o n s i n t h e A m e r i c a n chess p r o b l e m field. T h e first is t h a t the position must be one w h i c h could be r e a c h e d in actual play however u n n a t u r a l it m a y a p p e a r . i s c o n s i d e r e d o b j e c t i o n a b l e as a k e y m o v e . T h e second convention is that there must be only one first move t h a t w i l l solve t h e p r o b l e m .a p p e a r i n g first m o v e against w h i c h Black m a y d e f e n d by p e r h a p s only a single d e f e n sive m o v e is c a l l e d a try. the positions in p r o b l e m s never w o u l d be likely to o c c u r in a g a m e . h o w e v e r . a m o v e t h a t restricts B l a c k ' s p l a y . sets u p a p o s i t i o n w h e r e a n y b l a c k m o v e will w e a k e n t h e d e f e n s e a n d a l l o w W h i t e t o m a t e — B l a c k i s i n zugzwang. I n a c o n v e n t i o n a l chess p r o b l e m W h i t e m o v e s f i r s t a n d m a t e s Black in a stipulated n u m b e r of moves. W h i l e a n y m o v e m a y be employed as a key. In a waiting-move problem m a t e is n o t t h r e a t e n e d by t h e k e y m o v e w h i c h . m o v e of a w h i t e piece f r o m an out-of-play to a m o r e active position. L i n e s of p l a y w h e r e defensive moves by Black defeat the threat b u t allow W h i t e t o m a t e i n o t h e r w a y s a r e t e r m e d variations.m o v e p r o b l e m s a r e s u b d i v i d e d i n t o complete 4 . o r a n y o t h e r a g g r e s s i v e m o v e . T h e u n i n t e n d e d f i r s t m o v e i s c a l l e d a cook. c a p t u r e of a black m a n . T h e r e a r e o n l y t w o conventions that must be observed in composing a problem. In fact.The Problemist's Vocabulary T H E BASIC d i s t i n c t i o n b e t w e e n a c o m p o s e d endgame a n d a problem i s t h a t i n t h e f o r m e r W h i t e h a s a n i n d e f i n i t e n u m b e r o f moves in which to w i n — o r d r a w — a g a i n s t a superior or equal black force. w h e r e a s in a p r o b l e m W h i t e m u s t m a t e Black in a definite n u m b e r of moves. W h e n the keymove directly threatens m a t e in the stipulated n u m b e r of m o v e s t h e p r o b l e m is a threat problem. in m o d e r n problems a check. S h o u l d i t b e d i s c o v e r e d t h a t a p r o b l e m m a y be solved by m o r e t h a n o n e first m o v e it is said to be unsound a n d i s v a l u e l e s s . A p l a u s i b l e . W a i t i n g . the correct first m o v e f o r W h i t e b e i n g t e r m e d t h e keymove o r key. T h e t e r m is c o m m o n l y a p p l i e d o n l y w h e n t h e m a t e i s also a p u r e o n e . W h e r e t h e k e y m o v e p e r m i t s B l a c k t o m a k e d e f e n s i v e moves t h a t lead to m o r e m a t i n g positions t h a n those in the i n i t i a l s e t t i n g it is an added mate p r o b l e m . In t h e i n i t i a l p o s i t i o n of a c o m p l e t e block a m a t i n g c o n t i n u a t i o n is provided—set being the technical t e r m — f o r a n y m o v e t h a t Black c a n m a k e a n d W h i t e h a s o n l y t o m a k e a m o v e w h i c h will n o t a l t e r s u c h a n a r r a n g e m e n t . take part. In an incomplete block there m a y be one or s e v e r a l p o s s i b l e m o v e s b y B l a c k f o r w h i c h m a t e s a r e n o t set a n d the key must provide mates for such moves. S u c h a m a t e m i g h t also b e c o n s i d e r e d p u r e . with the optional exception of the king and pawns. A model mate is a p u r e m a t e w h e r e all t h e w h i t e m e n on t h e board. T h e i d e a o r m a n e u v e r w h i c h a p r o b l e m i s expressly c o m p o s e d to i l l u s t r a t e is t e r m e d t h e mainplay or thematic play. W h e r e the keymove in a complete block problem changes s o m e o f t h e set m a t e s t o o t h e r m a t e s t h e p r o b l e m i s t e r m e d a mutate. they are of infrequent occurrence.The Problemist's Vocabulary 5 block a n d incomplete block p o s i t i o n s . A l t h o u g h a f e w problemists h a v e composed positions primarily to feature mirror mates. S u c h a p r o b l e m is a block-threat. b u t i n w h i c h W h i t e m u s t m a k e a k e y m o v e t h a t t h r e a t e n s m a t e d i r e c t l y . All o t h e r c o n tinuations. T h e s q u a r e u p o n which a king stands a n d those i m m e d i a t e l y a d j a c e n t t o i t c o n s t i t u t e t h e king's f i e l d . b r o u g h t a b o u t by various black defensive moves.m o v e key. n i n e s q u a r e s i f t h e k i n g is not at an edge of the b o a r d . I n s u c h a s i t u a t i o n t h e m a t e i s also t e r m e d a pin-mate. T h e o n l y e x c e p t i o n to this is w h e r e a black m a n t h a t occupies an a d j a c e n t square is pinned a n d could p r e v e n t t h e m a t e i f i t w e r e n o t p i n n e d . however. If w h e n the black king is m a t e d each of the squares in the king's field are g u a r d e d by only o n e w h i t e m a n or blocked by a b l a c k m a n it is a pure mate. hold t h a t a n y white p a w n e m ployed must g u a r d one of the squares in the black king's field for the m a t e to be a model. T h e n t h e r e are complete block positions w h i c h c a n n o t b e solved b y a w a i t i n g . S o m e purists. arc . W h e r e the black king when m a t e d is not at an edge of the b o a r d a n d there are no other m e n on the eight adjacent squares in t h e k i n g ' s field it is a mirror mate. If t h e p i n n e d m a n c a n move a l o n g the line of p i n n i n g it is said t o b e line-pinned. W h e r e t h e r e is an u n g u a r d e d white m a n on such a square the black king's m o v e o n t o it is t e r m e d a flight capture. I n s o m e cases s u c h a d u a l might be avoided merely by the addition of a black p a w n .p i n n e d while a knight is always absolutely pinned. L i k e w i s e w h e r e t h e c o n t i n u a t i o n s i n t w o o r m o r e lines o f p l a y in three-move. D u a l s o c c u r r i n g i n u n t h e m a t i c o r s e c o n d a r y lines o f p l a y a r e also s o m e t i m e s c a l l e d m i n o r d u a l s . Gems t e r m e d byplay o r v a r i a t i o n s . W h e n t w o b l a c k m e n a r e o n a line b e t w e e n t h e b l a c k k i n g a n d a l o n g . because it is not g u a r d e d by a white m a n nor o c c u p i e d by a b l a c k o n e . four-move or longer problems are similar they a r e said to echo each other. T h u s a q u e e n c a n o n l y b e l i n e .14° Chess Problem. it is c a l l e d a flight square. would prefer not to a d d to eliminate an insignificant dual. . In a minor dual W h i t e h a s a c h o i c e of c o n t i n u a t i o n s f o l l o w i n g indifferent black moves while Black m a y m a k e certain moves w h i c h c o m p e l W h i t e t o m a k e a single d e f i n i t e c o n t i n u a t i o n . W h i l e i n a g a m e a m a n i s said t o b e p i n n e d n o t o n l y i f its r e m o v a l w o u l d l e a v e its k i n g i n c h e c k . Both p i n n i n g a n d u n p i n n i n g p l a y p r o m i n e n t roles i n m o d e r n p r o b l e m s . Such duals are particularly objectionable if they occur in the thematic or m a i n p l a y of the problem.r a n g e w h i t e piece. W h e r e t h e b l a c k k i n g s t a n d s o n s q u a r e s of t h e s a m e c o l o r w h e n m a t e d it is a monochrome echo. i n a p r o b l e m t h e w o r d pin is used only w h e r e the opposing king is on the line of pin. b u t i f i t w o u l d l e a v e a m o r e i m p o r t a n t p i e c e u n d e r a t t a c k . which m a n y composers. A major dual is o n e w h e r e W h i t e h a s a c h o i c e of lines of p l a y or m a t i n g moves none of which he is forced to adopt by any of Black's defensive moves. T h e repetition of a similar type of position in two or m o r e m a t e s i s k n o w n a s a n echo. W h e r e b e c a u s e o f s o m e b l a c k m o v e W h i t e h a s a c h o i c e of m a t i n g m o v e s it is a dual a n d in t h e case of three-move or four-move problems a choice of m a t i n g cont i n u a t i o n s is t e r m e d a dual continuation. If he stands on a white square in one m a t e a n d on a black square in a n o t h e r it is a chameleon echo. w i t h n o o t h e r i n t e r v e n i n g m e n . W h e r e t h e r e i s a s q u a r e i n t h e b l a c k k i n g ' s field o n t o w h i c h he can move. however. it is an anticritical move. W h e n a w h i t e p i e c e .r a n g e p i e c e to s u p p o r t it f r o m b e h i n d it is a pericritical maneuver. W h e n a n i n d i r e c t b a t t e r y f i r e s . W h e r e the r e a r piece is on a line with the black king it is c a l l e d a direct battery. h o w ever. w h e r e t h e r a n g e o f a r e a r p i e c e — q u e e n . as a f r o n t p i e c e .r a n g e pieces intersect t h e s q u a r e on w h i c h t h e i n t e r s e c t i o n o c c u r s is c a l l e d a critical square a n d w h e n e i t h e r p i e c e m o v e s o n t o t h a t s q u a r e i t c r e a t e s a n interference w i t h t h e o t h e r p i e c e . A k n i g h t o r k i n g m a y serve a s t h e f i r i n g p i e c e . W h e n a l o n g . w h i l e a r o o k m a y o b s t r u c t t h a t of a b i s h o p o n a d i a g o n a l . r e t r e a t s a l o n g a l i n e a c r o s s a c r i t i c a l s q u a r e to p e r m i t a n o t h e r p i e c e . m a y only be employed as the rear piece of a battery. o r h a v e its g u a r d i n g p o w e r b e c o m e effective. r a n k o r d i a g o n a l . rook or bishop—and W h i t e counters by m o v i n g a m a n o n t o t h e line of check a n d simultaneously checks the black king either directly or by discovery. t h e m a n e u v e r i s t e r m e d a n ambush. while the r e a r piece g u a r d s o n e or m o r e squares in the king's field. W h e r e the p o t e n t i a l moves of t w o l o n g . m a y o b s t r u c t a r o o k ' s a c t i o n a l o n g a file or r a n k . W h e r e t h e w h i t e k i n g m o v e s o u t of t h e l i n e of check a n d at the same time discovers check on the black king f r o m a w h i t e p i e c e b e h i n d h i m it is a royal battery counter-check. a s also m a y a p a w n i n c e r t a i n p o s i t i o n s . A battery is an a r r a n g e m e n t of t w o m e n of t h e s a m e c o l o r a l o n g a file. since if e i t h e r b l a c k m a n m o v e s off t h e l i n e its f e l l o w b e c o m e s p i n n e d . t o m o v e o n t o t h e line a h e a d o f it. r o o k or b i s h o p — i s o b s t r u c t e d by a f r o n t or firing piece. In a p r o b l e m in which Black is allowed to check the white king by a long-range piece—queen. T h e q u e e n . t h e f i r i n g p i e c e m a y check the black king. A b i s h o p . W h e r e a p i e c e m o v e s a r o u n d a n o t h e r l o n g . on t h a t line if the m a n in f r o n t moves off t h e line.The Problemist's Vocabulary 7 it is t e r m e d a half-pin. w h e r e it is on a l i n e w i t h a s q u a r e t h a t is a d j a c e n t t o t h e o n e o n w h i c h t h e b l a c k k i n g s t a n d s i t i s a n indirect battery.r a n g e p i e c e i s m o v e d o n t o a line b e h i n d a n o t h e r man—especially w h e r e the f o r m e r is a white piece a n d the latter a b l a c k m a n — s o t h a t i t m a y m o v e a l o n g . it is a cross-check. s u c h a s a q u e e n . W h e r e a p r o b l e m i s c o m p o s e d t o s h o w t h e m a x i m u m possi- . W h e r e the firing piece is the w h i t e k i n g it is t e r m e d a royal battery. s u c h a s a b i s h o p . a m o v e o f w h i c h off t h e line m a k e s t h e p o w e r o f t h e r e a r p i e c e e f f e c t i v e . . s u c h a s a w h i t e k n i g h t p l a y i n g t o eight different squares. a c c o r d i n g to Black's defensive moves. or a suimate as it is also t e r m e d . w h i l e o n e of t w e l v e or less is c a l l e d a Meredith. it is c a l l e d a task problem. a l t h o u g h this term ordinarily is only applied to two-move problems. In a self-mate problem. to d i s c o v e r m a t e . A p r o b l e m w i t h a t o t a l of s e v e n or f e w e r m e n is a miniature.IO IO Chess Problem Gems bilities o f s o m e m a n e u v e r . i n s t e a d of W h i t e m a t i n g Black the p r o c e d u r e is reversed a n d W h i t e forces Black to m a t e t h e w h i t e king. w i t h the exception of S ( G e r m a n Springer) f o r k n i g h t . T h e s y m b o l x is u s e d f o r a c a p t u r e a n d t h e s y m b o l ( ) for t h e p r o m o t i o n of a p a w n to a piece. s o m e t i m e s also c a l l e d t h e Continental b e c a u s e o f its use i n c o n t i n e n t a l E u r o p e a n c o u n t r i e s . S i n c e i t i s m o r e p r e c i s e t h a n t h e English n o t a t i o n i t i s m o r e g e n e r a l l y u s e d in books on problems. a b c d e f g h In the algebraic notation the location a n d moves of the m e n a r e a l w a y s r e a d f r o m t h e w h i t e side o f t h e b o a r d . such as the m a n y volumes in Alain White's Christmas Series a n d also in t h e series of p r o b l e m b o o k s t h a t F r a n k A l t s c h u l p r i n t e d a t his p r i v a t e O v e r b r o o k Press.Notation T H E chess n o t a t i o n i n t h e f o l l o w i n g t e x t a n d s o l u t i o n p a g e s i s t e r m e d t h e algebraic. with a letter w i t h i n the parenthesis d e n o t i n g the piece 9 . o r t h e l o w e r side o f t h e d i a g r a m . In the ensuing sections the s a m e letters are e m p l o y e d to denote the m e n as in the English notation. T h e files a r e d e s i g n a t e d " a " t o " h " f r o m left t o r i g h t a n d t h e r a n k s a r e n u m b e r e d " 1 " t o " 8 " r e a d i n g upward. T h e symbol V (version). the s y m b o l (quoted) indicates t h a t the p r o b l e m initially a p p e a r e d in some other publication.IO Chess Problem Gems t h a t is chosen. before the n a m e of a p u b l i c a t i o n a b o v e a d i a g r a m . i n d i c a t e s t h a t t h e p o s i t i o n is a revision of a p r o b l e m as originally p u b l i s h e d . . o f . 1 . 11 . T h e brilliant key in No. leads to quiet moves in two continuations. b o r n a d e c a d e b e f o r e L o y d . c h e c k s . f e w o f his p r o b l e m s illustrated any complex strategy a n d where they did the construction was often cumbersome. m a n y o f t h e m w i t h a g g r e s s i v e keys. with another check on Black's second move. This p r o b l e m should be c o m p a r e d w i t h Loyd's " S t e i n i t z G a m b i t " (No. s u b m i t t e d a p r o b l e m f o r p u b l i c a t i o n i n 1850 a n d c o m p o s e d his last p r o b l e m i n M a r c h . Cook EUGENE BEAUHARNAIS COOK ( 1 8 3 0 . T h e n . however. t h a t w o u l d b e f o l l o w e d by a s e c o n d . a n t e d a t i n g L o y d ' s d e b u t b y f o u r y e a r s . In the initial position of N o . there is an u n p r o v i d e d check. t h e k e y s u b mits the white king to a double check. 1.1 9 1 5 ) . 1915. the ensuing m a t e b e i n g a model. M o s t o f his e a r l i e r p r o b l e m s w e r e c o m p o s e d a l o n g o l d f a s h i o n e d lines. he c o m p o s e d s o m e l i g h t w e i g h t p r o b l e m s w i t h e x c e l l e n t keys. is s u p p l e m e n t e d by a q u e e n sacrifice variation w h e n Black plays 1 Sf4.p l a y p o s i t i o n . I n N o . 3 is d e f i n i t e l y a s t r a t e g i c c o n c e p t i o n . a n o t h e r w a i t i n g m o v e t h a t forces B l a c k t o m o v e his k n i g h t . c a p tures of black m e n . 32). On the other h a n d .Eugene B. O f his t o t a l o f six h u n d r e d fifty compositions m a n y r e m a i n e d u n p u b l i s h e d a t t h e t i m e o f his d e a t h .m o v e c h e c k . m a d e possible by a surprising key. I n 1851 he h a d t h r e e p r o b l e m s p u b l i s h e d in t h e New York Albion. 2. t h e y e a r o f his d e a t h . 4. 1 R x R ck. W h i t e m a k e s a w i t h d r a w a l w a i t i n g m o v e to lead to a block position a n d then makes a sweeping second m o v e f r o m one end of a d i a g o n a l t o t h e o t h e r . a l t h o u g h it threatens a short m a t e . o n e o f his m o r e s t r a t e g i c c o m p o s i t i o n s . P r o b l e m N o . T h e t h r e a t line in N o . a s s h o w n in the a c c o m p a n y i n g selections. cutting off flight squares or bringing the key p i e c e f r o m a n o u t . composed nearly half a c e n t u r y later. 1856 W h i t e mates in three m o v e s 4 E u g e n e B. 1855 W h i t e mates in f o u r moves 3 The Eugene B. 1858 W h i t e mates in four moves . Cook New Tork Albion October 20. Cook Illustrated London News January 5. 1856 W h i t e self-mates in three moves E u g e n e B. Cook Winona Republican September 3.Chess Problem Gems 12 1 Eugene B. Cook New Tork Albion July 19. Eugene B. Cook The Compositions of E. H. Cook American Chess Nuts December 25. Cook [Dr. 1862 W h i t e mates in three moves W h i t e mates in f o u r moves 8 7 V E u g e n e B. B. Cook Philadelphia Daily Evening Bulletin April 12. Cook 6 E u g e n e B. 1868 W h i t e mates in four moves Eugene B. Keidanz) 1927 W h i t e mates in four moves . 1858 Eugene B. Cook Boston Saturday Evening Gazette September 11. 4 B f 4 R b 4 dis c k .m o v e key in N o . 2 K f 3 . 3 Pc4 dis ck. N o . 4 Se2 dis ck. but as in so m a n y of Cook's lightweight compositions Black has a p a u c i t y of defensive play. 3 1 Bb8. 3 K e 5 a n d 4 Re3-c3. 8 is " o b v i o u s . 3 Q d 2 ck. 4 Q d 6 R x Q . K x Q . 2 Q x S e 3 ck. 3 Q x B . two of them ending in model mates.h i d d e n w a i t i n g . B f 6 . W h e n N o . 2 Be7. 4 Q x P f 6 No. 3 K e 3 . 2 R b 3 . 2 Bh2. S O L U T I O N S No. 4 Bf4 R b 7 dis c k .. PxQ. d b l ck. Gems 14° I n t h e m i n i a t u r e . 3 BxB B x Q . K e i d a n z c o m m e n t e d in The Chess Compositions of E. 6 is followed by further waiting moves on White's third turn. R x S . 3 R c 2 .e 3 . P e 4 . Kc6. S a n y . " t h e c o n t i n u a t i o n s a r e attractive. 5 Se3 No. 2 BxP. t h e k e y to N o . Be2 c k . a n y . 5 Sd4 K f 4 . f o l l o w i n g a g o o d k e y — 1 P a 4 looks m o r e p r o m i s i n g a t first g l a n c e — t h e r e i s a n e c h o o f a f a m i l i a r m a t i n g position.Chess Problem. 3 BxP B f 6 . K e 5 . P x Q . 7 w a s p r i n t e d in American Chess Nuts W h i t e ' s queen's rook was placed on the c3 square. a n y . or 2 Kc5. 2 K e 3 . 4 Rc4. 5 . which allowed a cook by 1 R f 3 . 4 1 K h 2 threat 2 Q g l ( x ) . 3 Sg3(x) ck. Cook. K x B . W h i l e as D r . K x B f 4 . P h 6 . T h e point of the keymove appears w h e n Black plays 1 Kb5. a n y . R x S . 1 1 K e 2 threat 2 B f 4 ck. 3 QxPg7 No. K e 5 . . K f 5 . Be2 c k . T h e w e l l . 4 Sfl dis ck. 2 1 Q h 6 . 3 RxP. 3 Q a l S f 4 . 2 BxP ck. K c 4 . 2 K f 3 . 3 BxB B any. K f 5 . B. 3 Q e 5 Kc5. 3 Bg8. 3 K h 6 . 3 K f 3 . 2 R f 3 . 2 Sc6 ck. 2 Sb8. 4 Se7 No. 8 1 Se5. 2 B f 3 . 4 P d 4 P h 5 . 2 K x P g 6 . K a 5 . K c 4 .Eugene B. K b 5 . 3 Rc8-g8. K x S . K e 4 . a n y . 4 Rc8-c4 P e 4 . 4 Sg6 K f 4 . a n y . P d 2 . 7 1 R c 8 . K x R . P h 5 . 4 R x P h 5 K f 5 . 2 Sd7-e5 dis ck. a n y . 3 K e 7 . P b 6 . 4 Sg6 K h 6 . K x R . 5 1 P a 3 . 3 K f 6 . 2 Q e 5 ck etc. 2 S b 8 etc. 2 BxPe6 dis ck. 3 Rg3-c3. 4 R x P h 5 r 5 . P e 5 . a n y . Cook No. a n y . K d 6 . 4BxP K f 5 . K d 5 . 2 R g 3 .g 4 K d 4 . P x B . 6 1 Pb5. 3 SxP. K f 4 . 4 R g 8 .c 3 etc. 3 Q c 6 K d 5 . K c 7 . No. P g 5 . 3 Sc4 No. 3 SxP. d5. t h e q u e e n sacrifice u n d o u b t edly was Loyd's kernel idea. M . his first p u b l i s h e d p r o b l e m a p p e a r i n g in The New York Saturday Courier on A p r i l 14. 1883) t h a t w a s p u b l i s h e d s o m e t i m e l a t e r . No. as they are today.1 9 1 1 ) w a s a n o u t s t a n d i n g p i o n e e r i n illustrating p r o b l e m themes. d u r i n g which he composed infrequently. W e e n i n k (1892— 1921) t e r m e d C o u n t e r . a n d t h e u n u s u a l settings. In earlier days checking keys.B r i s t o l in his Het Schaakprobleem: Ideen en Scholen (The Chess Problem. i f t h e c o n t i n u a t i o n s w e r e s u f f i c i e n t l y s u b t l e . w h i c h H e n r y T u r t o n h a d s h o w n a f e w m o n t h s p r e v i o u s l y in a p r o b l e m in The Illustrated London News t h a t w a s f o u n d to be u n s o u n d .d o z e n y e a r s . T h e n e x t h a l f . 1856. S a m Loyd. 32 being one o f his l a s t m a j o r p r o d u c t i o n s . b e c a u s e its c l e a r a n c e m o v e is in the opposite direction to t h a t of t h e key piece in t h e 16 . was the pioneer in the i l l u s t r a t i o n o f t h e m e s w h i c h i n s o m e cases b e a r t h e n a m e s o f other problemists. t h e f i r s t s o u n d v e r s i o n o f w h a t i s n o w t e r m e d Turton doubling. w a s his m o s t p r o l i f i c p e r i o d . 9 . He composed the first example of w h a t c a m e t o b e k n o w n a s t h e Plachutta interference. b u t the quiet continuations after 1 Kh3 and 1 K f 3 are excellent.Samuel Loyd SAMUEL LOYD ( 1 8 4 1 . H e b e g a n c o m p o s i n g w h e n o n l y f o u r t e e n . spect a c u l a r keys a n d s u b t l e c o n t i n u a t i o n s o f s o m a n y o f his c o m positions gave h i m worldwide f a m e a n d m a d e h i m one of t h e m o s t u n i v e r s a l l y f a v o r i t e c o m p o s e r s i n chess p r o b l e m h i s t o r y . w e r e n o t c o n sidered objectionable. 1 0 i s a n e a r l y e x a m p l e o f w h a t H . p a g e 178). d u r i n g w h i c h m a n y o f his m o s t n o t a b l e p r o b l e m s w e r e p u b l i s h e d . as he is popularly known. I n c o m p o s i n g the f a m o u s N o . 1855. after which he composed only occasionally. H e also p u b l i s h e d i n O c t o b e r . n a m e d a f t e r a p r o b l e m b y J o s e p h P l a c h u t t a (d. T h e n a f t e r a c o m p a r a t i v e lull f o r a c o u p l e o f d e c a d e s . he again became active in the p r o b l e m field for a short t i m e in t h e latter eighteen-seventies. G . N o . 1858 W h i t e mates in three moves W h i t e mates in three moves 11 12 Samuel Loyd Philadelphia Evening Bulletin 1858 W h i t e mates in three moves Samuel Loyd Chess Monthly April.Samuel Loyd 27 10 Samuel Loyd First Prize Chess Monthly 1857 Samuel Loyd Cincinnati Dispatch September 5. 1859 W h i t e mates in three moves . S u c h p a i r s o f s q u a r e s w e r e t e r m e d foci b y t h e c o m p o s e r B a r o n W a l t h e r v o n H o l z h a u s e n ( 1 8 7 6 . a n d t h e b l a c k r o o k p r o t e c t s a 8 a n d e3.m o v e setting.l i n e a f f a i r in w h i c h Black is f o r c e d to c o m m i t suicide.14° Chess Problem.m o v e r i n N o . T h e w a i t i n g .1 9 3 5 ) in a b o o k l e t e n t i t l e d Brennpunktprobleme. w a s first s h o w n b y L o y d w h e n h e w a s s i x t e e n a n d w a s a n o t h e r o f his p i o n e e r achievements.m o v e t h e m e . d o u b l e d . P r o b l e m N o . S o L o y d l a t e r l o p p e d off t h e u n t h e m a t i c f i r s t m o v e a n d p r e s e n t e d i t a s a t w o . T h e publication of No. 1 4 t h e w h i t e k i n g steps o n t o a s q u a r e w h e r e h e i s s u b j e c t to a discovered check. 10 actually a n t e d a t e d that of Healey's p r o b l e m by over two years.1 8 9 0 ) p u b l i s h e d in The Illustrated London News in 1850. L o y d showed it first in a t h r e e . I n N o . T h e b l a c k q u e e n g u a r d s b 6 a n d h i . 12.m o v e p r o b l e m N o ." because of the a r r a n g e m e n t of the bishops a n d the rooks. is a o n e . C o m p a r e this w i t h p r o b l e m N o . A n y m o v e of the d e f e n d i n g black piece takes the g u a r d off o f o n e o r t h e o t h e r o f t h e s e f o c a l s q u a r e s . If the rook moves along the r a n k a n d opens t h e a-file White mates by 2 Q a 8 . in w h a t is k n o w n as the English Transition Period. I n N o . Stanley. t h a t w a s p u b l i s h e d in The Illustrated London News on O c t o b e r 6. 11 is initially a b e a u t i f u l e x a m p l e of a m b u s h i n g . w h e r e o n l y t h e k i n g a n d r o o k s a r e t h e w h i t e p r o t a g o n i s t s . In problem No. 1 1 i f t h e black q u e e n moves u p the f i l e a n d clears the f i r s t rank. w h i c h g a v e t h e n a m e of t h e Bristol theme to that type of clearance. if the rook moves along the file W h i t e m a t e s b y 2 S x P e 3 . It was d u b b e d by a G e r m a n c o m m e n t a t o r the " O r g a n Pipes. b u t it is essentially a t w o . A s W e e n i n k states. f i r s t p u b l i s h e d i n 1908 a n d t h e n a g a i n i n 1926 i n a n e n l a r g e d edition. Gems f a m o u s first p r i z e w i n n e r b y F r a n k H e a l e y ( 1 8 2 8 . H e r e again Loyd was the pioneer in illustrating a theme. of t h e Brighton Chess C l u b . i f she m o v e s a l o n g t h e r a n k W h i t e m a t e s b y 2 S x P b 6 . 13. 15 a duel between the black rook a n d the . T h e q u a d r u p l i n g o f t h e Grimshaw interference. t h e m u t u a l i n terference between a black rook a n d a black bishop. W h i t e m a t e s b y 2 Q h l . the w h i t e q u e e n a m b u s h i n g herself b e h i n d t w o b l a c k pieces. 1849. A f t e r t h e k e y m o v e t h e p r o b l e m illust r a t e s focal action.1 9 0 6 ) i n t h e Bristol t o u r n e y of 1861. 32 in which the white king submits himself to a double check. n a m e d after its i l l u s t r a t i o n i n a p r o b l e m b y W a l t e r G r i m s h a w ( 1 8 3 2 . this t h e m e w a s f i r s t s h o w n in a p r o b l e m by C. 1859 Frere's W h i t e mates in three moves 16 Samuel Loyd Chess Monthly April. 1859 W h i t e mates in three moves W h i t e mates in three moves 27 .Samuel 13 Loyd 14 Samuel Loyd V Boston Globe 1859 W h i t e mates in t w o moves 15 Samuel Loyd Problem Tournament Frank Leslie's February 12. 1859 Samuel Loyd V Lynn News July 6. w i t h . H e a t o n c e s e l e c t e d t h e Q u e e n ' s K n i g h t ' s P a w n a s t h e most i m p r o b a b l e piece. because Black is r e q u i r e d to m a k e s u c h u n e x p e c t e d m o v e s t o d e f e a t t h e series o f t h r e a t s a n d so b r i n g a b o u t the m a i n p l a y . A c c o r d i n g to L o y d " i t was composed in a spirit of fun and is a joke from beginning to end.14° Chess Problem. following the t h e m a t i c decoy of one or the other rook to the f2 square to capture the white queen. " Of course the n a m e of the t h e m e was suggested by Longfellow's famous poem. so as to tell w h i c h p i e c e t h e p r i n c i p a l m a t e w a s a c c o m p l i s h e d w i t h . A beautiful feature of the problem is the symmetrical play of the W h i t e k n i g h t s i n t h e t w o t h e m a t i c lines. where on t h e s e c o n d o r o n t h e m a t i n g m o v e W h i t e chooses a q u e e n i n f o u r lines o f p l a y a n d a k n i g h t i n f o u r lines. the idea h a d a l r e a d y b e e n shown b y R o b e r t B. Gems t w o w h i t e ones. w i t h w a i t i n g . " W o r m a l d c l a i m s a K n i g h t . He used to wager that he could analyse any position. No.m o v e p l a y a n d a n o n e t o o a p p a r e n t key. 19 is a s p a r k l i n g e x a m p l e . of w h i c h N o . 18 is the famous "Excelsior P r o b l e m . 17 the bishop on h5 interferes with each of the black rooks in t u r n . No. In No. In The Theory of Pawn Promotion A l a i n White comments: " L o y d has here shown w h a t is to me the most . S o I o f f e r e d t o m a k e a p r o b l e m . " one of Loyd's most fantastic compositions. is shown in a m i n i a t u r e setting. 18. t h e p r o b l e m i s t . W o r m a l d (1834-1876) a couple of years earlier." He m a d e the problem i n 1858 a t t h e M o r p h y C h e s s R o o m s a n d d e s c r i b e d h o w i t c a m e to be composed in a letter to Alain W h i t e stating: " I t was q u i t e a n i m p r o m p t u t o c a t c h old D e n n i s J u l i e n . with an extraordinary m a i n p l a y in w h i c h B l a c k ' s series o f d e f e n d i n g m o v e s l e a d s t o a s u r p r i s i n g d e n o u e m e n t . w h i c h h e w a s t o a n a l y s e a n d tell w h i c h p i e c e d i d n o t give t h e m a t e . L o y d ' s p r o b l e m r e m a i n s t o this d a y t h e m o s t surprising r e n d e r i n g of the t h e m e . L o y d d e l i g h t e d i n c o m p o s i n g p r o b l e m s w i t h t h e m o s t s e e m i n g l y u n l i k e l y keys. w h i c h is p e r h a p s e v e n m o r e of a t r i c k . T h e i m m e d i a t e p r o m o t i o n o f t h e p a w n o n t h e e-file w o u l d s e e m a m u c h m o r e likely k e y t h a n t h e a d v a n c e o f t h e r o o k ' s p a w n . 16 is an interesting study in p a w n promotions. a s i t r e q u i r e s t h e p r e s e n c e o f t h e B l a c k K i n g a t closer r a n g e . b u t it is also m o r e e v i d e n t . b u t t h e s o l u t i o n will s h o w y o u w h i c h o f u s p a i d f o r t h e d i n n e r . If Black h a d to m o v e first t h e r e w o u l d b e a m a t e i n o n e o r i n t w o m o v e s . A s j u s t s h o w n i n N o . " A s W h i t e relates. 1861 W h i t e mates in three moves W h i t e mates in five moves 19 20 Samuel Loyd La Strategic June 15. 1859 Samuel Loyd London Era January 13.27 Samuel Loyd 17 18 Samuel Loyd V Cincinnati Gazette November 24. 1867 Samuel Loyd Second Prize Set Paris Tourney 1867 W h i t e mates in three moves W h i t e mates in three moves . 21 w o n high praise f r o m E u r o p e a n problemists a n d b e c a m e one o f his m o s t f a m o u s p r o b l e m s . L o y d w a s f o n d o f l o n g .14° Chess Problem. T h e k e y c h a n g e s W h i t e ' s s e c o n d . T h e P a w n a p p a r e n t l y b o t t l e s itself u p . N o . If Black h a d to m o v e first W h i t e would be able to m a t e in two moves following any m o v e of the bishop. p r o b l e m s being e n t e r e d o n a n i n d i v i d u a l basis i n m o s t m o d e r n t o u r n e y s . T h e m i n i a t u r e N o . enc o u r a g i n g high average excellence. " T h i s p r a c t i c e h a s long since b e e n generally a b a n d o n e d . after 1 P g 3 a n d also a f t e r 1 P h 6 . 25. a s i n N o . T h i s s y s t e m o f t o u r n e y c o m p e t i t i o n h a d its g o o d side i n t h a t i t m a d e composers enter a n u m b e r of p r o b l e m s of different lengths. K h 7 . losing all o p p o r t u n i t y t o m o v e . " U n l e s s a solver h a s t h o r o u g h l y a n a l y z e d t h e p o s i t i o n . 3 P f 8 ( S !). i n e a c h o f t h e t h r e e s u c c e e d i n g lines o f p l a y W h i t e ' s s e c o n d m o v e m u s t also b e t h e p r o m o t i o n o f t h e queen's p a w n to a knight. T h e m o s t i n t e r e s t i n g c o n t i n u a t i o n follows 1 Bf3. other t h a n to f6. apparently putting the king's bishop out of play a n d allowing an i m m e d i a t e discovered check. 2 S g 6 ck. Gems u n e x p e c t e d p r o m o t i o n key i n t h e w h o l e b o o k . to be followed by a second c h e c k — w o u l d seem to be the most preposterous sesame to lead to a solution in four moves. especially w h e r e t h e y s e e m a i m l e s s . t h e k e y of No. b u t the graceful setting has other points of interest. w h e n L o y d w a s a b r o a d i n 1869. 22 is an a m u s i n g example of Loyd's ingenuity. But the best individual p r o b l e m s o f t e n s u f f e r e d . Unquestionably it ranks as one of the most u n u s u a l keys e v e r c o n c e i v e d . C o m p o s e d i n D r e s d e n .r a n g e k e y m o v e s . N o . w h i c h sets u p a masked battery. 2 0 " f o r m e d o n e o f a t o u r n e y set. 20—disrupting the rook-bishop battery. a n d f i n e sets w e r e o f t e n d i s q u a l i f i e d b e c a u s e o f t h e u n s o u n d n e s s o f a single m e m b e r . I n N o .m o v e continuations after such moves by Black. T h e s o l u t i o n o f this p r o b l e m i s m o s t . N o . Following the p r o m o t i o n of the king's p a w n to a k n i g h t a s t h e k e y m o v e . 23 is n o t a b l e f o r its fine k e y in so l i g h t a s e t t i n g . T h e whole setting is m a s t e r l y . 2 4 a n o t h e r w i t h d r a w a l k e y m o v e . Q u o t i n g W e e n i n k . I t s b a s i c i d e a i s t h e s t r a t e g i c d u e l between the white queen and the black bishop. since at first glance there w o u l d seem to be m o r e effective moves for the q u e e n . leads to the pinning of the black knight if the black king moves. 1869 Samuel Loyd Boston Globe August 16. 1876 W h i t e mates in three moves W h i t e mates in three moves 23 24 Samuel Loyd Detroit Free Press 1877 W h i t e mates in three moves Samuel Loyd Centennial Problem Tourney New York Clipper 1877 W h i t e mates in three moves .Samuel Loyd 21 27 22 Samuel Loyd Leipziger Illustrirte Zeitung October 23. Again in No." T h e idea. w h e n Black m a k e s a correspondingly long m o v e in the opposite direction. t h e p r o b l e m " w a s p u r posely posed t o b e puzzling. L o y d ' s skill i n c o m p o s i n g p r o b l e m s w i t h a m i n i m a l n u m b e r o f m e n i s s h o w n i n t h e m a n e u v e r i n g o f t h e pieces i n t h e d a i n t y No. a s w a s his f r e q u e n t l y q u o t e d N o .KxP. 29. I t i s a w a i t i n g . 26 Loyd employs an astonishing key t h a t seemi n g l y locks u p t h e w h i t e q u e e n .24 Chess Problem Gems o b s c u r e . 28. a t e r m a p p l i e d to a m o v e t h a t is n o t a c h e c k or a capture. was not original w i t h L o y d since B. G. It is u n f o r t u n a t e t h a t t h e rook on b5 is r e q u i r e d only w h e n Black plays 1 KxS and 2 . w h e n the rook is needed on gl to support the knight's p a w n after 2 Sf2. i .. a Bristol-type clearance move. a n d I d o n o t t h i n k L o y d ' s p r o b l e m w o u l d prove nearly as difficult to-day as w h e n it was composed. P x S .a . A s A l a i n W h i t e e x p l a i n s in Sam Loyd and his Chess Problems. s o a s t o e n t i c e p l a y e r s (to w h o m t h e k e y w o u l d b e e v e n m o r e i m p r o b a b l e t h a n t o solvers) t o t r y i t . a n d t h e extra m e n p u t o n t h e b o a r d w e r e i n t e n d e d t o m a k e t h e p o s i t i o n m o r e like o n e i n a c t u a l p l a y . " W h i t e also r e m a r k s : " T h e long key m o v e required to give the m a t e . T h e only second checking move is w h e n Black plays 1 KxB. t h r e e y e a r s a f t e r t h e p u b l i c a t i o n o f N o . 27.m o v e c o m p o s i tion a n d the most spectacular continuation is where t h e black king captures the knight. Laws (1861-1931) h a d already shown the theme in an orthogonal setting a n d conventional form in a p r o b l e m published in 1885. has bec o m e f a m i l i a r t o solvers n o w . " apparently with reference to the Indian's w a r p a t h t a c t i c o f a m b u s h i n g his e n e m y . 30. since i n t h e t h r e a t l i n e b o t h W h i t e ' s s e c o n d a n d t h i r d m o v e s a r e quiet o n e s .d a y s . w h i c h h e d u b b e d " T h e American I n d i a n . when White again moves the rook in the reverse direction to a l . I n 1892. however. W h i l e in his Chess Strategy L o y d stressed t h e i m p o r t a n c e of w h a t he termed "neatness of position. 28. c o m p o s e d f o r a m e e t i n g o f t h e N e w Y o r k S t a t e Chess A s s o c i a t i o n ." he enjoyed creating an o c c a s i o n a l e x t r a v a g a n z a s u c h a s N o . 3 Pg4. w i t h its a t t r a c t i v e w i t h d r a w a l key. T h e point of the keymove a p p e a r s w h e r e Black plays 1 Kf5. L o y d also s h o w e d t h e t h e m e i n a n o r t h o g o n a l s e t t i n g i n N o . Samuel Loyd 25 25 26 Samuel Loyd First Prize Set American Chess and Problem Association 1878 W h i t e mates in f o u r moves V Samuel Loyd Holyoke Transcript 1878 W h i t e mates in three moves 27 Samuel Loyd Milwaukee Telegram circa 1885 W h i t e mates in f o u r moves Samuel Loyd New York Sunday Herald 1889 W h i t e mates in t w o moves . " w a s s u g g e s t e d b y t h e d i s t i n c tive m o v e i n t h a t chess o p e n i n g . H e c o u l d see a t a g l a n c e w h a t o t h e r p e o p l e c o u l d see. . " T h e S t e i n i t z G a m b i t . . I n 1855 C o o k p u b l i s h e d a f o u r . H e c o u l d see a n i d e a f r o m m a n y sides a t o n c e . c o m b i n e d with black self-pinning moves in two variations. w h e r e t h e w h i t e k i n g m a k e s a k e y m o v e t h a t permits Black to give a d o u b l e check.14° Chess Problem. Y e t his p o w e r s f o r r a p i d a n a l y s i s w e r e a l m o s t u n r i v a l l e d . 31 is typical of m a n y of the two-movers of the era in w h i c h i t w a s c o m p o s e d . finally f r o m the artistic a s p e c t . in his Memories of my Chess-Board. A l a i n W h i t e wrote: " S a m Loyd has n o w been a n a m e to conjure with f o r w e l l u p w a r d of fifty y e a r s . Ideas c a m e to h i m with great fecundity. f i r s t a l w a y s f r o m the point of view of a puzzle." T h e m o t t o u n d e r w h i c h L o y d e n t e r e d N o . 32. a n d t h e p r o b l e m h a s c o m e t o b e u n i v e r s a l l y k n o w n b y t h a t m o t t o . often too rapidly for h i m to analyze t h e m completely. A g a i n q u o t i n g A l a i n W h i t e : " F e w e v e n t s d u r i n g t h e last t e n y e a r s o f L o y d ' s life g a v e h i m a s m u c h p l e a s u r e a s his w i n n i n g t h e first p r i z e i n t h e N o v e l t y T o u r n e y o f t h e little C a n a d i a n m a g a z i n e Checkmate. N o . It was r a t h e r an infinite capacity of concentration. He w a s t h e first r e a l c o m poser I k n e w . a n d he remains the greatest I have ever k n o w n . b u t in the initial position of Cook's p r o b l e m the white king w o u l d be t h r e a t e n e d b y a series o f c h e c k s w e r e B l a c k t o h a v e t h e f i r s t m o v e . v e r y slowly. 5 K e 2 . " . " T h e n in Sam Loyd and his Chess Problems W h i t e s t a t e d : " T h e fates h a d given h i m in large m e a s u r e the e n d o w m e n t of genius. 3 2 t h e k i n g m o v e s f r o m a safe p o s i t i o n i n t o a p p a r e n t peril. then f r o m the h u m o r o u s standpoint. Gems No. o r a t l e a s t c o u l d b e m a d e t o see. H i s g e n i u s w a s n o t t h e p r o verbial infinite capacity for t a k i n g pains. I n N o . I t d o e s n o t h a v e a n y specific t h e m e o t h e r t h a n a variety of battery mates. A h a l f c e n t u r y a g o . 1.m o v e r . . 1892 Samuel Loyd New York State Chess Association February 22.Samuel Loyd 29 27 30 Samuel Loyd New York State Chess Association February 22. 1892 W h i t e mates in t w o moves W h i t e mates in t w o moves 32 31 New Samuel Loyd York Commercial Advertiser 1897 W h i t e mates in three moves Samuel Loyd First Prize Novelty Tourney Checkmate 1903 W h i t e mates in three moves . any. K b 5 . 10 1 Ba8 threat 2 Q b 7 a n d 3 Q h l S any. Be7. Re5.14° Chess Problem. 5 K x B N o . 2 Sh2 threat 3 R h 8 SP any. Bc5. 3 SxR Rc2. 2 2 2 2 2 2 QxPb4 Sf5 QxRe5 Qe5 Qd5 Qal No. K e l . Re6. 2 SxPb6 Q b 2 . 2 Sc3. 3 Q f 4 R else. 3 S f 2 K h 3 . 13 1 Q a 5 waiting Bd7. 3 Q h 8 K f 3 .Re7. Pg2. b5. any. 9 1 Sg4 dis ck. P a 4 . 2 Q h l 1 . Gems S O L U T I O N S No. P x Q . 2 Qb6(x). 3 Q x R K b 5 dis ck. 2 Q e 5 Bb7. 3 Q b 8 R d 5 . K x P dis ck. 2 Sf5(x) R d 7 . 11 1 Q a l waiting Q x Q . 14 1 K c 2 . 3 Q g l Pf4. 2 Qg6. 3 Q g l K f l . 2 Sb2 ck. 3 Q d 3 K f l . Bd6. 2 Qc2. 2 Ra8.f 2 . 2 Q h 2 ck. 2 SxPe3 Rb3. K d 4 . 2 QxPb4 Rd5. R c 3 c k . 2 K d 2 . c l . 2 Q a 8 No. 2 Q d 5 Be6. 2 Sb2 ck. 3 R a l N o . 3 Q f 2 No. 4 K e l . 3 Q b 8 . 3 R a l . any. BxR c k . f 5 .. 2 Q x R 1. P a 3 . K c 4 . 2 Q x P ck. 12 1 R a 2 . 2 K b 3 . d3.. 3 Q f 4 K else. K h l .R x Q . 2 Sf5 Rd6. P a 2 . 2 Sa3 threat 3 Sb5 Be2. 5 P x S ( Q ) R c 6 . 3 PxS(S) Pd6. 2 R f 5 . 3 QxQ. 3 K x Q PxB dis ck. 3 Sc4xPa5 S d 8 . P a 2 . P x P . Sc5. 2 P a 8 ( S ) . 3 Sc2 B f 3 or S f 3 . 5 R d l Bg5. 18 1 P b 4 threats 2 R d 5 a n d 2 R f 5 R c 5 ck. 4 B x Q Q x B ck. 2 Pb7. a n y . 16 1 Pa7. Q c 6 . R c 5 c k . 2 Sa3 N o . 3 Q c 8 ck . 4 PxP. R h 3 . K c 7 . 2 Se7 threat 3 Sc6 Bf3. 2 Qe8. B f 4 . 2 P a 8 ( Q ) ck. a n y . 4 P x R . d 5 . a n y . 3 K x R . R h 6 c k . 2 P e 8 ( Q ) ck. K x R . 2 P x R . 3 RxB. 3 R h 3 N o .Samuel Loyd 29 N o . 17 1 Q f 2 threat 2 Q x R f 4 R f 4 x Q . Bc7. Q e 6 . 2 Rg2. 3 Pa8(S) N o . 4 SxB. 3 R h 2 ( x ) R g 2 . 3 P x S Pd6. R h l . 2 P b 8 ( Q ) ck. Q x Q . 3 Q c 8 Q c 5 . 2 Be2. 2 R d 5 . 2 Kg6 N o . 15 1 R g 5 . K f 7 . 3 Pc6. 3 Sf5 R d 2 x Q . 3 Pe8(S) Sb7. 19 1 Pa8(B) K f 8 . 3 Bd5 Ke8. 2 R x P h 5 ck. 3 Q c 8 S d 6 . K c 7 . 3 R x P R else. Q x B . Bg5 ck. 2 Ke6 Kg8. 20 1 BxP threat 2 BxP threat 3 Q c 8 ck. K c 7 . 3 S b 3 x P S d 6 . a 2 . 5 R f l N o . 2 P a 8 ( Q ) ck. Q c 2 . d5. 3 P e 8 ( Q ) Sc5. 2 QxP Ka4. Gems N o . S any. 2 Q b l threat Q h 7 Pg6. K f 8 . a 4 . a n y . K a 2 . P x S . h 5 . S g l . b 3 . 2 R c 2 . S h 3 . 2 Pd8(S). 2 K g 3 .14° Chess Problem. 3 Q h 5 N o . d 4 . 22 1 Pe8(S) ck. 3 Q x B Bb2. 4 R e l Sf3.. S a n y . f 6 . 2 Rg7 S moves. K x S . 3 Rcl . 3 R x S Sc3. 2 Be3 1 . 3 Q h 5 P x R ( S ) . 3 Sg6 K h 6 . 2 SxP. 2 Bd8 K h 6 . 2 Bd8 or Be3 N o . 3 Q a 3 ck N o . 2 Q x P ck Bf3. Sgl c k . 2 Q g 8 No. 23 1 Q g 3 threat 2 Q g 8 threat 3 Q a 8 Ka6. K f 5 . 2 Q d 3 Be5. 3 KxS Se2 ck. 3 S x P K x S . 4 R x P else. 24 1 Q a 6 waiting K f 6 . 2 Q b l Bc3. b2.K g 4 . 2 Sd3-c5 ck. PxS. K x P . 2 Sb4-c2 ck. 26 1 R g l waiting KxS. 3 Sd8-f7 KxSh8. 25 1 Q f 8 threat 2 SxP threat 3 SxP. 4 Q b 4 K c 4 . 27 1 R d 2 . 2 R a l . 3 Sf7 N o . 3 Q h 3 N o . Ph6. 3 Q c 5 ck K x B . 2 S f 2 . 3 Q f l K else. 3 R x S Sdl. e 2 . 21 1 Q f l . Sa2. 3 Q b l KxP. 2 Pd8(S). 3 R e 2 . K e 4 . 2 Sg6 ck. 3 Pg4 PxR(S). 2 Q f 5 P g 3 . 2 Qc3 Bb3. 3 Q d l K f 5 . 2 Pd8(S). Samuel Loyd 29 N o . P f l ( Q ) dbl c k . 3 B or R captures the checking piece P f l ( S ) dis ck. 2 SxS SxR. P e 5 . 2 B x Q 31 N o . 2 Sd3 N o . 2 Rf6 SxB or P x B . R f 4 dis ck.S x S ck. B or R checks. 2 R f 2 dis ck. 29 1 R a 6 threat 2 Q f l RxB. 2 Q x S K e 5 . 2 Bd3 ck. K d 4 .. K x S . 2 Kg5 K x S . 2 R f 7 dis ck . 2 K e 3 .2 RxR KxB. 3 Bd3 or P d 3 K d 4 . 2 Q d 4 K else. 31 1 Q h 7 waiting S x Q . 32 1 K e 2 . Q. 2 Bg5 N o . 3 SxB K x S . 2 Sd3 1 . 30 1 Q a l threat 2 Q e l Ke4. 2 K e 3 R e 7 . 2 R g 2 N o . 2 KxS Se7 c k . 28 1 B f 8 threat 2 Q a l BxR. 3 R f 4 Scl ck. It was not until the era of the G o o d C o m p a n i o n Chess Probl e m C l u b . On the other h a n d . B r o w n s o n ' s Dubuque Chess Journal. f o u r a n d f i v e . T h e G o o d C o m p a n i o n s m a d e a sort of p a t r o n saint of h i m a n d . t e r m e d t w o m o v e r s w i t h a t o t a l o f t w e l v e o r less m e n M e r e d i t h s a n d c o n d u c t e d special tourneys for such problems. O r e s t e s A.William Meredith WILLIAM MEREDITH ( 1 8 3 5 . one of them being a mirror model. . T h e r e is little.1 9 0 3 ) . 34 there is small variety in the play. b u t the key is obscure a n d t h e g u a r d i n g of t h e e5 a n d g5 squares in the m a t i n g positions in two different ways in the t w o m a j o r lines h a s a p l e a s i n g e c h o i n g e f f e c t . b u t there are echoed model mates in two of the three variations. a s s h o w n i n t h e a c c o m p a n y i n g selections. h e c o m p o s e d n o t a b l e t h r e e . N o . At the time No. H e d i d n o t b e c o m e p r o m i n e n t a s a c o m p o s e r d u r i n g his lifet i m e . because of t h e e c o n o m y w i t h w h i c h s o m a n y o f his p r o b l e m s w e r e c o n s t r u c t e d . 3 3 i s s u p p o s e d t o h a v e b e e n t h e first p r o b l e m b y M e r e d i t h p u b l i s h e d in t h e Dubuque Chess Journal. y e a r s a f t e r M e r e d i t h ' s d e a t h . a l t h o u g h b o r n s o m e y e a r s before Loyd a n d Carpenter. b e c a u s e o f E n g l i s h i n f l u e n c e s . apparently did not begin to comp o s e u n t i l his m i d d l e t w e n t i e s . While Meredith's reputation has been based largely on the e x c e l l e n c e o f his t w o . 1870.m o v e p r o b l e m s . the n u m e r o u s dual mates which 32 . v a r i e t y in t h e play. t o p u r e m a t e s a n d all t h e m a t e s i n this p r o b l e m w h e n B l a c k m a k e s e f f e c t i v e d e f e n s i v e m o v e s a r e pure. his first p u b l i s h e d p r o b l e m o f w h i c h t h e r e i s a n y r e c o r d a p p e a r i n g i n t h e O c t o b e r 7 . t h a t his o u t s t a n d i n g ability b e c a m e fully recognized. p r i m a r i l y b e c a u s e a m a j o r i t y o f h i s t o t a l o f less t h a n t w o h u n d r e d p r o b l e m s w e r e c o n t r i b u t e d t o a single p u b l i c a t i o n .m o v e r s . Again in No. issue of The Philadelphia Evening Bulletin. 35 appeared m u c h attention was being paid. William 33 Meredith 34 William Meredith Dubuque Chess Journal August. 1871 William Meredith Fifth Prize. Fourth Tourney Dubuque Chess Journal January. 1872 W h i t e mates in four moves W h i t e mates in three moves 35 36 William Meredith Dubuque Chess Journal August. 1875 W h i t e mates in t w o moves W h i t e mates in three moves 37 . 1873 William Meredith Maryland Chess Review March. 1885 W h i t e self-mates in three moves William Meredith Westminster Papers July. 1877 W h i t e mates in three moves 40 William Meredith Dubuque Chess Journal November.12 Chess Problem Gems 37 38 William Meredith V Westminster Papers June. 1877 W h i t e mates in four moves 39 William Meredith Brooklyn Chess Chronicle August 15. 1886 W h i t e mates in four moves . 4 0 i s r e m a r k a b l e s t r a t e g i c a l l y b e c a u s e o f its sixfold e f f e c t . t h e surprising withdrawal keymove. " T h e p r o b l e m is a complete block with two a d d e d m a t e s m a d e possible b y the startling keymove. g u a r d s e7 a n d f8 if the king makes the capture a n d then prevents the black queen from capturing the checking bishop. T h e k e y o f N o . adds to the c h a r m of the p r o b l e m . It should be n o t e d t h a t the initial position is a c o m plete block. in which the white king submits to a check by the prom o t i o n of a black p a w n to a knight. A n o t h e r striking w i t h d r a w a l key. differs f r o m a G r i m s h a w interference in that in the N o w o t n y a white m a n moves onto the square where the potential moves of a black rook and a black bishop intersect. P r i m a r i l y i t h a s t h e t w o f o l d e f f e c t o f i n d u c i n g a Nowotny interference b e t w e e n t h e b l a c k r o o k a n d b i s h o p a n d a t the same time it vacates the f4 square to allow the knight to m o v e there to mate. 37. B e 6 ck. I n N o . a s i n N o . although English composers went to great lengths to avoid a n y such dual mates. p r e v e n t i n g Sc4. being a n u n i q u e conception. 3 6 i t m a y p r o v e s o m e w h a t p u z z l i n g t o t h e solver t o discover the zigzag route the white bishop must take to t h r e a t e n mate from the d6 square. a w i t h d r a w a l k e y l e a d s t o t h e f o r m a t i o n o f a b a t t e r y . .1 8 7 1 ) . T h e k e y m o v e o f N o . O t t o W u r z b u r g n o t e d t h a t " T h e r e a r e n o less t h a n t w e n t y . W h i t e c o u l d c o n t i n u e w i t h S d 7 . A N o w o t n y interference. P r o b l e m 37 is a highly strategic composition. Se5 ! I n N o . K f 3 . 4 0 also y i e l d s a flight c a p t u r e to the black king. If Black h a d to m o v e first a n d played Pc4.William Meredith 35 follow indifferent black moves a p p a r e n t l y did not disturb Meredith. . T h i s is p r o b a b l y a r e c o r d seld o m a p p r o a c h e d . K g 4 . to m e e t B l a c k ' s 1 Pe4. 41. characteristic of so m a n y of M e r e d i t h ' s compositions. 39 a notable miniature. . 38. I n c o m m e n t i n g u p o n N o . Whichever black piece captures the obstructing w h i t e m a n interferes with the m o v e m e n t o f t h e o t h e r b l a c k p i e c e . despite the lack of any variety in the play. n a m e d from a p r o b l e m p u b l i s h e d i n 1854 b y A n t o n N o w o t n y ( 1 8 2 9 . leading to the formation of the knightbishop battery. .s i x ' t r i e s ' t h a t a r e d e f e a t e d e a c h by o n l y o n e m o v e of B l a c k . T h e s e c o n d a r y line of play. i n this c a s e a c o m b i n e d d i r e c t a n d i n d i r e c t o n e . makes No. 1886 William Meredith Dubuque Chess Journal March. 1887 William Meredith Dubuque Chess Journal August. 1887 W h i t e mates in t w o moves W h i t e mates in three moves .Chess Problem Gems 36 41 42 William Meredith Dubuque Chess Journal December. 1887 W h i t e mates in t w o moves W h i t e mates in five moves 43 44 William Meredith Dubuque Chess Journal April. Ninth Tourney Dubuque Chess Journal December. 1889 W h i t e mates in three moves W h i t e mates in t w o moves 47 William Meredith First Prize.William 45 Meredith 46 William Meredith Dubuque Chess Journal August. 1890 W h i t e mates in three moves 37 . 1888 William Meredith Dubuque Chess Journal August. 1889 W h i t e mates in t w o m o v e s 48 William Meredith Dubuque Chess Journal June. 47—reproduced as the ninth problem in A Century of Two-Movers. Gems Still a n o t h e r l o n g w i t h d r a w a l k e y m o v e . each in turn. a d d s t o t h e a t t r a c t i v e n e s s o f t h e p r o b l e m a n d h e l p s t o offset t h e d e m e r i t of the short threat. T h e d u a l m a t e s f o l l o w i n g i n d i f f e r e n t moves of the black q u e e n are too insignificant to affect the beauty of the problem. I n N o . m a k e anticritical moves." . leading to p i n . c o m b i n e s in its t w o t h e m a t i c lines a Turton doubling a n d Herlin pericritical play. 45 is an e x a m p l e . 48. a s w e e p i n g m o v e o f t h e q u e e n f r o m t h e t o p t o t h e b o t t o m of a file. T h e mating threat is not too a p p a r e n t at first glance. 43 permits the queen to g u a r d the c3 a n d c4 squares so as to allow t h e t h r e a t m a t e . o p e n i n g w i t h a n o t h e r l o n g . 42 to a surprising d e n o u e m e n t — a model m a t e by a pawn. 2 Se6. 4 5 t h e w h i t e r o o k a n d w h i t e bishop. If Black captures the w h i t e p a w n t h e ensuing m a t i n g positions are m o d e l mates.m a t e s following either m o v e of the black king. T h e prize-winning No. u n d e r his p s e u d o n y m " T h e Anonymous Composer of Lille. 2 Q e 3 . t h e l a t t e r b e i n g a m a n e u v e r n a m e d f r o m a p r o b l e m p u b l i s h e d i n 1845 b y T h . after her p a t h has been cleared by t h e r e m o v a l o f t h e w h i t e a n d b l a c k p a w n s . H e r l i n . of such strategic play. o f w h i c h M e r e d i t h was so fond. 44 the white q u e e n sweeps across the r a n k for the k e y m o v e a n d t h e n d o w n the d i a g o n a l t o the bishop's square to mate. O n c e again a brilliant long w i t h d r a w a l keymove in N o . t h e first v o l u m e in t h e series of p r o b lem books printed at F r a n k Altschul's private O v e r b r o o k Press—probably became Meredith's most widely k n o w n twomover. N o . 4 6 t h e solver a g a i n will e n c o u n t e r M e r e d i t h ' s f a v o r i t e t y p e o f key. w i t h d r a w a l s a c r o s s t h e c r i t i c a l s q u a r e w h e r e t h e lines o f m o v e m e n t o f t h e two pieces intersect.14° Chess Problem.r a n g e k e y m o v e . T h e v a r i a t i o n following Black's defense by 1 Q h 4 . leads in N o . with a m i n i m a l w h i t e force. N o . I n t h e t w o t h e m a t i c lines i n N o . In the thematic m a i n p l a y of No. in which the white queen first c h e c k s b y 2 Q e 3 a n d t h e n goes o n t o m a t e b y 3 Q a 3 . K x S . 3 SxB ck. 2 Q h 8 35 . 2 Sb3 K x S . 3 KxB. 2 Sd2 ck.. 4 BxS N o . 3 Sc6 dis ck. K e 5 .g4 ck. K x R . a n y . 4 Se5 P c 2 .2 Pb4 N o . 4 Q h 3 else. a n y . a n y . P c 4 . K e l . 38 1 Q d 6 . 3 P f 4 ck. 4 P b 5 K x P . P e 4 . K g 4 . 40 1 Q b 4 threats 2 Se7 a n d S f 4 BxQ. 4 Bd6 N o . N o . 2 Sd2 etc.. 2 Q. 4 R f 7 Ke4.. 33 1 R d 7 threat 2 Sd2 ck. 2 Sc2(x) K x S . K a n y . 4 P b 5 Ka8. 3 Sg2 Sc3. K e 5 . 37 1 Bb7. 39 1 Q c 8 . 3 Q c 4 K f l . Sd5. 4 Rd4 K e 5 . 2 S f 5 S a l a n y . K f 5 . 2 Bc5 S d 3 else. 3 BxS. 2 Se7 QxQ. KxS.g4 threat 2 Se6 QxQ. 3 Bc8. 2 Pb5. 3 S b 3 K e 3 .2Sh8 QxPck. 2 Bb6 SxS.. 2 Sc5. K c 7 . 4 Ra7 K c 8 . 2 Bc3 N o . 3 K x P .. 4 R f 7 B f 3 . 2 Pb5. 4 Be6 P d 3 . 36 1 Ba3 threat 2 P b 5 Bgl a n y . a n y . K e 2 . 2 Sd7. Bb6 c k . 4 Bd6 S f 4 . K x R . 3 Sc6 dis ck. 2 Sf4. 3 Se3 N o . K d 2 . 2 Se7.2SxQ. K d 3 . 2 S f 4 RxQ. e 6 . 2 Bc5 Se5. 35 1 Q. 2 BxSd2. a n y . 2 Sf4 N o .William Meredith S O L U T I O N S N o . 34 1 Sd7. 3 QxS N o . P c l ( S ) c k . 3 Sc4 K e l . 2 Q_b4. 41 1 Q h 5 waiting PxQ. 2 P d 4 ck. 2 Q b 7 ck. 3 Q f 4 Kc5. 2 Bg8. 3 K x P a 2 . Q d 4 .-else. 3 QxPc4 Pc3. 3 Q c l P e 5 x P . 2 Pf7. Gems N o . P b l ( Q ) ck. 45 1 S d 5 threats 2 R b l a n d B a 7 Pf5. 48 1 Bh7. 44 1 Q h 6 threat 2 Q e 3 m a t e Q x B .d2 threat 2 Q. 3 BxPd4 Q h 4 . PxP.xS ck. 3 Q. . 2 QxS Qb3. 2 Ba7. 3 Q d 5 K b 3 . 2 Q g 4 No. 2 Q x Q Q e 4 . 4 K x Q . K e 5 .bl Kf6. 2 Sb5 Q x Q . 2 Q.h2 Q x Q . 2 Q f 8 ck. 2 Q. 2 Q f l Se5 else. 5 PxB 4 . g l . 2 R b l . 42 1 Ba2. P b 3 . 43 1 Q c 8 threat 2 Se6 K x S . 2 Sd7 Pg4. S c 8 a n y . K x P . K b 3 . 2 B d 3 ( x ) No. PxB ck. 2 Q f 4 No.xS Sc6 c k . 47 1 Q.14° Chess Problem. 3 Sb6 B h 7 . 46 1 Q a l waiting Ke4. 3 Q d 5 Kc3. 2 Q e 3 ck. 2 Q x S SxB. 3 S e 3 N o . 5Pf8(Q) No.Q x S .. 3 Q b 4 K else. K a 4 . f 5 . 3 Q a 3 Q . 2 QxB. 2 Sc7-b5 1 . 2 QxS BxS. 3 Q b 2 Bf5. B x Q . 2 RxSf7 Sf7 any. B x P . 3 Q c 2 . 3 S a 6 No. B g 7 . P x P e p . 2 Sc4 Qd4. In A Sketchbook of American Chess Problematists. S o m e w h a t h e a v i l y set s i n c e i t e m p l o y s a l l t h e w h i t e p i e c e s . s t a r t e d t o c o m p o s e p r o b l e m s a y e a r o r t w o l a t e r a n d c o n t i n u e d t o d o s o f o r n e a r l y sixty-five y e a r s . leading to e c h o e d m a t i n g positions. C a r p e n t e r ' s best k n o w n t w o . C a r p e n t e r was especially interested i n p a w n p r o m o t i o n effects.m o v e r . N o . No. a n u m b e r of Carpenter's were definitely strategic a n d m a n y of t h e m h a d sparkling keys. b u t if 1 Pe8(Q.George E. 52 is a neat illustration of white rook play. I n N o . w i t h four different mating moves by the d5 knight. without it W h i t e could play 1 R h 4 ck. s o m e o f his p r o b l e m s a p p e a r o l d fashioned in comparison with m o d e r n standards of composition. K a 7 . 5 1 w a s " c o n s i d e r e d i n its d a y a s o f p r e eminent construction. White makes further waiting moves in each of the two lines of play. including four mates by the White K n i g h t battery. A l t h o u g h .m o v e k e y i n N o . 5 3 t h e solver. 41 . a n o t h e r w h i t e r o o k problem. W i t h one variation in addition to the threat. 50 is an early example of an a d d e d . 49. C a r p e n t e r for a time was the most distinguished active American composer. 2 Q b 5 . F o l l o w i n g Loyd's early period of activity a n d before S h i n k m a n b e c a m e p r o m i n e n t . h a s a n excellent k e y t h a t gives t h e b l a c k k i n g f o u r a d d i t i o n a l f l i g h t s q u a r e s . 54. A l a i n W h i t e c o m m e n t e d t h a t N o . each c a n be forced in t u r n by a black defensive move. like C o o k . n a t u r a l l y w o u l d c l a i m a q u e e n r a t h e r t h a n m a k i n g t h e less o b v i o u s p a w n p r o m o t i o n t o a k n i g h t . No. a t f i r s t g l a n c e . T h e h4 white p a w n prevents a cook.1 9 2 4 ) l e a r n e d to p l a y chess w h e n t h i r t e e n . S c 4 ! F o l l o w i n g a w a i t i n g . Carpenter GEORGE EDWARD CARPENTER ( 1 8 4 4 ." While the key threatens d u a l mates.). with eight variations.m a t e block. Chess Problem Gems 12 49 50 George E. Carpenter Q. Carpenter Carpenter's Chess Problems (•Orestes A. The White Rooks 1876 W h i t e mates in four moves . Brownson) 1876 W h i t e self-mates in three moves 52 George E. 1874 W h i t e mates in t w o moves W h i t e mates in t w o moves 51 George E. Carpenter Chess Record September. Carpenter First Prize Dubuque Chess Journal 1871 George E. George E. Carpenter The Falkirk Herald February 15. 1911 W h i t e mates in three moves W h i t e mates in three moves 55 56 George E. Carpenter Westen und Daheim 1911 W h i t e mates in three moves 43 . Carpenter 53 54 George E. Carpenter The Philadelphia Item 1911 W h i t e mates in three moves George E. Carpenter Westen und Daheim 1907 George E. Carpenter The Pittsburgh Gazette-Times May 26. 1917 W h i t e self-mates in three moves 58 George E.12 Chess Problem Gems 57 George E. Carpenter The White King 1914 W h i t e mates in three moves 60 George E. Carpenter Densmore Memorial Tourney 1918 W h i t e mates in four moves . Carpenter Second Honorable Mention Fourth Meredith Tourney Good Companions February. 1912 W h i t e mates in four moves 59 George E. N o t e t h a t t h e w h i t e k i n g also t a k e s a p a r t in one of the m a t i n g positions. h a d been shown previously by M. T h e k e y gives t h e b l a c k k i n g t w o f l i g h t c a p t u r e s . N o n e of the four mates is c h a n g e d b y W h i t e ' s w a i t i n g m o v e key. 56. t h r e e of W h i t e ' s second moves being quiet ones a n d the u n u s u a l e c h o i n g lines f o l l o w i n g t h e c a p t u r e o f e i t h e r k n i g h t b e i n g e s p e c i a l l y a t t r a c t i v e . a n d then discovers m a t e on the third m o v e either vertically or diagonally according to the location of the black k i n g . P r o b l e m 5 9 i s a c o m p l e t e b l o c k . the other two being m a d e by knights. T h e m i n i a t u r e No. b o t h a l o n g a file a n d a diagonal. 1880.m o v e D u r b a r p u b l i s h e d i n t h e A u g u s t . Carpenter composed an eleven-move problem in which the white king m a d e ten consecutive moves and two of the four m a t i n g moves. i n w h i c h e v e r y w h i t e m o v e i s m a d e b y t h e k i n g . I n N o . 58. m a t e s b e i n g set i n t h e i n i t i a l position for any move by Black. 57. i s s h o w n i n N o . I n t h i s e x a m p l e t h e r e i s o n l y o n e l i n e of play. N o . t h e r e i s c o n s i d e r a b l e v a r i e t y i n t h e p l a y . D i s c o v e r e d m a t e s b y t h e w h i t e k i n g . 60 is of a different type t h a n most of C a r p e n t e r ' s e a r l i e r p r o b l e m s . I n a n o t h e r o f C a r p e n t e r ' s s t u d i e s i n p a w n p r o m o t i o n .George E. A long-range illustration of w h a t has fancifully been t e r m e d t h e Durbar theme. Carpenter 45 Although the keymove of No. issue o f L a Strategie. L a n s q u e n e t in a t w o . t h e w h i t e k i n g m a k e s t h e first a n d second moves. 55 deprives the black king of o n e o f his f l i g h t s . a n o t h e r D u r b a r . t h e choice of m i n o r pieces instead of a q u e e n on b o t h W h i t e ' s first a n d s e c o n d m o v e s i s n e c e s s a r y t o a v o i d s t a l e m a t e . a l t h o u g h t h e solver will s o o n n o t e t h a t a m a t i n g continuation must be provided to meet 1 Kc7. . K a 5 . 2 Q f 7 Pf2. any. K e 7 . 2 Qc5. 50 1 R h l waiting Kg3. Gems 14° S O L U T I O N S N o . 3 R b 8 N o . 53 1 Pe8(S). K d 8 . 2 Rd4 SxS. 2 Ph8(B). K x R a 6 . 2 SxPg5 S x Q . 2 Q x Q N o . a n y . 3 Se6 Kf6. K d 4 . 2 Sd5-b4 K d 4 .Chess Problem. K d 8 . 2 SxS K x S . 3 R a 7 KxRc8.e l threat 3 Re3-e2 K x R . 3 P f 8 ( Q ) K d 7 . 3 Pf8(Q) N o . 2 Q h 2 K e 3 . 2 Sd5 Kf5. 3 R e l N o . 52 1 R h l threat 2 R h l . c4. 51 Bc8 threats 2 Sc5 a n d SxPg5 Q x R o r R x P . KxSc7. 2 Sc5 K e 5 . 3 Q d 6 K e 5 . 2 QxP N o . 2 Sb6 No. 2 Kg3. 56 1 Pb8(B). a n y . 2 Q x R SxR. 2 Qa7. 2 Sb6 K e 4 . any. 3 Bd6 . 3 B f 6 K f 8 . 2 Q g 3 ck. 2 Sc6(ck). 2 Sd5 P e 3 . 2 Sd4 QxSe6. 2 Se7 P e l . 3 Pb8(Q) KxSe7. 2 Rb6. 54 1 Pc5. 3 Sc7 N o . 2 Q x Q RxS. 2 Rc7. 2 Qg7. K d 8 . 55 1 Q g l . 49 1 Q d 6 waiting K c 2 . 2 SxP K d 2 . any. 2 Q x P S d 5 a n y . 3 Bh4 45 . 3 Kc6. 3 Q d 7 P x S . 2 Q f 3 N o . 58 1 K f 4 . 1880 W h i t e mates in t w o moves 1 Kd3. 2 Q c 6 ck.George E. 3 Ke5 M. 3 Sg6 K x S e 7 . Kb5. 3 Qd7 K e 6 . KxS. K x S e 7 . 2 Q b 3 S g l else. K b 8 . Carpenter N o . 59 1 Q e 3 waiting B any. K x S e 5 . K d 5 . 3 Bh4 K x S e 5 . 3 Q f 5 K c 7 . 3 Q d 7 P a n y . 2 Ke3. K a 8 . 57 1 Ke4. K e 7 . K d 8 . 2 Sc3(x) Se2. 4 Kc7 N o . 2 Q c 6 ck. Ke6. 2 Q d 5 ck. 60 1 Se7. 3 Sd7 Kd8. Lansquenet La Strategie August. 2 Qe5 N o . K f 4 . 2 Q d 5 ck. 2 Q c 6 ck. 2 Q c 6 . K x S e 7 . 2 Kd4 Kd6. 2 Kc4 Kd5. K a 8 . 2 Kd5. K b 8 . 3 Bh4 P f 5 . 3 K d 4 Pd5. 2 Kf5. a c c o r d i n g t o W u r z b u r g . p u b l i s h e d a n o n y m o u s l y F e b r u a r y . S h i n k m a n would experiment with various i l l u s t r a t i o n s of it. H i s style o f c o m p o s i t i o n w a s s i m i l a r t o L o y d ' s . I n d i a . N o . Shinkman's nephew. b u t w h e r e a s L o y d f r e q u e n t l y w a s c o n t e n t w i t h s h o w i n g a single example of a theme. 48 .o f f of a w h i t e piece to avoid a stalemate position. Shinkman WILLIAM A. t h a t S h i n k m a n a c t i v e l y s t a r t e d o n his c o m p o s i n g c a r e e r . t h e s h u t . " L o y d t o y e d w i t h t h e m e s . 1845. S h i n k m a n m a s t e r s them. i n t h e Chess Player's Chronicle. 6 1 w a s o n e o f his e a r l i e s t c o m p o s i t i o n s a n d r e m a i n e d o n e o f his f a v o r i t e two-movers.m a t e . 62 is an early a n d excellent example. especially w h e r e the p r o m o t i o n was to a piece o t h e r t h a n a queen. n a m e d f r o m the famous problem by the Rev. T h e exact square to which the key bishop must m o v e is d e t e r m i n e d by Black's possible m o v e 1 Qb2. a n d o f all c o m p o s e r s o f a l l t i m e s S h i n k m a n holds L o y d as his f a v o r i t e ." I n t h e i n t r o d u c t i o n t o The Golden Argosy t h a t w a s w r i t t e n b y O t t o Wurzburg. 6 3 following 1 P d 3 i l l u s t r a t e s Indian strategy. t h e c o n t i n u a t i o n i n N o . composing some thirty-five h u n d r e d p r o b l e m s .1 9 3 3 ) w a s t h e m o s t p r o l i f i c of A m e r i c a n problemists. S h i n k m a n always was interested in p a w n p r o m o t i o n play. As A l a i n W h i t e w r o t e in Sam Loyd and his Chess Problems. 63 is e n r i c h e d by a s e c o n d v a r i a t i o n . Henry Augustus Loveday of B e n g a l . Following a surprising key. N o . he stated that " L o y d is r e p o r t e d t o h a v e a d m i r e d S h i n k m a n ' s w o r k b e y o n d all o t h e r s a n d w i t h o u t q u a l i f i c a t i o n . " S i n c e i t w a s a b o u t 1870. the q u e e n moves to each of the black corner squares to mate. In a secondary continuation.William A. SHINKMAN ( 1 8 4 7 . a n d the m i n i a t u r e No. I n t r o d u c e d b y a s u b t l e k e y . the m a i n p l a y in p r o b l e m 64 ends in a model mate. l e a d i n g to a p i n . 1875 W h i t e mates in three moves W h i t e mates in three moves 49 . Shinkman Western Advertiser 1872 William A.William A. Shinkman Western Advertiser 1872 W h i t e mates in t w o m o v e s W h i t e mates in three moves 63 64 William A. Shinkman 61 William A. Shinkman Dubuque Chess Journal December. Shinkman Deutsche Schachzeitung March. 1870 William A. p r o v i d i n g a m o r e striking key. Gems S h i n k m a n ' s interest in self-mates. 71 was composed to show four different mates following t h e m o v e s o f a single b l a c k p a w n . No. e s p e c i a l l y n o t e w o r t h y because of the small n u m b e r of m e n employed. I n m a n y o f his s e l f . in p r o b l e m N o . Such coincidences. N o . w h i c h w a s p u b l i s h e d t w e l v e y e a r s l a t e r . 1877. 7 2 W h i t e sets u p v a r i o u s b a t t e r i e s o n his t h i r d m o v e t o d i s c o v e r m a t e o n t h e f o u r t h m o v e . No. s h o w n i n t h e present d i a g r a m . 70 a n d the a p p a r e n t freedom of m o v e m e n t of the black queen. This m a y be c o m p a r e d w i t h M e r e d i t h ' s N o . t h r e e o f its m o v e s r e s u l t i n g i n self-blocks. issue of t h e Detroit Free Press i d e n t i c a l in s e t t i n g w i t h N o . Alain W h i t e stated t h a t the original version of No. A c c o r d i n g t o B l a c k ' s m o v e s i n N o . 69 was " t h e earliest e x a m p l e o f u n p i n n i n g three w h i t e pieces. In view of the m i n i m a l black force in the self-mate N o . 66 is the f a m o u s S h i n k m a n . except for an unnecessary black p a w n on e7 in C a r p e n t e r ' s p r o b l e m . 66. It blends t w o m a n e u v e r s : one line is an e x a m p l e of T u r t o n d o u b l i n g a n d a second line of H e r l i n pericritical play. F o l l o w i n g t h e d e f e n s i v e m o v e s o f t h e b l a c k r o o k i n N o .C a r p e n t e r coincidence. were not so comm o n o r n o t e d i n t h o s e d a y s a s t h e y h a v e b e e n l a t e r a n d s o this coincidental appearance attracted an unusual a m o u n t of attention. 67 is a r e m a r k a b l e s t r a t e g i c c o n c e p t i o n .m o v e p o s i t i o n s w i t h e x c e l l e n t keys. b e i n g o n e of a set of t h r e e p r o b l e m s e n t e r e d in a tourney. " S h i n k m a n l a t e r m a d e a slight r e v i s i o n . or anticipations. In t h e pairs of echoing continuations in p r o b l e m 73 Black . of which he b e c a m e one of t h e m o s t e m i n e n t e x p o n e n t s . A r a n d o m m o v e o f t h e b l a c k r o o k l e a d s to a fifth m o d e l m a t e . 68. A p r o b l e m b y C a r p e n t e r w a s p u b l i s h e d i n t h e O c t o b e r 20. F o r m a n y years the problem ranked as the champion all-round pin p r o b l e m . 6 5 h e w a n d e r s t o w a r d his d o o m .14° Chess Problem. it is r e m a r k a b l e t h a t she c a n b e f o r c e d t o c h e c k m a t e t h e w h i t e k i n g in four moves. 48. there are two pairs of echoed m o d e l mates in w h i c h the knights a l t e r n a t e i n t h e i r roles. 66 actually h a d been composed two or three months p r e v i o u s l y .m a t e p r o b l e m s t h e w h i t e k i n g i s placed initially far f r o m a n y a p p a r e n t m a t i n g position. N o . S h i n k m a n w a s e s p e c i a l l y e x p e r t i n c o n s t r u c t i n g w a i t i n g . b e g a n e a r l y i n his c o m p o s i n g c a r e e r . 1877 W h i t e self-mates in three moves W h i t e mates in t w o moves 68 William A. Shinkman Detroit Free Press circa 1878 William A. 65 49 Shinkman 66 William A. Shinkman La Strategic August 15.William A. 1877 William A. Shinkman Huddersfield College Magazine W h i t e mates in three moves W h i t e mates in three moves 1880 . Shinkman First Prize Huddersfield College Magazine October. w i t h t h e t w o q u e e n sacrifices l e a d i n g t o c h a m e l e o n e c h o e d m o d e l m a t e s . w i t h its series o f e c h o e d s y m m e t r i c a l m a t e s . 87 is a n o t h e r block-threat. p r o b l e m 83 has a variety of interesting play. 8 9 : " A n u n u s u a l a n d o r i g i n a l p a i r . a t y p e o f problem of which S h i n k m a n was a master in composing. all t h e m a t e s i n N o .m a t e s . 80. T h e pericritical m a n e u v e r in No. i l l u s t r a t e s s t r a t e g i c m a n e u v e r i n g w i t h a m i n i m a l f o r c e . T h e k e y a n d t h e c o n t i n u a t i o n i n t h e m a i n p l a y are especially subtle. Gems self-blocks his k i n g i n t w o o f t h e m a t i n g p o s i t i o n s a n d t h e r e a r e p i n . t h e m o v e s o f t h e w h i t e k i n g disc o v e r i n g m a t e s f r o m t h e b i s h o p . T h e k e y m o v e i n p r o b l e m 8 0 gives t h e b l a c k k i n g a f u l l r a n g e of eight flight squares. w a s one of Shinkman's favorite compositions. a l t h o u g h W h i t e can at the outset play 1 Qe6. " i s a n o t h e r o f his s t u d i e s i n p a w n p r o m o t i o n t h e m e s . with a surprising key u n p i n n i n g the black queen. 84 is one that S h i n k m a n f e a t u r e d in s e v e r a l o f his p r o b l e m s . T h e m i n i a t u r e N o .14° Chess Problem. o f w h i c h N o . the m a t e following 1 K e 4 being particularly notable. he d a r e not make that move until the black p a w n has advanced. i n c l u d i n g his a s t o u n d i n g o n e o f 4 1 8 m o v e s . five m o r e t h a n in the initial position. 8 6 m a y b e c o m p a r e d w i t h N o .m o v e s e l f . In t h i s i n s t a n c e t h e k e y m o v e gives t h e b l a c k k i n g f i v e f l i g h t squares. 74. w h i c h S h i n k m a n c a l l e d " o n e o f m y f a v o r i t e p r o b l e m s .m a t e s i n t h e o t h e r t w o . 7 8 i s a t y p i c a l e x a m p l e o f o n e o f his t w o . 76 is followed by a subtle second move w h e n Black plays 1 Ph3 a n d two of the ensuing mates are models. N o . i s t y p i c a l ." S h i n k m a n composed self-mates in various n u m b e r s of moves. N o . a d e f i n i t e task a c h i e v e m e n t i n a m i n i a t u r e s e t t i n g . I t i s a b l o c k . 85. No.m o v e key. N o . h a s a surprising a m o u n t of play for a p r o b l e m with only five m e n . a n a d d e d m a t e b l o c k . N o . T h e spectacular key in the m i n i a t u r e No. 81. M a n y o f Shinkman's two-movers were waiting-move problems with s p a r k l i n g keys. No. 75 was the pioneer e x a m p l e of a self-mate in w h i c h a white p a w n p r o m o t e s to four d i f f e r e n t pieces a c c o r d i n g to Black's play.t h r e a t . N o . 79. 8 8 a r e g i v e n b y a r o y a l b a t t e r y . T h e n e x t p o s i t i o n . 77 Alain White c o m m e n t e d : " It is curious that. W i t h a n o t h e r of the fine keys w h i c h S h i n k m a n w a s so a d r o i t in devising. On No. I n t r o d u c e d w i t h a w a i t i n g . A l a i n W h i t e i n The Golden Argosy c o m m e n t e d o n N o . 82. Shinkman Columbia Chess Chronicle 1888 W h i t e mates in three moves . Shinkman V First Prize Southern Trade Gazette 1883 William A.William A. Shinkman Chess Player's Chronicle October 10. 69 49 Shinkman 70 William A. Shinkman Detroit Free Press 1885 W h i t e mates in three moves 72 V William A. 1883 W h i t e mates in t w o moves W h i t e self-mates in f o u r moves 71 William A. 12 Chess Problem Gems 73 74 William A. Shinkman Second Prize Sunny South 1890-1891 William A. Shinkman V Dubuque Chess Journal November. 1890 William A. 1893 W h i t e self-mates in three moves W h i t e mates in f o u r moves . Shinkman Deutsche Schachzeitung September. 1890 W h i t e mates in three moves W h i t e mates in three moves 75 76 William A. Shinkman Dubuque Chess Journal November. 1901 W h i t e mates in three moves W h i t e mates in three moves . 1896 William A. Shinkman British Chess Magazine July. Shinkman Checkmate December. Shinkman 49 77 William A. Shinkman Ceske Listy Sachove March.William A. 1896 W h i t e mates in f o u r moves W h i t e self-mates in t w o moves 79 80 William A. Shinkman Tiffin Tribune circa 1898 William A. 1905 W h i t e mates in t w o moves W h i t e mates in f o u r moves 83 William A. Shinkman St. Louis Globe Democrat 1903 W h i t e self-mates in three moves 84 William A. 1902 William A. Shinkman V Wiener Schachzeitung October.12 Chess Problem Gems 81 William A. American Chess World April. Shinkman 82 Q. Shinkman Deutsche Schachzeitung February. 1907 W h i t e mates in f o u r moves . Shinkman Deutsches Wochenschach 1912 W h i t e mates in three moves W h i t e mates in three moves 49 .William A. Shinkman American Chess Bulletin October. Shinkman V Westen und Daheim 1910 William A. 1910 W h i t e mates in t w o moves 88 William A. Shinkman 85 William A. Shinkman Bauernumwandlungaufgaben 1907 W h i t e mates in f o u r moves 87 William A. 1916 William A. Shinkman Tasks and Echoes 1915 W h i t e mates in three moves W h i t e mates in three moves 91 92 William A. Shinkman American Chess Bulletin December.Chess Problem Gems 58 89 90 William A. Shinkman and Otto Wurzburg First Prize — Class B Three-Move Section Densmore Memorial Tourney 1918-1920 W h i t e mates in two moves W h i t e self-mates in three moves . 1913 William A. Shinkman The Pittsburgh Gazette-Times November 19. In No. N o . A c c o r d i n g to Black's defenses t h e w h i t e king moves to eight d i f f e r e n t s q u a r e s i n t h e w a i t i n g . . A s p r e v i o u s l y m e n t i o n e d . L o y d p u b l i s h e d t h e first e x a m p l e of w h a t came to be known as the Plachutta interference: the m u t u a l interference of t w o b l a c k pieces of similar m o v e m e n t . b u t i t t h e n interferes with the other black piece. T h e white p a w n adopts two separate routes to r e a c h t h e s a m e t w o s q u a r e s i n e a c h case. " I n t r o d u c e d by a flight-yielding key. the m a t i n g positions in e a c h being c h a m e l e o n echoes of the m a t e s in the other. 1 9 1 1 . for w h i c h h e b e c a m e r e n o w n e d a s " T h e Wizard of Grand Rapids.Q e l .m o v e p r o b l e m N o .William A. T h e Plachutta interference is e s s e n t i a l l y a t h r e e . E i t h e r m a y c a p t u r e the white m a n . T h e p r o b l e m w a s d e d i c a t e d t o t h e m e m o r y o f S a m L o y d w h o d i e d A p r i l 10. a n o t h e r e x a m p l e of his outs t a n d i n g ability to illustrate a strategic t h e m e with a m i n i m u m n u m b e r o f m e n . one black rook moving along a file a n d the other along a rank. 2 K c 3 . 91 S h i n k m a n shows a Plachutta interference with only eight w h i t e a n d b l a c k pieces.. If the bishop should move elsewhere Black w o u l d h a v e an effective defense by 1 — Q b 5 . W h i c h e v e r piece occupies the intersecting s q u a r e i n t e r f e r e s w i t h t h e m o v e m e n t o f its fellow.m o v e problems. 133 — t h a t the mutual interference could be brought about witho u t m o v i n g a white m a n o n t o the critical square a n d such an i n t e r f e r e n c e is t e r m e d a Wurzburg-Plachutta. Shinkman 59 of variations. a t a s k achievement. 90 is p r a c t i c a l l y t w o t w o . or the interference of a bishop a n d the queen moving on intersecting diagonals. I n t h e o r i g i n a l type of Plachutta interference a white m a n first moves onto the i n t e r s e c t i n g (critical) s q u a r e ." O t t o W u r z b u r g i n 1909 h a d s h o w n — i n t h e classic N o . 92. Q b l ! T h e solver s h o u l d n o t o v e r l o o k t h e c o n t i n u a t i o n f o l l o w ing 1 . the bishops altern a t i n g t h e i r roles. o b s t r u c t i n g t h e m o v e m e n t o f b o t h black pieces. T h e excellent key is to provide a m a t i n g continuation following 1 — Q b 5 .m o v e m a n e u v e r . 3 Q f 5 R else. Pd3. 2 Rf7. R x P . d 4 ck. 2 K f 6 dis ck. 2 Q h 5 ck. 2 Q g 4 ck. Q a 8 . P d 3 . K f l . 3 Q a l Ka8. 3 Q h 8 K d 7 . PxQ. K f 3 dis ck. 3 Q g 8 Bf8. 2 Bd8. R x Q B x P . 3 Q f 6 ck. 3 Bb6. 2 Q d 4 ck. 3 K e 7 dis ck. K d 8 . K a n y . K x P . 2 R f 7 ck. 3 S d 4 R d 2 . 3 R f 8 K else. 2 Sb5-c7 1 Ba2 threat 2 Q b 3 . 2 Q b 4 . K a 6 . 64 1 Q d 4 . 3 Qh7(x) N o . 63 1 R b l . Q x Q . R d 3 . 3 Q x R K e 2 . 62 1 Pe8(R). 3 Q c 8 N o . Q f 5 . 4 R b 4 N o . Q x B . c 4 . 3 Pg3 ck. 2 Pe4 N o . 2 Q f 5 ck. K b 5 . 2 Pa8(Q). 2 SxR. 2 Bbl. any. 3 Rb2. 2 Q c 4 N o . K a n y . 2 K e 5 dis ck. any. 3 Q c 5 N o . 70 1 Bh3. 3 Q f 3 P h 3 . 2 Q x P ck. 2 SxPc3 Bg3. 2 Q b l ck. 3 Q f 5 N o . any. 3 K d 6 dis ck. 2 Sf3-d4 B d 2 . 4 Bg4 ck. 3 Q b l Rc3. 4 R b 4 Pe5. e8. K d 4 . 2 SxR. 2 Bal. K f 2 . Pe5. Q e 4 . a n y . 65 1 Q g 7 . K e 2 . 3 R e 5 Kc5. 3 Rc7 K b 7 . 69 1 Ba7 waiting Pd5. Kd6. 66 N o . R x P . 3 Sc3 R d 4 . K d 4 . 2 Pa8(S). 2 Se2-d4 1 B f 2 . 2 Pb4 P x R . 68 1 Pe3. 67 1 B a 4 waiting P d 6 . K e 2 . Gems S O L U T I O N S N o . 61 1 Bc3 waiting K x S . Be5 N o . 2 Sg3 ck. 4 Q g 5 ck. any.60° 14° Chess Problem. QxQ Q e l s e . 4 Bc5 K a 5 . 2 Q e 6 . 3 SxP ck. 4 Bb6 P a 5 . Ph3. 3 Q b 7 ck. 2 Pe8(S) ck. S any. 3 R d 4 . K c 6 . Q x S S x P . 76 1 B h l . 3 K f l . N o . K b 6 . 3 Q x S ck. S 4 Sf3 Sf3(x) Sf3(x) a n y . 3 KxB. B x Q P x Q . 75 1 R h 8 threat 2 PxS(B) ck. Q x S N o . 4 R b 3 Sg3. S a n y . 4 B e l . B x Q . 2 Q c 8 ck. 72 1 R x P . P x B . P h i .b 5 K b 4 . 4 Sf2 N o . 2 Se5. 2 Bg2. 3 Q x P f 4 Pf3. 2 Q c l P x P e 6 . g 3 . 73 1 Q h 6 . 4 Se5-f3 KxB. 3 Q a 2 N o . 3 QxB. 3 Qa6 N o . 2 K f 2 . K a 5 . K x S . B x Q B f l . P h 3 . K b 7 . 2 SxP N o . 3 KxB. K c 7 . 3 S f 3 ck. K a n y . Kc5. 4 R x P Pa5. K x S . 2 Qa6. K b 6 . 3 S x P ck. 4 Sf2 P h 2 . 4 R c 5 . 2 Q x P ck. 2 P x S ( R ) ck. S x Q . S x R . 2 Q x S ck. 2 BxS. K d 2 . K x Q . K a 5 . 3 Q h 6 else. K c 6 . Pd2. 3 R f 4 . 74 1 Be2. P h 3 . 3 Qc7 K b 6 . 2 Bf2 1 59 Shinkman Pd5. S any. 3 Be3. 2 Q h 5 P d 6 . 2 Rc2. Ke2. 4 Sf3(x) . 77 1 Q c 4 . 2 Q x P h 2 ck. P h 2 . K f l . Bg3. Ke2. K x S . 2 Q a 5 ck. 2 RxP. 71 1 Q h l waiting PxPc6. Ph2. 3 Q x P ck. 2 P x S ( Q ) ck. 4 Sc2 No. 3 Ba6 Kb6. B x Q Sc6.William A. 3 Q b 7 ck. B x Q K x S . 3 Q b 7 ck. K b 4 . 3 Bc7 Kb7. 4 Bh4. 2 Be5 ck. 4 Sh2 K h l . 3 Rf2 1 3 Qa6 3 QxP Pe2. 3 Re3. 3 Rc2 Pe2. Ph2. Bel. 3 R c 5 ck. 2 R x S . K x Q . B x Q Bg8 ck. 4 R d l N o . B x Q N o . 2 Kf5. 2 Rg8. 85 1 K c 3 . 84 1 Rb7. Gems N o . 82 1 Bel. 4 R b l N o . 3 P f 8 ( Q ) ck. 4 Bc6 K f 8 . PxQ. P c 4 or Bg8 P g 5 . 3 Q a 8 . Kh5. 3 R d 8 . K d l . K e l . K h 4 . 3 RxS. K g l . 2 Q h 7 K e 4 . K g l . 3 Ke3 Ke5. 86 1 Pg7 threat 2 Pg8 ( Q ) N o . Kd5. K c 6 . 3 P f 8 ( Q ) . 2 S d 5 . K f 1. 2 Rg2. K d l . 88 1 P f 5 waiting Kc6. 4 Bc6 N o . 4 R b l KxB. 87 1 Q c l threat 2 K a 4 N o . P g l ( Q ) .SxB. Kd5. 2 P d 8 ( S ) . 3 R h l Ph6. 3 PxS. 83 1 Sg2 threat 2 Sel PxS. 3 Ke5 . P x P ..b 2 . 2 R b l . 2 Q c 2 ck. K x P . 4 R c l K f l . 2 Q d 5 ck. 2 Bg5. K d l . 2 Ke4. K x P . 3 Rh8. K e 7 . 3 Rc8. Kh6. 4 R g l K d l . 4 Rb7-b2 Ph5. Ph5. S x Q . KxB. Ph6. 2 R x P etc. K f l : 4 R h l K x B . K c 8 . 2 Qb6. K e l . 3 Kf4 K d 6 . 2 Kf3. 2 Ke3. 3 Se5 ck. 2 Kd3. else.. 4 R b l S else.14° Chess Problem. K e l . 3 Rf8. 78 1 Q c 5 . 3 R h 2 N o . 81 1 R c 2 . 2 Qe7. 2 Sb4 N o . 80 N o . 2 Sd5-e3 1 . K e 7 . 4 P f 8 ( Q ) K d 6 . K x S . 79 1 Rgl. 2 Sg2-f4 R x B . 1 Q a 3 waiting N o .f 4 S else. 2 Q x Q ck etc. 4 R f l K f l . 3 Rb8. 2 Qa2. 2 P d 7 threat Re8. PxQ. K d 5 . 2 BxQ Q e l .William A. 92 1 Bc6 waiting Q c 3 . 3 R h 5 x S . 2 Be3. 3 Bc6 K f 5 . 3 Ba3 K d 4 . K b 4 . e5 ck. 2 Sb2 threat 3 Ra5. 2 P x R threat Rd8. d 8 ck. 91 1 Sd7-c5 threats 2 S a 4 or Q b 4 R c 8 x S . d5 ck. 2 K x B dis ck P f 4 . 2 K d 5 dis ck Q d 2 . R x Q . 2 K c 5 dis ck S a n y . 2 K x Q Q c 5 . 2 Bc6. 3 Bg6 K c 5 . 3 3 3 3 P d 8 (S) PxR(Q) Pe8(Q) PxR(S) N o . 2 K x Q dis ck Q b 4 . 2 K e 3 ( x ) dis ck 1 Bd3. 3 Be3 N o . 2 S f 4 threat 3 Rc4. 3 Sa4 Qc4 Se2 Sd5 N o . K x P . c 4 . 90 1 B e l . 2 K e 4 dis ck Qb5. Shinkman 59 N o .. 89 1 Q e 4 . 2 Q h 6 ck . b6 ck. l a w of S a m L o y d . P r i o r t o 1890 h e c o m p o s e d s o m e s e v e n t y .1 9 1 7 ) . d e p e n d i n g u p o n their relation to the critical square d5. t h e queen and each bishop in turn making m u t u a l interferences in the thematic defensive play. o n t o w h i c h the 64 . actually a n I n d i a n . Densmore DARSO JAMES DENSMORE ( 1 8 6 7 . L a t e r h e b e c a m e i n t e r e s t e d i n p r o b l e m c o m p o s i t i o n . Problem 98 m a y be described as a three-phrase N o w o t n y interference between the black rook a n d bishop. Despite t h a t t h e keym o v e threatens a short mate. Again in problem 96 Densmore employs a r e m a r k a b l e keymove. 94 a definitely t h e m a t i c composition. 93 is a n e a t e x a m p l e of a pericritical m a n e u v e r w h e r e a rook makes a r o u n d a b o u t j o u r n e y to support the queen. m a k e N o . N o . followed by quiet second moves. his e f f o r t s b e i n g d i v i d e d i n t o two short periods. T h e long withdrawal keymove a n d subs e q u e n t p a w n p r o m o t i o n to a rook to avoid t h e possibility of a stalemate position.f i v e p r o b l e m s . s o n i n . l e a r n e d t o p l a y chess i n his b o y h o o d d a y s a n d b e c a m e c h a m p i o n o f t h e B r o o k l y n C h e s s C l u b i n his t e e n s . No. T h e n a f t e r a long period of inactivity in the p r o b l e m field he r e s u m e d c o m p o s i t i o n i n 1914 a n d c o m p o s e d n e a r l y t w o h u n d r e d fifty m o r e problems d u r i n g the following three years. W h i l e he was interested in studies of various strategic themes. his m o s t n o t a b l e w o r k i n his s e c o n d p e r i o d o f a c t i v i t y w a s i n t h e i l l u s t r a t i o n o f b l a c k i n t e r f e r e n c e s .D. i n c l u d i n g a r e m a r k a b l e series of Plachuttas. w h e r e Black's moves i n c l u d e a c o m p l e t e black k n i g h t wheel. W i t h an excellent key. Black's defensive moves in N o . J. 95 d o u b l e a W u r z b u r g P l a c h u t t a — o n e in w h i c h there is no white m a n on the critical s q u a r e — t h e black q u e e n functioning here as a third black rook.t y p e m a n e u v e r . 97 is an ingenious composit i o n : a c h a m e l e o n d o u b l i n g of a d i a g o n a l P l a c h u t t a . Densmore British Chess Magazine September. Densmore 93 65 94 Darso J.D. Densmore Honorable Mention The Pittsburgh Gazette. Densmore First Prize Brooklyn Chess Club Tourney 1913-1914 Darso J.Times March 26. Densmore V Third Prize The Pittsburgh Gazette-Times March 19. 1915 W h i t e mates in three moves W h i t e mates in five moves 95 96 Darso J. 1916 Darso J. 1916 W h i t e mates in three moves W h i t e mates in three moves . J. Densmore Fourth Prize Seventh Quarterly Tourney The Pittsburgh Gazette. 1916 W h i t e self-mates in three moves The Darso J.Times December 3.12 Chess Problem Gems 98 97 Darso J. 1916 W h i t e mates in f o u r m o v e s . Densmore Pittsburgh Gazette. Densmore The Pittsburgh Gazette.Times October 25.Times December 3. Densmore The Pittsburgh Gazette. 1916 W h i t e mates in three m o v e s 100 Darso J. 1916 V W h i t e mates in f o u r moves 99 V Darso J.Times December 31. Densmore Honorable Mention The Pittsburgh Gazette-Times June 10. Densmore Pittsburgh Gazette-Times April 1. 1917 W h i t e mates in three moves 104 The Darso J.67 D. J. 1917 W h i t e mates in t h r e e moves 102 The Darso J. 1917 W h i t e mates in three moves . Densmore The Pittsburgh Gazette-Times December 13. Densmore Pittsburgh Gazette-Times June 17. Densmore 101 Darso J. 1916 W h i t e mates in f o u r m o v e s 103 Darso J. Rd4. Rd5. besides c h e c k s i n o t h e r v a r i a t i o n s . R b 7 . 5Sg3 . 4 RxR. K g l . 9 9 a n o t h e r b i s h o p w i t h d r a w a l m o v e . I n N o . 104. Gems w h i t e bishop moves in e a c h of t h e three t h e m a t i c lines of play. R x P c k . P g 5 .). 2 P h 8 ( Q J . A g a i n D e n s m o r e employs a long w i t h d r a w a l m o v e by a b i s h o p as a k e y in N o . ) . 102 l e a d s t o t w o c r o s s . A s q u a r e . K g l . a t a s k c o m p o s i t i o n . S O L U T I O N S N o . T h e k e y m o v e i n p r o b l e m 103 p e r m i t s B l a c k t o g i v e c o n s e c u t i v e d o u b l e . 2 P e 8 ( R ) . 4 R x R . 3 Rd8. a c c o r d i n g t o B l a c k ' s p l a y t o p r e v e n t t h e s h o r t t h r e a t of 2 R c 2 m a t e . 5 Rbl RxPh7. P g l ( Q . R b 6 . 3 Q f 8 N o . K e l .v a c a t i n g k e y i n N o . K f l . B l a c k i n d e f e n d i n g a g a i n s t t h e t h r e a t o f m a t e b y 2 Q e l self-blocks his k i n g i n f i v e d i f f e r e n t ways. w h i c h t h e n b e c o m e c r i t i c a l s q u a r e s i n a P l a c h u t t a i n t e r f e r e n c e . 100. 2 P h 8 ( Q . 3 Q e l Pg2. 3 Q x P Pg2. R x S . 5 R d l R e 3 .). 5 Rbl RxPg5. 4 R x R . h6. leads to Plachutta interferences on two different squares. 5Rdl Rh4. d3 a n d f3. ) . 2 Q f 4 . m a k i n g t h e c o m p o s i t i o n a five-fold Plachutta.-Kf5. 94 1 Ba8.K f 6 .14° Chess Problem. R b 2 ck. w h e r e t h e r e is a d o u b l i n g of a d i a g o n a l P l a c h u t t a i n t e r f e r e n c e w h e n Black m o v e s t h e bishop to f7 or to g6 to defeat the threatened short m a t e — e 6 a n d f5 t h e n becoming the critical squares where the black q u e e n a n d bishop mutually interfere.c h e c k i n g v a r i a t i o n s . 2 Ra4. I n N o . Pgl(Q. R h 6 . Pgl(Q. I n N o . B any.c h e c k s o n t h e first a n d s e c o n d m o v e s i n t h e m a j o r d e f e n s i v e lines o f p l a y . 3 BxR ck. 3 Qf4 2 . 5 Qal R c 3 . 3 Rd8. 3 Q h 2 1 K g 5 . 4 Q x R .. 3 Rb8. 4 R x R . 101. 4 Sg3 ck. W h i t e moves a piece to o n e of five d i f f e r e n t s q u a r e s o n t h e e-file. 93 1 R a l . 2 . 3 K b 3 . 3 R b 8 . Pg5. 2 S f 3 ck. P x Q . i n t h i s case threatening a short m a t e . 2 Bd5. 2 Bd5. 4 R x P R d 2 . Q x S . 3 Sc6 BxB. 99 1 B h 6 threat 2 B f 8 R f 2 . 4 R x P R g 8 . 2 Sd5. 3 Q x S N o . Sd5. 2 Q g 7 ck. 4 B f 8 R h 3 x S . K d 5 . R x Q . K d 5 . R d 2 x S . R x B . 2 R d l . K a n y . R d 6 . K d 5 . 4 S e 3 N o . 3 B f 8 ck. 2 P d 4 . 2 Q g 5 ck. 3 Q x P Sc7. 3 Q f l else. R g 6 . 2 BxS. 3 Sc6 N o . 2 S f 3 ck. 4 P e 4 P b l ( Q ) . 3 Q x P S x P e 3 . S d 5 . 3 R f 7 ck. 2 Kd2. R x S c 6 . R x B . SxB. 3 Q d 4 R d 6 . S d 5 . Q x P e 4 . 3 Q e 2 Se7. 3 Sd7 R d 6 . 3 P e 4 ck. 3 Q e 6 Q d 6 . Densmore N o . 3 Pb3 else. R x B . 95 1 B b 3 threat 2 S x R ck. 2 Rd8.f 6 . 3 Sd7 R d 4 . 2 Q x P ck. R x S . Q x S . 4 R f 7 B x S . 3 Q x P S f 4 . K e 4 . R x R . 2 S x R etc. 3 Sd3 B b 7 . 3 Q x P Pe5. 2 Q d 4 ck. 3 R f 7 ck. R x R . R x B . 3 R x P ck. 3 R x P ck. 2 S d 3 . 2 S f 3 . B x R . 2 PxS. Q x S . 3 S f 3 B x B . S x S . 3 Sc6 BxB. S d 5 . 2 Q x P ck. 2 Sc6 ck. 3 Bg6 Be4. 4 B f 8 R h 3 x S . J. 3 Q f 4 R g 6 . R f 2 x S . 3 Se3 ck. P a n y . 3 S d 3 etc. 96 1 K e l . 3 Q a 6 S c 3 . 3 Q x P S x P b 6 . 2 Sc6 ck. Q x P . 97 1 R c 7 threat 2 R f 7 Q a 2 .f 6 . 3 Q g 5 N o . 3 B f 8 ck. 98 1 B f 7 threat 2 Bd5. K d 5 . 2 Q f 7 .D. 4 R f 7 B x P d 4 . 3 Q x P Sb4. 2 P b 3 ck. 69 . B f 6 . R x B . 2 PxS. 3 Q e 6 R f 8 . 2 Sc5 ck. P x R . 103 1 Bd6 threat 2 Sc5 BxS dbl c k . 3 S f 3 P x R . 3 R x P ck. 4 R c 2 Q h 7 . 4 R c 2 Q g l . 4 RxP 4 Pd4 Qd3. 3 R c 2 ck. 3 R e 8 ck. 3 R c 2 ck. 4 R e 8 Q x B . 3 Se2 Q g 8 . h 3 . 2 KxB. a n y . 2 Be2. a n y . 2 Se3. 3 PxS S c 3 . 3 R e 8 ck. B x P . 3 P d 4 dis ck. Bg6. R e l x B . K b 4 . 4 R c 2 P d 5 . 3 Sg6 Ph5 ck. d 4 . 2 R x Q ck. 4 R c 2 Q f l . R x R . QxR. R x S . 3 SxP RxP. R f 5 . 2 Se6. 3 R c 2 ck. B x P . B x R . 101 1 R a 2 threat 2 R c 2 R f 2 . Q x P e 6 . Q x R e 8 . 3 R c 2 ck. R e l x B . 2 K b 8 . 3 P d 4 dis ck. 4 R e 8 Q x R . 3 R e 8 ck. Q x R . R c 5 . 2 Pe6. 2 Se4. R x R . R x B d b l ck. R e l x S . R x R . R c 4 . 3 K x R S b 3 . 4 R c 2 R f 4 or S f 4 . 2 Q e 5 . 3 Sc3(x) else. 3 R e 8 ck. 2 Se5. Q x P f 5 . 3 Sg5 N o . 3 Sc5 . 100 1 Ba8 threat 2 P d 4 B f 7 . R x R . R e l x S . 2 P f 5 . B x R . 3 R c 2 ck. P x P dis c k . Gems N o . Q g 8 c k . 2 Q e 5 . R x S . 2 Se4 etc. 3 R c 2 ck. 3 R x P ck. 3 K d 8 Bb7 dbl c k . 4 R c 2 N o . 3 R e 8 ck. 4 R e 8 R f 2 x B . 3 Q x B R e 6 a n y . 3 K x R R x P d b l ck.14° Chess Problem. 4 R e 8 R f 5 x S . 3 Sc5 Bb5 dis ck. R c 3 . R c 6 . Q x R . 3 SxR R g l a n y . 3 R e 8 ck. 4 R e 8 R f 6 x S . R x R . 102 1 K g 4 threat 2 Sg5 dis ck. 4 R e 8 Q x S . 4 RxP 4 Pd4 N o . 2 Be2. 104 1 Q c l threat 2 Q e l Bd3. Densmore N o . 2 Se2 Bf2. J.D. 2 S d 5 Sd3. 2 Re2 Be4 ck. 2 Re2 S f 3 . 2 R d l 77 . 2 Sc2 P f 3 . i n w h i c h t h e p a w n k e y m o v e sets u p a w a i t i n g p o s i t i o n . 127 a n d 128. 115. B u t t h e B e t t m a n n b o y s i n N o . the multiple u n p i n n i n g s of the white q u e e n in Nos. a n d i t i s n o t p o s s i b l e t o tell w h a t p a r t e a c h p l a y e d i n their collaborative efforts. h e m a y well be regarded as the most outstanding A m e r i c a n task composer. 116. O t h e r American problemists have been interested in certain t y p e o f tasks.1 9 4 5 ) a n d his c o u s i n J a c o b B e t t m a n n ( 1 8 6 5 1935). 105 s h o w e d t h a t a capture was not necessary.1 9 3 5 ) . w o r k i n g t o g e t h e r . P r o b l e m 107 i s a s t u d y i n p a w n p l a y . In later years only H e n r y c o n t i n u e d to compose.Henry Wald Bettmann HENRY WALD BETTMANN ( 1 8 6 8 . so as to discover m a t e f r o m one piece a n d simultaneously g u a r d 72 . He was especially interested in task compositions in w h i c h some particular feature is presented in m a x i m u m or manifold r e p e t i t i o n s . B e t t m a n n c o m p o s e d n o t a b l e illustrations. He became a prominent physician a n d surgeon in C i n c i n n a t i a n d his p r o f e s s i o n a l a c t i v i t i e s l i m i t e d his p r o b lemistic work. 122 a n d 1 2 3 . the q u a d r u p l e d echo of a m a t i n g position in N o . b u t c o n s i d e r i n g t h e v a r i e t y o f t h e t a s k s o f w h i c h D r . b e g a n c o m p o s i n g p r o b l e m s w h e n in their teens. d o u b l e d in p r o b l e m 113. At o n e time it was n o t t h o u g h t possible to c o n s t r u c t a t w o m o v e r in which if the white king was submitted to a d o u b l e check the mating move would not require the capture of one o f t h e c h e c k i n g p i e c e s . 106 t h e s u b t l e k e y c h a n g e s t h r e e set m a t e s f r o m c o m m o n p l a c e to m u c h m o r e attractive ones. T h e n i n e a c h o f t h e t w o e n s u i n g t h e m a t i c lines a c a p t u r e b y a b l a c k p a w n i s c o u n t e r e d b y a c a p t u r e b y a w h i t e p a w n t h a t o p e n s lines f o r t w o w h i t e p i e c e s . w i t h his b r o t h e r E d g a r B e t t m a n ( 1 8 6 6 . like t h e f o u r d i s c o v e r e d m a t e s b y a p a w n . In the sparkling m u t a t e N o . a n d t h e m u l t i p l e p a w n p r o m o t i o n s i n p r o b l e m s 114. Henry Wald and Jacob Bettmann St. Henry Wald and Jacob Bettmann Quebec Chronicle 1882 Edgar and Henry Wald Bettmann South Australian Chronicle 1883 W h i t e mates in t w o moves W h i t e mates in t w o moves 107 108 Edgar.Henry 105 Wald Bettmann 106 Edgar. John Globe 1885 W h i t e mates in t w o moves W h i t e mates in three moves 73 . Henry Wald and Jacob Bettman First Prize Southern Trade Gazette 1884 Edgar. F r o m t h e i n i t i a l p o s i t i o n o f t h e w h i t e k i n g i n N o . Gems t h e k n i g h t b y a n o t h e r p i e c e . a c c o r d i n g t o w h e t h e r t h e b i s h o p m o v e s t o e 3 o r t o e5. 108 sets u p a p o s i t i o n t o m e e t the threatened check. I l l the key a n d ensuing t h r e a t a r e o f a n o r i g i n a l n a t u r e . 110 a n d t h e i m m o b i l i t y o f all b u t o n e o f t h e b l a c k m e n i t w o u l d s e e m i n c r e d i b l e . c o m b i n e d w i t h a white royal b a t t e r y . T h e mates following 1 Sb5 and 1 S f 5 should not be overlooked a n d there are no duals. 2 PxS. a n i n c o m p l e t e b l o c k . T h e w a i t i n g . 2 Kf4 being the most interesting continuation. b r o u g h t a b o u t by the self-blocking moves of the d e f e n d i n g black bishop. 109. K d 7 . t h e r e a r e N o w o t n y i n t e r - . N o . the white king moving to where he m a y be checked in three ways. 116 h a s a q u a d r u p l e d e c h o o f a m a t i n g p o s i t i o n . 112. 1 Q e 7 ck. 128. N o . Another waiting-move problem by the Bettmann brothers. D r . t o b e l i e v e t h a t B l a c k c a n b e f o r c e d t o m a t e W h i t e in three moves! T h e keymove is a spectacular one a n d the continuations are subtle. I n t h e m a i n p l a y o f p r o b l e m 114 t h e r e a r e t h r e e successive p r o m o t i o n s of a p a w n to a r o o k a n d also a s e c o n d p r o m o t i o n of a p a w n to a r o o k a f t e r 1 Sd5 ck. 1 Q h 8 . 115 f e a t u r e s p r o m o t i o n s t o d i f f e r e n t w h i t e pieces f o l l o w i n g d i f f e r e n t promotions of a black p a w n . T h e t h e m e of four lateral mates by discovery by the moves of a white p a w n i s d o u b l e d i n p r o b l e m 113. shows m u t u a l i n t e r f e r e n c e s b e t w e e n a b l a c k r o o k a n d t w o bishops. This problem m a y be regarded as a f o r e r u n n e r to his Babsontask p r i z e w i n n e r N o . B e t t m a n n t o o k a n e s p e c i a l i n t e r e s t i n p a w n p r o m o t i o n t h e m e s a n d N o . a n d a n y o t h e r m o v e s b y the black queen. T h e B e t t m a n n boys r e g a r d e d a well-disguised key of p r i m e i m p o r t a n c e a n d a g a i n i n N o . T h e solver s h o u l d n o t e h o w t h e b l a c k bishop's interference on the q u e e n leads to two distinct mates. N o . a t first g l a n c e . n o m a t e b e i n g p r o v i d e d i n t h e initial position for 1 Pf 3 or 1 P x P . I n t r o d u c e d b y a n e x c e l l e n t key. T h e n t h e m a t e following the flight-opening a n d self-blocking defense 1 R d 6 should be noted. T h u s all t h e m o v e s i n t h e t h e m a t i c play are m a d e by pawns. is t y p i c a l of t h e style of the Bettmanns' two-movers.m o v e k e y i n N o .14° Chess Problem. but allowing the bishop's p a w n to m o v e to three different squares to discover m a t e according to Black's defensive moves. Henry 109 Wald Bettmann 75 110 Edgar and Henry Wald Bettmann Second Prize La Strategic Edgar and Henry Wald Bettmann Jamaica Gleaner 1887 1886 W h i t e mates in t w o moves 111 W h i t e self-mates in three moves 112 Edgar and Henry Wald Bettmann Second Prize Nashville American 1887 Edgar and Henry Wald Bettmann First Prize St. John Globe 1888 W h i t e mates in t w o moves W h i t e mates in t w o moves . 1912 W h i t e mates in four moves .12 Chess Problem Gems 113 114 Henry Wald Bettmann 1910 Henry Wald Bettmann More White Rooks 1911 W h i t e mates in t w o moves W h i t e mates in f o u r moves 115 Henry Wald Bettmann The Theory of Pawn Promotion 1912 W h i t e self-mates in three moves 116 Henry Wald Bettmann The Pittsburgh Gazette-Times September 22. 1918 W h i t e mates in two moves W h i t e mates in three m o v e s 77 . 1914 Henry Wald Bettmann Tasks and Echoes 1915 W h i t e mates in three moves W h i t e mates in three moves 119 120 Henry Wald Bettmann The Pittsburgh Gazette.Times 1916 Henry Wald Bettmann First Prize Good Companions February 22.Henry Wald Bettmann 117 118 Henry Wald Bettmann Schachblatter June 7. 133. or to a k n i g h t on the same s q u a r e s . f o l l o w i n g W h i t e ' s p a w n p r o m o t i o n key. t h e p r o m o t i o n o f t h e black p a w n by 1 P x B to a n y one of f o u r d i f f e r e n t pieces is countered by the p r o m o t i o n of White's king's bishop's p a w n to a similar piece. in which the thematic play is tripled. T h e short t h r e a t is a m i n o r demerit. 117. A f t e r t h e s e l f . which promotes to a q u e e n three times on b8. c8 or d8. s e t t i n g u p a b l o c k p o s i t i o n . N o t e the c h a n g e d m a t e after 1 Q. W i t h a t o t a l o f o n l y e l e v e n w h i t e a n d b l a c k m e n this c o m p o s i t i o n is t r u l y a m a s t e r p i e c e . 123 a f t e r a t h e m a t i c s e l f .p i n n i n g k e y m o v e . t h e r e a r e s e v e n withdrawal unpins of the white queen permitting her to mate. T h e s t r i k i n g k e y m o v e i n N o . Gems f e r e n c e s o n five d i f f e r e n t s q u a r e s i n t h e e c o n o m i c a l l y c o n s t r u c t e d N o . A c c o r d i n g t o B l a c k ' s p l a y i n p r o b l e m 127 t h e r e a r e six different promotions of the white pawn. c h a n g i n g t h e m a t e a f t e r 1 RxS c k a n d p e r m i t t i n g the p a w n t o discover a n o t h e r m a t e w h e n Black plays 1 R x P . 124 t h e r e a r e s q u a r e o b s t r u c t i o n s o n a b l a c k k n i g h t w h e n the black bishop moves to d2.f'5 c k a n d also t h e t r y 1 Q f 4 d e f e a t e d b y 1 QxR. w i t h a fine key a n d m a t i n g threat. 128 i s t h e f a m o u s Babsontask first p r i z e w i n n e r i n w h i c h . I n t w o o f t h e c o n t i n u a t i o n s t h e r e a r e also p a w n p r o m o t i o n s b y W h i t e .p i n n i n g k e y i n p r o b l e m 122. T h e n t h e solver s h o u l d n o t miss t h e m a t e after Black's self-blocking m o v e 1 R e 5 to defeat the threat 2 Sf6. 121. while a sixth m o v e is an interference u n p i n . I n N o . f o l l o w e d b y a s u r p r i s i n g m a t e i f t h e k i n g m o v e s t o e5. C o m p a r e t h i s c o m p o s i t i o n w i t h W u r z b u r g ' s N o . T h e r e are two pairs of symmetrically e c h o e d m a t e s i n N o . 119 B l a c k ' s c a p t u r e o f t h e k n i g h t b y t h e p a w n l e a d s to four distinct continuations. 126 o b s t r u c t s t h e w h i t e b i s h o p a n d gives t h e b l a c k k i n g a f l i g h t .14° Chess Problem. . d e p e n d i n g on w h i c h one of four d i f f e r e n t pieces B l a c k elects t o p r o m o t e t h e p a w n t o . o n e p a i r b e i n g m o d e l m a t e s . P r o b l e m 118 i s p r o b a b l y t h e first p u b l i s h e d e x a m p l e of the doubling of a W u r z b u r g . N o .P l a c h u t t a interference. P r o b l e m 120 h a s a n o v e l k e y . I n N o . five o f B l a c k ' s m o v e s a r e w i t h d r a w a l u n p i n s o f t h e white q u e e n .t h r e a t p r o b l e m . f2 or g5 a n d interferences by a knight on the bishop w h e n the bishop moves b e y o n d these squares—an unusual theme. A g a i n i n N o . N o . 125 is a b e a u t i f u l e x a m p l e of a b l o c k . 1919 W h i t e mates in three moves W h i t e mates in t w o moves 123 124 Henry Wald Bettmann Good Companions November. Class B Densmore Memorial Tourney 1918-1920 W h i t e mates in t w o moves White mates in three moves 79 .Henry Wald Bettmann 121 122 Henry Wald Bettmann Densmore Memorial Tourney 1918-1920 Henry Wald Bettmann V Good Companions November. 1919 Henry Wald Bettmann Second Prize. 1921 Henry Wald Bettmann Second Prize Good Companions May.58 Chess Problem Gems 125 126 Henry Wald Bettmann V Good Companions April. 1921 W h i t e mates in t w o moves W h i t e mates in t w o moves 127 128 Henry Wald Bettmann Good Companions January. 1923 Henry Wald Bettmann First Prize Babson Task Contest 1925-1926 W h i t e mates in t w o moves White self-mates in three moves . 2 KxS P g 4 . 113 1 R h 2 threat 2 P g 3 or g4 S h 3 . 2 PxP P x P d 4 . 2 R f 5 Q g 3 c k . K d 3 . 2 BxP N o . 110 1 S h i . 2 P c 3 B x Q . 2 Q h l Pe4. SxS d b l c k . 2 Pc4 B b 3 . 2 PxP KxS. f 2 . 2 SxS Bd2. B e 5 . Bb6. 2 S b 3 ck. 2 PxQ Q f 5 . 106 1 Q e l waiting Ke4. 2 Pg4 S f 3 . 2 K e 2 Be5. 2 R x P e 3 No. B x Q N o . 2 KxPg3 Rg2. 2 Q h 3 N o . ck K x B Sf5. 2 K x P g 3 N o . 2 PxB B x P . 2 Pd6 S f 5 . 2 K c 3 N o . 2 Pc4 Q b 3 ck.Henry Wald Bettmann 81 S O L U T I O N S N o . c5. 2 K e 3 Sf2. 2 PxS QxP. 2 Q x P P d 3 . 112 1 S a 3 waiting R d 2 . 2 P x Q . I l l 1 Re2-c2 threat 2 R d 3 Be3. 2 R f 4 dis ck Qh8. 2 Re6 Q g 5 ck. 2 Bb2 Re2. 108 1 Bh4 waiting Q e 7 ck. 2 Pc3 P x P . 2 BxB Sc4 c k . 2 Kg4 R d 6 . 2 Pg3 B h 5 . 105 1 Q h 5 . 2 Q f 6 ck. 3 S f 2 ck. 2 Se7 N o . 3 Pg6. 2 Rd3 Rf2. 2 KxPh3 B e 2 . 2 PxS R a n y . 2 SxS Bel else. 2 Q x S S b 5 . 2 Rf3 PxR. 2 SxB B a n y . BxS B b 8 . 2 Pd4 S a n y . 2 Sg5 P x P ck. 107 1 PxPe4 waiting PxPe4. 2 Kf4 N o . 109 1 K d 2 waiting P b 3 dis c k . ). 3 Se6 Bg4. Se3. P x S ( Q ) . 2 Sc6 ck. ) . 3 Se2 N o . 2 PxS(R). Kd6. B x S . 3 Sc8 R c l or R c 2 . 117 1 Sb6 threat 2 Bg3 ck. 3 Sf7 P x S ( B ) . Gems N o . 2 P b 8 ( Q . 2 R h 3 . a n y . K a 7 . 3 R g l x B ck P x S ( S ) .c 5 . 2 P b 8 ( Q . 2 P d 8 ( Q ) . 3 Q g 4 Bf4. 3 Pb8(Q. 119 1 Sh5. 3 S x P Q g 4 . 4 Q e 5 N o . 3 P f 8 ( R ) . Q . 3 Rb6 K b 5 .d 8 K x P . 2 B f 3 Rgl. R e 2 or R a 4 . 2 Pd8(S). 3 Q f 3 Bf4. 114 1 Pc8(R). R x S . 2 K e 5 . R d 2 or R a 5 . 2 Se2 ck. Q x S . K d 6 .g3 threat 3 Q x P Bf6. f 5 ck.) . 3 K e 7 PxS(R). 116 1 Q b 3 . 2 K c 4 . a n y . 115 1 PxP. 3 S f 6 ck Sg3. 2 Q c 3 threat 3 Q x P e 5 Bd4.2Pd8(Q. 118 1 S d 8 threat 2 P x R dis ck R c 4 . ) ck N o . 2 S x P ck.2Bg2 N o . 3 Q d 3 K f 5 . R f 5 . 2 Bd5 R e l . B x P . 2 Se6 ck. Pa 1(Q. b 6 . K d 6 . 2 PxS. 3 Bd7 P a l ( S ) . K a n y . 3 Pb8(S) Pal(B). 4 R f 8 . 2 Be4 R f l or R f 2 . 2 Bc6 R d l . 3 Pf8(R). 3 Q g 6 N o .c 5 . K d 7 . K d 7 .). R x S . 2 K e 5 Pel(Q). 4 Rf8-d8 Sd5 ck.14° Chess Problem. 3 Sc6 R d 5 . 2 Pb8(R). Be3. 2 Q. SxR. 2 Q x Q QxP. S d 2 . 123 1 Q x P waiting QxQ. S x R d 6 . 3 Q h 6 S x R f 6 . 2 Q x Q Q g l . 2 Pc8(S) R c 8 . 2 SxQ Qf2. Bel. 3 Q e 3 Sa2xPb4. 2 PxR B d 4 . 2 S x Q Sa5. 2 1 P c 4 waiting Q d 4 . SxR. 2 Sc6 ck. 2 B x R RxP. 2 Bgl. 2 Sd5 S f 4 . 2 Qd7 QxBg3. 2 Qd6 Q x Q ck. 2 Kc4 Q e 5 ck. K x S .Henry Wald Bettmann N o . K x S . 2 Bh6. 2 Q d 4 QxS. 127 1 Rd7. 2 Qd5 QxPe5. 2 PxS(S) 83 . 3 Q e 3 Sa5 Sg8 Sa2xPb4 N o . 2 R d 4 Re5. 3 Rd5 N o . 3 R d 7 Ke5.2 Bg5. Sf2. 2 Bd2. 121 1 Q e 3 . 3 Q e 3 Sd8. 2 Bd2 S f 2 . 120 1 Pe6 threat 2 Be5 R x S ck. 2 Q a 3 QxS. 2 Q d 3 Qf4. 2 Q x Q Sb6. 2 Sg4 N o . 2 Qa3 QxPc4. 2 Q x Q QxR. K x R . 2 P c 8 ( Q ) Kc8. 2 Q x Q or Q a 3 Qd5. 3 R f 7 Ke5. 3 Rf5 K x R f 6 . Sg5. 126 1 K c 3 threat 2 S f 6 Ke5. 124 1 Q f 3 . 2 Q x Q QxB.2 Bf2. 3 Q b 6 K x R d 6 . 2 Bc2 Qf3. 2 PxS(Q) K x R . 2 Q c 4 N o . 2 Q h 6 ck. 2 Sg6 ck. 2 P x R ( Q ) Se6. 122 N o . 2 Q b 6 ck. 125 1 Q e 3 threat 2 P c 4 No. 2 PxR(S) K x B . K x R . 2 Q g 4 N o . S x Q . B a n y . 3 QxS. R x R Q x P ck. 3 W h i t e x B. R x R Sf3. . R x R . 3 P b 5 ck. 3 RxS. 2 P f 8 ( R ) . Q g 8 . R x R PxB ( R ) . 2 P f 8 ( Q ) . 2 Pf8(B). R x R P x B ( B ) . 3 W h i t e x Q. 128 1 Pa8(B). P x B ( Q ) . R x R PxB(S). 3 Q x Q . 3 P b 5 ck. R x S .Chess Problem Gems 84 N o . Q x P b 5 Q else. 2 Pf8(S). Q x P b 5 Q x S . 3 R x R f l . producing a stalemate position unless W h i t e freed t h e black king. W i t h its u n u s u a l reflected m o d e l m a t e e c h o . f e a t u r e s T u r t o n d o u b l i n g i n a m i n i a t u r e setting. E a c h of the four model mates in No. W u r z b u r g . previously shown in S h i n k m a n ' s N o . B l a c k ' s only m o v e w o u l d be 1 Pc5. N o .b l o c k i n g moves by Black's king's bishop. It is enriched by a s e c o n d a r y varia t i o n w h e r e a q u e e n sacrifice leads to a m o d e l m a t e . T h e Bohemian composer is more interested in aesthetic elements t h a n in strategical maneuvers. only in six o f t h e s e t h i r t y . w h i c h m a y b e c o m p a r e d w i t h t h e t w o q u e e n sacrifice lines o f p l a y i n p r o b l e m 74. N a t u r a l l y such ideals are m o r e applicable to three-move a n d four-move problems t h a n to twomovers. T h u s the typical ideal B o h e m i a n composition has an attractive initial setting. So t h e k e y m o v e avoiding this possibility is a f o r m of I n d i a n strategy. 131 i s o f a d i f f e r e n t t y p e . p l u s a t h i r d m o d e l m a t e . including several m o d e l mates. as e x p l a i n e d in con85 . 130 i s t y p i c a l o f W u r z b u r g ' s skill i n c o m p o s i n g Bohemian type problems. is economically c o n s t r u c t e d w i t h m u c h mobility of the pieces e m p l o y e d a n d has a variety of beautiful m a t i n g positions.t w o s e l e c t i o n s o f his p r o b l e m s a r e t h e r e a n y white pawns. N o . 48. 129. 132. 67 a n d in M e r e d i t h ' s N o .1 9 5 1 ) d i s p l a y e d o u t s t a n d i n g skill i n construction of both strategic and model m a t e compositions and was u n d o u b t e d l y influenced by the ideals of the B o h e m i a n School. was a master in the blending of elegance of construction w i t h strategical ideas. a p r o b l e m d o m classic. It is interesting to note how sparing he was in the employment of white p a w n s .Otto Wurzburg OTTO WURZBURG ( 1 8 7 5 . S h o u l d W h i t e p l a y S c 3 o n t h e f i r s t m o v e i n N o . however. t w o o f t h e m f o l l o w i n g s e l f . m o v e position with multiple I n d i a n . l e a d i n g to a s e c o n d self-block by a black knight a n d e n d i n g in a model m a t e . a P l a c h u t t a interference w h e r e a white m a n is n o t m o v e d onto t h e c r i t i c a l s q u a r e . I n N o . s e v e n self-blocks a n d three black interferences. essentially t h e s a m e m a t i n g position b e i n g r e p e a t e d w i t h slight variations in five d i f f e r e n t lines of p l a y . since . N o . but in four variations the moves of the black knights obstruct those of the black rook. t h e r e i s a w i d e v a r i e t y o f s t r a t e g i c p l a y . a c c o r d i n g to Black's play. t h e white q u e e n is sacrificed on the s e c o n d m o v e o n five d i f f e r e n t s q u a r e s . B e t t m a n p u b l i s h e d t h e first d o u b l i n g o f a W u r z burg-Plachutta interference. 137 t h e r e a r e o n l y f o u r w h i t e pieces.14° Chess Problem. N o . 139 the white king moves to where he is exposed to consecutive checks. 134.r a n g e piece. 133 i s t h e p i o n e e r e x a m p l e o f t h e W u r z b u r g . are interferences on other black men. 142 t h e b l a c k r o o k s . W h e r e a l o n g . T w o of the variations end in model mates. A s p r e v i o u s l y m e n t i o n e d . 118 D r . instead of clearing a l i n e f o r a s i m i l a r f e l l o w p i e c e . In the battle between the white a n d black knights i n t h e m i n i a t u r e N o . A f t e r t h e selfblocking 1 R a l t h e m o d e l m a t e i s s p e c t a c u l a r . All s e v e n o f t h e b l a c k k n i g h t ' s m o v e s i n N o . i n c l u d i n g f o u r b l a c k u n b l o c k i n g defenses. m o v e s in t h e o p p o s i t e d i r e c t i o n — t o w a r d its f e l l o w — i t is c a l l e d an anti-Bristol m o v e . N o . O p e n i n g w i t h a sacrificial k e y m o v e .t y p e play following the moves of t h e b l a c k b i s h o p . six y e a r s l a t e r i n N o . T h e w i t h d r a w a l k e y i n p r o b l e m 140 l e a d s t o a w a i t i n g . Gems n e c t i o n w i t h p r o b l e m 63. 138 t h e w h i t e k i n g m o v e s i n t o a n exposed position a n d m u c h of the ensuing play is a duel between t h e b l a c k r o o k a n d t h e w h i t e q u e e n ' s b i s h o p . T o i l l u s t r a t e this m a n e u v e r w i t h o n l y six m e n is a c o n s t r u c t i o n a l f e a t . 135 t h e s t a r v a r i a t i o n i s t h e o n e w h e r e t h e q u e e n is s a c r i f i c e d a f t e r 1 S a 2 . interfere with each other w h e n either of t h e m moves to e2 to defend against the threatened immediate m a t e .P l a c h u t t a . either w h i t e or black. 136 m a y b e r e g a r d e d a s a t a s k p r o b l e m i n w h i c h . m o v i n g a l o n g t h e s a m e l i n e i n s t e a d o f o n i n t e r s e c t i n g lines a s i n a P l a c h u t t a i n t e r f e r e n c e . W h i l e i n N o . v a c a t i n g t h e d4 square to defeat the threat 2 Re5. I n N o . I n t h e m i n i a t u r e N o . 141 h a s a c u r i o u s series o f m o d e l m a t e s . 1905 W h i t e mates in three moves W h i t e mates in three moves 87 . 1900 W h i t e mates in three moves W h i t e mates in three moves 131 132 Otto Wurzburg The Des Moines Leader 1902 Otto Wurzburg Lasher's Chess Magazine November.Otto 129 Wurzburg 130 Otto Wurzburg V Bahn Frei 1895 Otto Wurzburg Tijdschrift van den Nederland Schaakbond May. 1909 Otto Wurzburg Pittsburgh Leader Tourney 1909-1910 W h i t e mates in three moves W h i t e mates in t w o moves 136 135 Otto Wurzburg Westen und Daheim September 10.12 Chess Problem Gems 134 133 Otto Wurzburg V Zlata Praha June 25. 1912 White mates in four moves . 1911 W h i t e self-mates in three moves The Otto Wurzburg Pittsburgh Gazette-Times February 25. Otto 137 The Wurzburg 89 138 Otto Wurzburg Pittsburgh Gazette. 1912 Otto Wurzburg First Prize Samuel Loyd Memorial Tourney 1913 W h i t e mates in three moves W h i t e mates in three moves 139 140 Otto Wurzburg The Problem April 25. 1914 W h i t e mates in three moves White mates in three moves .Times March 9. 1914 Otto Wurzburg The Problem October 3. I n N o . 147 l e a d s to a series of e c h o e d model mates.y i e l d i n g k e y i n N o .14° Chess Problem.y i e l d i n g k e y o f p r o b l e m 145 l e a d s t o five model mate denouements. g l or g3 waiting. m a y b e r e g a r d e d as a c o m b i n a t i o n of t w o three-move p r o b l e m positions. O n c e a g a i n . 142 m a y b e t e r m e d a m u t u a l anti-Bristol interference. t w o b e i n g c h a m e l e o n echoes. T h e black p a w n is required to avoid a dual continuation. S e 6 . T h e f l i g h t . A w a i t i n g .m o v e r that was composed some time in the thirteenth century. T h e k e y c h a n g e s t h r e e set m a t e s a n d adds another. this t i m e a s u r p r i s i n g r e t r e a t t o v a c a t e a s q u a r e t o enable a bishop to m a k e a threat. F r o m its d e c e p t i v e s i m p l i c i t y o f c o n s t r u c t i o n f e w solvers m a y a p p r e c i a t e t h e skill r e q u i r e d t o c o m p o s e s u c h a p r o b l e m . 149. t h e k i n g m a k e s t h e k e y m o v e . 148 b u t h e d i s c o v e r s m a t e i n t h r e e v a r i a t i o n s . F o l l o w i n g t h e f l i g h t . N o . i n t h e m i n i a t u r e N o . Gems t h e m o v e i s t h e o p p o s i t e o f t h a t i n a Bristol c l e a r a n c e . published in Schachaufgaben i n 1844.B r i s t o l p l a y i s c o m b i n e d w i t h Brede cross-check v a r i a t i o n s . 2 R b 7 . S o t h e p l a y o f t h e r o o k s i n N o .m o v e k e y in N o . N o . N o . including three pin-models. 151 i t i s t h e k i n g t h a t m a k e s Black's m o v e in the Brede variations. N o t only does the white king m a k e the keymove i n N o . I n p r o b l e m 151 a n t i . 146 six of t h e k n i g h t ' s m o v e s a r e i n t e r f e r e n c e s o n o t h e r b l a c k pieces. 3 K h l . differ- . I t m a y s u r p r i s e t h e solver w h e n h e d i s c o v e r s t h a t N o . r e l e a s i n g t h e w h i t e p i e c e t o m a k e the m a t i n g move. i n w h i c h a w h i t e p i e c e b e c o m e s p i n n e d w h e n it interposes to defend against a check by Black a n d then on a subsequent move is u n p i n n e d when a black m a n makes an i n t e r f e r e n c e o n t h e p i n n i n g line. 143 e c h o e s t h e p l a y of t h e f a m o u s Bonus Socius t w o . 144 s h o w s m u l t i p l e e c h o e s o f a s i m p l e t y p e o f m i r r o r m o d e l m a t e s . W i t h o u t i t t h e p l a y c o u l d also r u n 1 R h 7 . 153. This maneuver is so n a m e d from being shown in a p r o b l e m by Julius Brede (1800-1849). o n e o f W u r z b u r g ' s m a s t e r p i e c e s . leading to echoed c h a m e l e o n m o d e l m a t e s . t w o o f t h e m also b e i n g unpins of the white queen. 150 t h e continuations include two pairs of echoed model mates. 152 i s a m u t a t e and that neither the white king nor queen is able to m a k e a w a i t i n g m o v e . In the c o m p l e t e black knight wheel in N o . S d 4 . Otto 141 The 142 Otto Wurzburg Pittsburgh Gazette-Times December 5. 1917 W h i t e mates in three moves 144 Otto Wurzburg Pittsburgh Gazette-Times February 17. 1915 W h i t e mates in three moves 143 The 97 Wurzburg The Otto Wurzburg Pittsburgh Gazette.Times April 22. 1918 W h i t e mates in three moves Otto Wurzburg First Prize—Class A Densmore Memorial Tourney 1918-1920 W h i t e mates in three moves . 1919 Otto Wurzburg The Atlanta Journal February.12 Chess Problem Gems 146 145 Otto Wurzburg Eskilstuna Kuriren March 15. 1920 W h i t e mates in three moves W h i t e mates in t w o moves 148 147 Otto Wurzburg Good Companions August. 1921 W h i t e self-mates in three moves Otto Wurzburg The Pittsburgh Post February 1. 1925 White mates in f o u r moves . 1936 W h i t e mates in three moves .Otto 149 Wurzburg 93 150 Otto Wurzburg Fourth Prize Prager Presse 1926 V Otto Wurzburg The Pittsburgh Post April 30. 1927 White mates in three moves W h i t e mates in three moves 151 152 The Otto Wurzburg Minneapolis Journal January 21. 1934 W h i t e mates in three moves Otto Wurzburg American Chess Bulletin January. 12 Chess Problem Gems 153 154 Otto Wurzburg First Prize Third Cheney Miniature Tourney 1937 Otto Wurzburg The Atlanta Journal September 29. 1939 W h i t e mates in f o u r moves W h i t e mates in t w o moves 155 Otto Wurzburg First Prize American Chess Bulletin 1939 W h i t e self-mates in three moves 156 Otto Wurzburg First Honorable Mention American Chess Bulletin 1940 W h i t e mates in four moves . 1942 W h i t e mates in three moves Wurzburg 95 158 Sam Otto Wurzburg First Prize Loyd Memorial Tourney Chess Review 1942 W h i t e mates in three moves 160 Otto Wurzburg To Alain White 1945 W h i t e mates in three moves .Otto 157 Otto Wurzburg First Commended American Chess Bulletin 1942 W h i t e mates in three moves 159 Otto Wurzburg The Chess Correspondent January. f o l l o w e d b y m o d e l mates. This final p r o b l e m was contributed by W u r z b u r g for the v o l u m e T o Alain White. I n t h e m u t a t e N o . 157. A l l e n a n d E r i c M . 158. M a r c h 3 . 154 t h e s u r p r i s i n g B r i s t o l .t y p e k e y c h a n g e s t h e m a t e set f o r 1 P f 3 t o a m u c h m o r e a t t r a c t i v e o n e . 155. W h i l e Black c a n defeat this t h r e a t by 1 R h 6 . w h i c h F r a n k A l t s c h u l h a d p r i n t e d a t his p r i v a t e O v e r b r o o k Press a s a t r i b u t e t o A l a i n W h i t e o n his s i x t y . 1 K e 8 . Gems e n t i a t e d b y t h e first m o v e o f t h e b l a c k k i n g . O p e n i n g with a s u b t l e w a i t i n g . threatening m a t e by 2 Q g 7 or 2 Q f 6 .m a t e s . I n this t h e m e a n i n i t i a l m a t i n g t h r e a t b y W h i t e i s d e f e a t e d b y a single b l a c k d e f e n s i v e m o v e . 156 h a s a p a i r o f s y m m e t r i c a l l y e c h o e d m o d e l m a t e s a n d also a p a i r o f e c h o e d p i n .m o v e k e y . 159 l e a d s t o a v a r i e t y o f s t r a t e g i c p l a y . Besides t h e t w o q u e e n sacrifices i n N o . N o . e a c h o f w h i c h i s o n l y d e f e a t e d b y a single m o v e o f t h e q u e e n . w i t h several m o d e l m a t e s . . there is additional interesting play. P r o b l e m 160 is an e x a m p l e of t h e Roman theme in a m i n i a t u r e s e t t i n g . Black has an effective defense in 1 R f 4 . White can mate by 3 Q x R . In this p r o b l e m if W h i t e plays 1 K f 8 immediately. H a s s b e r g . N o . t o f 1 o r t o f 3 . 1945. which are chameleon echoes of the m a t e s in the other c o n t i n u a t i o n . h a s a s u r p r i s i n g a m o u n t o f p l a y f o r t h e few pieces e m p l o y e d .14° Chess Problem. W h i t e t h e r e f o r e d e c o y s the black defending piece to another square f r o m which an analogous d e f e n d i n g m o v e is ineffective. e d i t e d b y E d g a r W . T h e key. T h e solver s h o u l d n o t e t h e s e v e n tries b y t h e k i n g ' s r o o k . E a c h continuation leads to two model mates. White can now proceed with 2 K f 8 a n d a l t h o u g h 2 R f 6 pins the queen. a n o t h e r m i n i a t u r e .f i f t h b i r t h d a y . pinning the q u e e n . leads to t h e subtle t h r e a t of 2 Bh7. A duel between the black q u e e n a n d the white rooks is introd u c e d b y a n e x c e l l e n t k e y i n t h e m i n i a t u r e N o . A n o t h e r e x c e l l e n t k e y i n N o . Otto Wurzburg S O L U T I O N S N o . 129 1 Bh3 threat 2 Q g 4 P a 5 ; 2 Q a 6 ck, K x Q ; 3 Bc8 else; 3 Q c 8 N o . 130 1 Bg4 threat 2 S b 3 P f 2 ; 2 B f 5 ck, K e 3 ; 3 Q h 6 K e 3 ; 2 S x P dis ck, K e 2 ; 3 Q a 6 K d 3 ; 2 Q f 4 , any; 3 Bf5 Se2; 2 SxS, P x S ; 3 Q d 4 S e 6 ; 2 SxS, a n y ; 3 Sg5 N o . 131 1 Q g 3 threat 2 Bc4 ck, K e 4 ; 3 Q e l KxB; 3 Q b 3 Kc6; 3 Qc7 Be5; 2 Q b 3 ck, K d 6 ; 3 S f 5 Ke4; 3 Q f 3 BxS; 2 Sc7 ck, K e 4 ; 3 Bd3 Kc5; 3 Q a 3 B a 6 ; 2 Bc6 ck, K c 4 ; 3 Q b 3 K e 4 ; 2 Bc4 N o . 132 1 B a l , P c 5 ; 2 Sc3, K d 4 ; 3 Q e 4 K d 5 ; 2 Q b 3 ck, K x S ; 3 Q f 3 N o . 133 1 Se5 threat 2 Q b 2 , R c 4 - d 4 ; 3 Sd7 R d 3 - d 4 ; 3 SxPg4 R c 4 - d 4 ; 2 Q d 5 , R x Q , ; 3 SxPg4 R d 3 - d 4 ; 2 Q e 4 , R x Q ; 3 Sd7 Sa7 a n y ; 2 Q c 6 ( x ) ck Pg3; 2 Q f 3 c k N o . 134 1 Q c 7 threat 2 R e 5 S b 3 ; 2 Sb4 Sb5; 2 Q b 7 Sc6; 2 Q d 7 1 Se6; 2 Sf3;2 Se2; 2 Sc2; 2 Rh5xP Sh3xP QxPc4 Sa2xP 97 14° Chess Problem. Gems No. 135 1 S b 3 waiting Sa2; 2 Qb2 ck, SxQ,; 3 Sa3 Sd3; 2 Q a l ck, Kc2; 3 Sd4 Kc2; 2 Sd4 ck, K b l ; 3 Sd2 Kdl; 3 Qal Sc6; 2 Se3 Sd5;2 Sd4 No. 136 1 Pc7, R a 3 ; 2 Q e 3 ck (threat), K x Q ; 3 R e 6 Q x Q ; 3 Bc6 Pc2; 2 Qe5 ck, KxQ; 3Bd3 QxSe2; 2 Qd4 ck, KxQ; 3 Re6 QxSf4; 2 Qd5 ck, KxQ; 3 Bd3 Sg4; 2 Q f 5 ck, KxQ; 3 Bd3 No. 137 1 Q g 8 threat 2 R g 7 ck, K d 6 ; 3 Q d 5 Kf6; 3 Q f 7 Q e 4 ; 2 S d 5 threat 3 R f 6 QxS; 3 Qg6 Qf5; 2 Rf6 ck, KxR; 3 Sd5 KxS; 3 Q f 8 Pe4; 2 Q g 6 ck, Ke5; 3 Q f 6 Pd6; 2 Rg7 ck, Kd7; 3 Qc8 Pd5; 2 Sc8, Sf5; 3 Qg6 else; 3 Qe8 Qh7; 2 R x Q ck, Kf6; 3 Qg6 Kd6; 2 Rf6 ck, KxS; 3 Q f 8 Q f l ; 2 Qg6 ck, Qf6; 3 Q x Q No. 138 1 Ke2, R a l ; 2 Be4 ck, Ka2; 3 Qg8 Ra2 ck; 2 Bd2 dis ck, K any; 3 Q c l Re6 ck; 2 Be3 dis ck, K any; 3 Q c l Rf6; 2 Bf4 dis ck, K any; 3 Qcl Rg6; 2 Bg5 dis ck, K any; 3 Qcl Kc2; 2 Q d l ck, Kc3; 3 Qd2 K b l ; 3 Ba3 Rc6; 2 Ba3 dis ck, Kc2; 3 Qcl Bb2; 2 Bd2 dis ck, Kc2; 3 Qdl Bel; 3 QxB Otto Wurzburg N o . 139 1 K d 5 , Sc3 c k ; 2 K c 4 , R f 4 ck; 3 Be4 Se3 c k ; 2 K c 5 , R f 5 ck; 3 Bd5 Sf6 ck, 2 K e 6 , R e 3 ck; 3 Be4 S f 4 c k ; 2 K d 6 , R d 3 ck; 3 Bd5 R f 5 c k ; 2 K d 4 , R c 5 ; 3 Bc6 R d 3 c k ; 2 K e 5 , R c 3 ; 3 Bc6 N o . 140 1 R h 5 waiting B h 4 ; 2 P d 3 , Bg5 ck; 3 BxB, S a n y ; 4 Bd2 B e l ; 3 Be3 Bg3; 2 Bg7, Be5; 3 BxB B d 6 ; 3 Bc3 ck, B b 4 ; 4 BxB B f 2 ; 2 Bf8, Bc5; 3 BxB N o . 141 1 Q f l threat 2 S f 6 ck, K x B ; 3 Sc4 K x S ; 2 Q f 3 ck, K x B ; 3 Sc4 P d 3 ; 2 Q x P ck, K x B ; 3 Sc4 B f 5 ; 2 Q x S ck, K x B ; 3 Sc4 K x B ; 2 Sc4 ck, K e 4 ; 3 S f 6 P x S ; 2 Bg3 threat 3 Q d 3 ( x ) Sel; 3 Q f 4 S e 3 , f 4 ; 2 Q f 4 ( x ) ck N o . 142 1 R c 5 threat 2 R e 5 Rc2-e2; 2 Rd5, R d 2 ; 3 Re5 Rh2-e2; 2 Rf5, R f 2 ; 3 Re5 Sf3; 2 Rf5, any; 3 R f 8 K e 7 ; 2 R c 6 dis ck, K e 8 ; 3 R e 6 K f 8 ; 2 R g 5 dis ck, K e 8 ; 3 R g 8 N o . 143 1 R h 7 , S d 4 ; 2 R a 7 , Se6; 3 R a 7 - b 7 Sd6; 2 R a 7 , K d 8 ; 3 R h 7 - g 7 N o . 144 1 R b 5 - e 5 waiting Kf4,g4; 2 Rel-e3, any; 3 Q b 4 K f 2 , g 2 ; 2 Re5-e3, Pe5; 3 Q b 2 P h 5 ; 2 R g 5 , Pe5; 3 Q f 8 P a 3 ; 2 Q b 3 ck, K g 4 ; 3 R e l - e 4 K g 3 ; 2 R g 5 d b l ck, a n y ; 3 Q g 3 99 3 Qc7 SxS. 3 Q f l K g 3 . 2 Kc5. 2 PxS No. 3 S d 5 Pc4. K any.14° Chess Problem. Kc3. 3 Bd5(ck). 3 Sc6 No. 3 Ba6 ck. Kc3. 2 Bf5 Sf7. 4 Bd5 Kc4. Pc5. K b 4 . 2 Qa6 ck. K e 3 . Kf3. 146 1 B f 2 threat 2 R d 4 1 Q x Q ck. 2 Qa2 ck. Kf6. 3 Q b 2 Rb4. Sb5. Pc3. Rb6. Kd3. 3 Sc6 Pa3. 148 1 Kb6. 3 Qe3 Ke5. Kd4. 4 Rd4 No. 147 1 R b 7 waiting Kd5. 2 Q f l ck. 3 Rb3 Kd5. 3 Se4 Pd3. any. Ke3. 3 Rd7 Kc5. 2 Qe3 Sd7. 4 Kc6 Kc4. Kd3. 2 Sf5. Kb3. Kc5. 2 QxP ck. 3 Q f 2 Pe4. 2 Q x Q ck. 2 Ba6. S Rf4 Sf3. 3 Ka5. 3 Qd5 else. 2 Qf5. 2 SxQ Sc4. Kf4. 2 B a 7 threat 3 Q f 2 Kg2. 3 Se3 Pc5. 145 1 Q c l threat 2 S x S ck. 2 Qc7 ck. Ra4. 3 Kd5. 3 Sb5 Pf2. 2 QxP ck. 4 Kc4 Kd4. 2 Qd4 Sc6. 2 Sg5 Sg4. 2 Qe2. Ke3. 3 Se5-c4 Bc3. 3 Qg5 . 3 Se4 Pcl(Q). 2 Bd5 Sg6. 2 PxS Sd3. 2 SxP ck. Pc4. Rb4. 3 Se4 Kd3. 2 Se2 or Sf5 No. 2 QxB ck. 4 Ke5 Kd3. Gems No. 150 1 B e l threat 2 B b 2 ck. 2 Re2. 2 Rd2. 149 1 K a 8 threat 2 B a 7 threat 3 Q h 3 Kg3. 2 Qc5 ck. 3 Qh3 No. 3 Se5-c4 Kb4. 3 Rf2. any. Ka5. 4 Re4 Ke2. Ka2. 2 Se3 ck. 156 1 R f 5 waiting Ba3. 2 Sf5 S any. 3 Q d 8 Ke4. 3 Bg2 Qe4. 154 1 R a 8 waiting Pf3. 2 Kg2. 2 Rd4 dis ck. 153 1 Bf5. 2 Kgl. 4 Bdl K e l . 2 Ra5 ck. 2 Qe3 ck. 2 Q b 8 Ph3. Kb2. 3 Rb3 Kc2 dis ck. Kg5. 101 . 2 Rb5 etc. Kf5.Otto Wurzburg No. 4 Bel Kf 1.. 2 R f l ck. 2 Sd4-c2(x) Se7 any. 152 1 S d 4 waiting Sa3 any. K d l . K e l . 3 Sf2 No. Kb2. 3 Rb3 Rh6-b6. PxQ. 3 Bc2. 3 Q f 5 Ba3. 2 Qd8 ck. 4 Rf4 Kf3.PxS. Ke2. 2 Rc3 dis ck. 3 Qb2 Ka2. 2 RxP threat 3 Rg2 Rc6. 3 Sg4-e5 Qd3. 2 RxR R else. 2 Sc6(x) 1 . h5. 3 Rb4 No.. 2 QxR Ph6. Ke4. 2 Bg4. 151 1 Rd3. 2 Qel No. 2 QxS Pc2.R x Q . Kf3. 2 Se2(x) 1 . 155 1 Q b 6 threat 2 S f 2 dis ck. 3 Qd8 Kg5. 2 QxR No. 3 Pg4-e5 Pg5. Kg3. 2 Qb2 Kc2. K b l . 2 Qg6 ck. 3 QxP Bel. Ra6-b6. K f l . K g 5 . KxQ. 3 Bd3. Kf2. 3 Rb3 KxSbl dis ck. 2 Ra3 threat 3 Ra2 Ra6. 3 Bd2. 4 Ral No. 2 Sg4-e5 ck. 2 Q x B Se4. K d 8 . 3 Qh8 N o . 159 1 Q f 3 threat 2 R x P c 6 P x Q . 2 Q f 8 S e 7 . N o . 3 Q x R . 2 Bf7. 2 R h 2 ck etc. 2 Q d 6 ( x ) ck.14° Chess Problem. 160 1 K e 8 threat 2 B h 7 threat 3 Q g 8 RxB. 3 Q c 7 Bd6. 2 Bf7. Rf6. K e 8 . Q c 7 . Gems N o . 158 1 R a 2 . 3 Q e 6 Bd6. h 2 . 2 Sb6. 2 Bc7 Qcl. Ba3. 2 Bf5 Pe4. 2 QxPc5 N o . 2 Kf8. 2 Q d 3 1 Sa7. g 8 . f 6 . 3 Sc7 K e 8 . Q c 8 . 157 1 Q e 5 . K d 7 . 2 Bh3 Q x Q . 3 Q e 8 Kc6. Bd8. 3 Q e 8 K d 7 . 3 Q d 5 B d 6 . 3 Q f 8 Rh6. 3 Q b 8 Kf8. 2 R a 8 ck etc. anthropology. mathematics. Manufactured in the U. nature. science. Inc. Y . children's books. c r a f t s and needlework. chess. 180 Varick Street.S. Prices subject to change without notice. . antiques. music. 1 0 0 1 4 . A v a i l a b l e at y o u r book dealer or write f o r free catalogues to Dept. N e w Y o r k . Chess.Paperbound unless otherwise indicated. D o v e r Publications. N . Each y e a r D o v e r publishes over 200 books on fine art. languages. literature. and other areas. Please indicate field of interest..A. cookery. Eugene Cook. An equal number of problems displays the problemical skill of Henry Wald Bettmann. T h i s introductory material is especially helpful to those who wish to find an inroad of study to the expanding world of chess excitement that this book has to offer. .S. " showing his great ability to illustrate a strategic theme with a minimum number of men. with commentary and solutions in full detail. and by his nephew Otto Wurzburg. Our paper is opaque. are represented by 12 problems each.A.50 in U. Pages are sewn in signatures. T h e work of these composers (with the single exception of Sam Loyd's) is currently unavailable in any other book. including a number of the type now called "Merediths. the author—an internationally famous problemist." display his masterful economy of construction. Books open flat for easy reference. "the wizard of Grand R a p i d s . and a thorough reading cannot fail to augment the skill and style of any player.102pp. T h i s is a permanent book. and will not drop out. 16 problems by William Meredith. and finally. A Dover original. v -f. is represented by 8 of his lightweight problems. chess writer and editor. Paperbound. known for his ingenious illustrations of black interferences. as often happens with paperbacks held together with glue. In his presentation the author also goes a long way toward helping the relatively unskilled player to master these ingenious problems. A D O V E R E D I T I O N D E S I G N E D F O R Y E A R S O F USE! We have made every effort to make this the best book possible. T h e binding will not crack or split. ISBN 0-486-22166-0 $2. the earliest of the American masters. with their unusual settings. well-known as a judge in problem tourneys—provides a brief historical survey of chess problem composition in America.HOWARD T h i s is a collection of profound and ingenious chess problems composed by eight of the most outstanding American composers—160 masterpieces in all. a master in the blending of elegance of construction with strategical ideas. George Carpenter. a detailed vocabulary of the specialized terms used in his commentaries and in discussing chess problems in general. Loyd is well represented by 24 of his world-famous problems. spectacular keys and subtle continuations.CHESS PROBLEM GEMS BY EIGHT EMINENT AMERICAN COMPOSERS KENNETH S. In a group of prefatory essays. first published in 1973. J. in the method traditionally used for the best books. the prominent surgeon who was also the most outstanding American task composer in chess. T h e r e are 32 problems each by William Shinkman. it will not discolor or become brittle with age. and a short explanation of the notation used. being either out of print or previously uncollected. 160 problems with full solutions. no matter how advanced. and D. with minimal show-through. with his varied and colorful style. 53/g x 8i/g. Any chess enthusiast working through this treasury will discover one subtle and exciting master problem after another. Densmore.