[blind-chess] Chess History Article #20
- From: Roderick Macdonald <rmacd@xxxxxxxx>
- To: Blind Chess Mailing List <blind-chess@xxxxxxxxxxxxx>
- Date: Thu, 13 May 2010 18:43:58 -1000 (HST)
History of Staunton Chess Pieces
by Sean Evans
The increased interest in the game, particularly in international play during
the late eighteenth and early nineteenth centuries, brought about a renewed
demand
for a more universal model for chess pieces. The variety and styles of the
conventional form begun in the fifteenth century had expanded tremendously by
the
beginning of the nineteenth century. Some of the more common conventional types
popular during the period included the English Barleycorn, the St. George,
the French Regence ( named after the Cafe de la Regence in Paris ) and the
central European Selenus styles. Most pieces were tall, easily tipped and
cumbersome
during play. But their target sin was the uniformity of the pieces within a
set. A player's unfamiliarity with an opponent's set could tragically alter the
outcome
of a game. By the early decades of the nineteenth century, it was all too clear
that there was a great need for a playing set with pieces that were easy to use
and
universally recognized by players of diverse backgrounds. The solution, first
released in 1849 by the purveyors of fine games, John Jaques of London, sport
and games manufacturers, of Hatton Garden, London, England, was to become known
as the Staunton chess set after the Shakespearean scholar, author and
the world champion, Howard Staunton ( 1810 - 1874 ).
Although Nathaniel Cook has long been credited with the design, it may have
been conceived by his brother-in-law and owner of the firm, John Jaques.
The first theory is Mr. Cook had used prestigious architectural concepts,
familiar to an expanding class of educated and prosperous gentry. London
architects
strongly influenced by Greek and Roman culture were designing prestigious
buildings in the neoclassical style. The appearance of the new chessmen was
based
on this style and the pieces were symbols of "respectable" Victorian society: a
distinguished bishops miter, a queen's coronet and king's crown, a knight carved
as a stallion's head from the ancient Greek Elgin Marbles and a castle
streamlined into clean classical lines, projecting an aura of strength and
security. The form
of the pawns was based on the 'Freemasons square and compasses', however;
another theory reflects the pawns form is derived from the balconies of London
Victorian buildings. There were also practical innovations: for the first time
a crown emblem was stamped onto a rook and knight of each side, to identify
their
positioning on to the king's side of the board.
The second theory is Jaques, a master turner, had probably been experimenting
with a design that would not only be accepted by players but could also be
produced at a reasonable cost. In the end, he most likely borrowed and
synthesized elements from sets already available to create a design of sheer
brilliance.
The key was the use of universally recognizable symbols atop conventional stems
and bases. Moreover, the pieces were compact, well balanced and weighted
to provide a playing set that was as useful as it was understandable.
Our belief is that it was a combination of both theories with the synergy of
Mr. Cook the entrepreneur and Mr. Jaques the artisan. Further to the design, the
ebony and boxwood sets were weighted with lead to provide added stability and
the underside of each piece was covered with felt. This afforded the players
the illusion that the chessmen were floating across the board. Some ivory sets
were made from African ivory. The king sizes ranged from 3.5 inches to 4.5
inches
and the sets typically came in a caron-pierre case, each one bearing a
facsimile of Staunton's signature under the lid. Jaques then approached his
brother-in-law
for advice. At the Patent Office, on March 1, 1849, Nathaniel Cook, 198,
Strand, London, England, registered an Ornamental Design for a set of Chess-Men,
under the Ornamental Designs Act of 1842. At that date, there was no provision
for the registration of any design or articles of ivory, registration was
limited
to Class 2, articles made chiefly of wood.
Mr. Cook was the editor for the Illustrated London News where Howard Staunton
published chess articles and convinced the champion to endorse the chess
set. The advertisement possibly written by Mr. Staunton published as follows:
"A set of Chessmen, of a pattern combining elegance and solidity to a degree
hitherto unknown, has recently appeared under the auspices of the celebrated player
Mr. STAUNTON. A guiding principle has been to give by their form a
signification to the various pieces - thus the king is represented by a crown,
the Queen
by a coronet, &c. The pieces generally are fashioned with convenience to the
hand; and it is to be remarked, that while there is so great an accession to
elegance
of form, it is not attained at the expense of practical utility. Mr. STAUNTON'S
pattern adopts but elevates the conventional form; and the base of the Pieces
being of a large diameter, they are more steady than ordinary sets."
Illustrated London News, September 8, 1849.
Staunton not only endorsed the product for Jaques of London but promoted it to
an extraordinary degree including the lambasting and derision of any other
design
of chessmen then proposed. This may have been the first time that a celebrated
name was used to promote a commercial product. The Staunton as it became
known, became available to the general public on September 29, 1849. The
Staunton style, was soon the standard on which most tournament playing pieces
have
been made and used around the globe ever since. The low cost to produce the
Staunton set allowed the masses to purchase sets and helped to popularize the
game
of chess.
The Staunton set obtained the stamp of approval of the World Chess Federation,
when in 1924 it was selected as their choice of set, for use in all future
international chess tournaments. For over a century and a half, this style has
been cherished by players around the world. The superiority of the design lay in
its well-balanced, easily recognized pieces. Such was its success that it will
be the style of choice for play to this day and for many years into the future.
----------
Sources:
House of Staunton
Jaques of London
Bill Wall
Book: Master Pieces, by Gareth Williams
Book: The Art of Chess, by Colleen Schafroth
----------
Copyright by Sean Evans
All rights reserved
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