Followed by Q. Kt. to R.'s 3d, and Q. B. to Q.'s 2d, &c. At this stage Black has at his disposal several moves beside the one of 7. B. to his 3d, adopted in the preceding game. The most important of these are 7. Q. P. two, and 7. B. to K.'s 2d. Q. P. two. 8. B. takes P. In the first place let us see the effect of 7 7. Q. P. two. 8. K. Kt. to B.'s 3d. If you take the P. with P., Black retires his B. to B.'s 3d and has a safe position. 9. B. takes K. B. P. (ch.) 9. K. takes B. If instead of so playing you take B. with Kt., he also takes B. with Kt., but you may play 9. K. B. to Q. Kt.'s 3d, with the following result: If, thinking to win a Piece, you advance the K. P. to K.'s 5th, Black will check at Q.'s 4th, and, on your interposing the Kt. as your best move, he will play Kt. to K. R.'s 4th. Referring again to the diagram, let us now see the proba ble consequences of Black's playing 7. B. to K.'s 2d. GAMES IN ACTUAL PLAY. ILLUSTRATIVE OF THE CUNNINGHAM GAMBIT. GAME I. Between two members of the Berlin Chess Club. White (V. H. d. L.) 1. K. P. two. Black (M. J.) 1. K. P. two. 2. P. takes P. 3. K. B. to K.'s 2d. 4. B. to K. R.'s 5th (ch.) 5. P. takes P. 6. P. takes P. (ch.) 7. K. B. to B.'s 3d. 8. B. takes Kt. 9. Q. to K.'s 2d. 10. Q. to her B.'s 4th. 13. K. Kt. to B.'s 3d. (c) 18. Q. P. two. 19. K. to. Kt.'s 3d. NOTES TO GAME I. (a) The correct reply is 5. K. to B.'s sq., as shown in the preceding variations. 5 K. Kt. P. one. 6. Castles. 7. K. to R.'s sq. 8. B. takes K. B. P. (ch.) 12. R. takes Kt. (ch.) 21. Kt. to K. B.'s 5th. 5. P. takes P. 9. K. Kt. to B.'s 3d. 13. Q. to K. B.'s 8th (ch.) And must win. NOTES TO GAME II. (a) Q. P. two is far better. (b) If White checks at K. R.'s 5th, Black's answer is K. to Kt.'s sq. (c) Q. to her 2d is a better move. (d) He must lose equally if the K. goes to his 2d. (e. g.) 17. Kt. to Q.'s 5th (ch.) 16. K. to his 2d. 17. K. to Q.'s sq. (A.) 18. K. to Q.'s 2d. 19. Q. to K.'s 7th (ch.) LESSON III. THE SALVIO GAMBIT. So called from having first appeared in the Treatise of Salvio, 1604, is, properly speaking, like the Cochrane Gambit, a variation of the defence of the King's Gambit, which springs from the second player advancing his K. Kt. P. to Kt.'s 5th, at the 4th move, in place of posting the K.'s Bishop at K. Kt.'s 2d. This method of defending the Gambit I have always regarded as somewhat hazardous, because it permits the first player to adopt the Muzio attack; but the situations arising from it are of singular interest and instruction. The principal works which have treated of this opening are Salvio; Cozio (1st vol. p. 35); Ponziani (1782), p. 126; Cochrane (1822), pp. 171–175; Silberschmidt (1845), pp. 79-98; Lewis (1844), pp. 338-343; Kassim (1829); Jaenisch, vol. ii. p. 233; Walker (1846), p. 205; and the German "Handbuch." 1. K. P. two. 2. P. takes P. 3. K. Kt. P. two. 4. P. to K. Kt.'s 5th. If, at your 5th move, instead of so playing, you leave the Kt. to be taken, the opening becomes the celebrated Muzic Gambit, which, with 5. B. takes K. B. P. (ch.), will form the subject of a separate Lesson. It would be bad play for Black to move Kt. to R.'s 3d, before checking with his Q., because you could at once castle, and regain the given Pawn. 6. K. to B.'s sq. 6. K. Kt. to B.'s 3d. It is this move of Black that constitutes the Salvio defence, of which, however, Salvio was not the originator, he having taken the variation from some Portuguese work, now unknown. It is not considered so advantageous a mode of defending the game as playing 6. Kt. to K. R.'s 3d, a move likewise indicated by Salvio, and the consequences of which shall be examined in the next game. 7. Q. to K.'s sq. (best). 7. Q. takes Q. (ch., best) If you venture to take the K. B. P. at your 7th move with the Kt., Black replies with 7. Q. P. two, and gains two Pieces for his Rook. If you take it with the Bishop, the following variation proves that the game will be also in his favour: 7. B. takes K. B. P. (ch.) 7. K. to his 2d (best). |