Die Schachspieler and The Morphy Anecdote

In 1888 there was an ongoing controversy over a Paul Morphy anecdote provided by Gilbert R. Frith The contentious correspondence included such laudable chess luminaries as John A. Galbreath and Miron Hazelton.

Before getting into the controversy, let's examine the subject of the Morphy Anecdote - an 1831 painting by Friedrich Moritz August Retzsch entitled, Die Schachspieler, Les joueurs d'échecs or The Chess Players. We'll start with the painting itself and a wonderfully brief description provided by ArtFact in the auctioning off of the original:

"Friedrich Moritz August Retzsch (1779-1857) Die Schachspieler oil on panel 12 x 15.3/8in. (32.3 x 39cm.) Provenance Queen Isabella II of Spain (1830-1904). Monsieur Chappuis, a gift from the above. E. Constantin, Paris, acquired from the above in 1898, and thenceby descent. Lot Notes Moritz Retzsch, like many artists of his generation, was fascinated by Faust. Die Schachspieler, while not an explicitly Faustian episode, is full of Faustian flavour in its rich allegory of the Devil's battle for a man's soul. The position of the chessboard, to take just one element, placed squarely on the lid of a sarcophagus, leaves the spectator in no doubt as to this particular endgame. The two principal

protagonists in this drama face one another across the board. Satan, resplendent in his green cape and a red-feathered cap, glowers across at Man, whose soft, classical features are buried deep in troubled contemplation. Man is watched over by his guardian angel. Her dark expression, however, hints that no intervention is planned and Satan's seat - his throne -boasts the sinister decoration of a fierce, snarling lion's head its feet resting on the classic momento mori, a grizzly skull, indicating the likely outcome of the match. The chess pieces themselves represent the struggle. The black King's modelling echoes the mantle and cap of his master, urging his soldiers onwards. The figure immediately in front of the King tramples on a cross, alluding to Satan's avowed aim of destroying Christ's church, while the griffin-headed monster to his left raises his left arm as though in peace meanwhile hiding a vicious stiletto behind his back. Such terrible intent is repeated throughout the black pieces, who advance, seemingly without respite, on the virtuous white set. This advance is rhymed by the approach of the spider towards Man which, with its power to spin a fatal web, symbolises Satan's mission to ensnare the believer. Offering some insight into the brooding personality of Retzsch is Mrs. Jameson, an English commentator who, upon visiting the artist's studio in Dresden in 1833, wrote: 'I saw in Retzsch's atelier...the head of an angel smiling. He said he was often pursued by dark, haunted by melancholy forebodings, desponding over himself and his art "and he resolved to create an angel for himself, which would smile upon him out of heaven"' (Mrs. Jameson, Visits and Sketches at Home and Abroad, London, 1834, p. 125). "

A great article appeared in The Saturday Magazine, Volume 10. May 6, 1837, which gave the following sketch (photography was in it's infancy at that time) and an

Is not thin type well cut, in every part; Full of rich cunning, filled with Zeuxian art?—Quarles. We return with pleasure to notice the works of this gifted artist; and now present to our readers a copy of one of them, which appears to us astonishing in its conception and execution, and will, if we mistake not, become the best known of all that he has executed. Retzsch's several published outlines are familiar to us; and, although there is not a single instance of cross-shading, no colour of any kind, the interest they excite impels us to return to them again and again ; and every time we look at them, we see some new beauty. So completely, indeed, do they take possession of our minds, that we forget the total absence of those incidental aids which the higher branches of the art call in to their assistance. What, then, is the secret of Moritz Retzsch ?—" the witchcraft he has used?"—We should answer,—-A deep moral feeling, which appeals directly to the heart,—a perfect comprehension of his subject, and correct drawing. In this latter quality, indeed, he is almost without a rival in modern days. He has been compared to Flaxman, who finished some most expressive outlines, but whose classical severity of style must always fall short in popularity, of Retzsch, with his kindly household feelings, " common Nature's daily food," mingled, occasionally, with all that is awful and sublime. We are fond of emblems and allegories. The old wood-cut emblems of Alciatus * [footnote * An Italian who wrote, in Latin, early in the sixteenth century, and whose volume of emblems went through many editions, and obtained universal credit.] contain a mine of good and useful advice; those of George Wither, engraved by Crispin Pass, and " quickened with metrical illustrations, both moral and divine," may be examined with advantage by the candid reader; and even Quarles, though full of strange fancies, quaintly expressed, speaks a language sufficiently intelligible for the improvement of the heart and mind; and this, we maintain, ought to be the chief aim of art, as well as of literature. There are, perhaps, not a few persons who, however unwilling to listen to instruction in the common course of teaching, may, by the " ocular language" of a well-imagined emblem, have been informed of their fault and danger, or reminded of certain duties, and risen up from the contemplation of the subject, wiser and better than they sat down. This remark may, in some happy instances, be found true with reference to our present engraving, the subject of which is, Satan Playing At Chess With Man, For His Soul. The peculiar powers of the artist have here a fine field for their exertion. The finely-formed, but wicked and terrific, countenance of Satan is directed towards his victim, whom he is watching with a wariness and stern purpose, that make us tremble for the beautiful and youthful antagonist. The fallen angel, who " was a murderer from the beginning," is robed in a mantle, with broad folds ; one hand is supporting his chin, as if he were intent on the effect of some deeply-plotted move, and the other grasps a figure of Peace, which he is taking from the board. The young man rests his head upon his hand, as

if he were fearful of impending ruin, and desirous of averting it. Between these two figures, and behind the board, stands the Good Genius of Man, anxious and distressed, as if fearful for the youth. The attitude of this angel is beautiful; the countenance is of a pensive*cast, the hands are clasped, the wings half-spread ; the head is gently turned towards the important charge, and we feel afraid, that at the next move those wings will bear the guardian spirit away. With regard to the Chessmen : on the side of the demon, the King represents himself; his Queen is Pleasure, pressing forward in front of all; his officers are, Indolence, like a great swine ; Pride, strutting about with a peacock's tail; Falsehood, with one hand on his heart, and the other holding a dagger behind him; Unbelief, trampling on the Cross; Anger, &c.; the Pawns are Doubts ; and, alas for devoted man! the only pieces which he has taken are Anger, like a turkey-cock, and one Doubt; while Satan has secured several cherub forms, which are the Pawns of Man, and are symbolical of Prayer. There is no little beauty in the thought of introducing prayers under the emblem of pawns; inasmuch, as, if persevering and effectual, they may recover the vantage-ground which had been lost. Humility, Affection, and Innocence, are also taken ; but Religion, Truth, and Hope are still left. All the pieces are well set forth ; and it is evident that Satan's arc coming down in full force against those of his antagonist. This design requires a long study, and affords much matter for reflection ; every part will bear the most minute scrutiny ; and it is scarcely possible for any one to quit it, without a deep sense of the moral which is conveyed by the allegory. We cannot conclude this paper, without alluding to a fine passage in The Pilgrim's Progress, and expressing a wish, that the issue of the contest, so spiritedly depicted by Retzsch, might prove as happy to the party in jeopardy, and as favourable to the interests of religion, as that of Christian's fight with Apollyon. This sore combat lasted for above half a day, even till Christian was almost quite spent. For you must know, that Christian, by reason of his wounds, must needs grow weaker and weaker. Then Apollyon, espying his opportunity, began to gather up close to Christian, and, wrestling with him, gave him a dreadful fall; and with that Christian's sword Hew out of his hand. Then said Apollyon, "I am sure of thee now!" And with that he had almost pressed him to death, so that Christian began to despair of his life. But as God would have it, while Apollyon was fetching his last blow, thereby to make a full end of this good man, Christian nimbly reached out his hand for his sword, saying, "Rejoice not against me, O mine enemy: when I jail I shall arise" (Mic. vii. 8); and with that gave him a deadly thrust, which made him give back, as one that had received his mortal wound. Christian perceiving that, made at him again, saying,—"Nay, in all these things we are more than conquerors, throuyh Him that loved us" (Rom. viii. 37); and with that Apollyon spread forth his dragon's wings, and sped him away, that Christian saw him no more. The reference to Bunyan's Pilgrim's Progress reminds us, in the first place, that it has never been adequately illustrated, and, in the next, that Retzsch's pencil and graver might, in all probability, be well and profitably employed in embellishing the First Part of that extraordinary work. Would not his master-hand find ample scope in delineating such scenes as the following ?

1. Christian leaves the City of Destruction, and meets Evangelist. 2. Christian comes to the Cross, and is cased of his burden. 3. Christian ascends the Hill Difficulty. 4. Mistrust and Timorous leave Christian. 5. Christian fights Apollyon. 6. The Valley of the Shadow of Death. 7. Vanity Fair. 8. The Trial of Christian and Faithful. 9. Christian and Hopeful escape from Doubting Castle.

Our Monthly 1872 OUR MISCELLANY. THE GAME OF LIFE. Pictures are often more expressive, and impressive, too, than language; the easel of the painter, or the burin of the graver, than the written or spoken descriptions of the most accomplished writer, or the most graphic and eloquent speaker. No words could so display the grandeur and beauty of nature, ?? do the paintings of Church and Bierstadt. No written or spoken expressions could set forth "The Rake's Progress" as vividly as the sketches of Hogarth. No language could s? thoroughly expose to the popular mind the follies of the Ecumenical Council, or the [unreadable] of the New York Tammany clique, [unreadable] and cutting cartoons of the [unreadable] Nast. Genius will display itself in almost anything. And judging from the specimens we have seen, we should say that Moritz Retzsch was the very genius of Etching; at the same time, the Milton and the Shakespeare of the pencil and graver. He was born at Dresden in 1779. His etchings illustrating Goethe's "Faust," which were published in 1812, at once established his reputation, both in Germany and other countries. These were followed by his illustrations of Schiller, of Shakespeare, of Burger's "Lenore," and his " Ballads," and also, of other popular works. He was not only highly esteemed as a portrait painter, but was preeminent among the artists of his time as an original designer in outline. His illustrations of " Faust," in particular, have rarely, if ever, been surpassed by any works of the kind; while his "Hope Deceived," 'The Scourging of Genius," "The Repose of Love," and " The Soul of Man, or the Sphinx," all evince original, inventive, and powerful talent. He died at Dresden, in 1857. But of all the etchings of Retzsch, perhaps the most striking and effective is the one, the title of which is (in part) at the head of this article. It is called "The Chess Players," or " The Game of Life." In this, with a power and felicity that belong only to genius, Retzsch has pictured to us a scene and forms, that fill ??, as we gaze, with terror and thoughtfulness and grief. We are amazed and delighted with his " fancies " of such wondrous power. We fear and tremble as we think of their reference to ourselves. He has given us a design, of which it is hardly too much to say. that it should be hung up in the study of every artist, in the chamber of every young man, "in the closet of every father's meditations, and in the oratory or every mother's prayers." It is the devil, playing with a young man, the game for his soul We take the description of it, mainly from the letterpress, which was issued with the engraving.

The scenery, as might be expected, is chosen with reference to the fearful thought to be expressed. The place where the game is played, is in keeping with the presence of that dark and terrible being, whom we associate with all that is alarming and horrible. It is a wide vault, its arch formed by two lizard-shaped monsters, whose misshapen heads rest on the claws with which they adhere closely to two pillars, down which they seem to be creeping. The upper surface of a tomb within this vault is chiselled into a chess-board; and on this is played, by the two antagonists, the game of life—the game of Satan for the young man's soul! On one side sits Man, as a fair and noble looking youth, his head, with its curling locks, resting on his hand, and his countenance, as well it might be, full of serious and anxious thought. Opposite, sits Satan, the prince of darkness, seated in a chair, one of the arms of which is a lion, open-mouthed, as if "seeking whom he may devour ;" while, lower down, is seen one of the claws resting on the skull of some previous antagonist, who has been beaten in the game, and then destroyed by the evil one. About hU shoulders is a broad cloak, from which his bony hand and claw-like fingers are put forth for the game. In his cap is the long and crooked feather from the cock's tail, which, with the ancients, was the emblem of cunning and malice. The features of his countenance are noble, for he is still an angel, though fallen; but their expression, as is fitting to his fallen state, is devilish and hateful, full of coldness, and falsehood, and cruelty. His brow is knit, and his eye fixed, with malicious eagerness, on the game, while the hand covering the chin may either conceal an expectant and exulting smile that the prize will soon be won, or hide the lip compressed, and the teeth set with vexatious fear that his antagonist may possibly win. Between the two players, and a little in the back ground, stands an angel, gentle and lovely, with outspread wings, the guardian spirit of the young man. To drive him away, is beyond the power of Satan. Only the young man himself can renounce, and thus banish him. But, on the other hand, the angel, like conscience can only warn and counsel, not absolutely control his conduct. This guardian spirit is looking down in sorrow on the game, and in view of its critical state, seems almost ready to despair and depart, and yet is still waiting in hope for the best. And now for the game itself. On Satan's side, the King is his own image, muffled, indeed, in a cloak, but still known at once. His Queen, a voluptuous female, with uncovered bosom, is Pleasure; her left hand pointing to her own seductive charms, while her right holds out the intoxicating cup. The six officers of Satan are six vices. The first is Indolence; with heavy form, and hanging arms, and stupid look, sitting idly on an unhewn block of wood. The second is Anger; rash and headlong, like the turkey-cock, that flies into a rage with every object, and having the head of that easily excited bird. The third is Pride, moving stiffly forward, with a feather crown, and bead tossed backward, a» if in scorn; with spurs on the heels, and an order on the breast; a full purse in one hand, and the other stretched haughtily forth, as if giving a command. He seems looking back at his splendid peacock's tail, which, as it is spread for display, hides from his own eyes the uncomely parts which it exposes to the view of others. The fourth is Falsehood; spotted like a tiger, and with a head like a cat; one hand on the breast, as if to assure good faith, while the other conceals a dagger behind her back. The fifth is Avarice, with Envy, as one person, bent and lean, gnawing its own hand, and pressing a casket, under its arras. The sixth and last, is Unbelief, a bold and impudent figure, horned, and

with hands to its sides, as if in token of self-sufficiency, and overthrowing a cross with its foot. The eight pawns are Doubts; small, harpy shaped creatures, with wings like bats, emblematic of darkness, and sharp teeth, ready to bite and devour. On the side of the young man, his own soul is the King, with a broad robe firmly drawn about him, and the wings of the butterfly on his shoulders, in token of his immortality. His Queen is Religion, the most powerful of all defenders ; a noble, majestic female, with angel wings; one hand outstretched, as though giving protection, and the other holding the cross, the emblem of the faith. The first, of his officers is Hope, resting on her anchor, and looking forward as though in expectation. The second is Truth, with a lighted torch and a reflecting shield, standing with Hope, as a castle, on her side. The third is Peace, with the palm branch in her hand The fourth is Humility, with her head bent in prayer, and her person plainly clad. The fifth is Innocence, as a naked child, unsuspecting and guileless, and stretching forth its arms confidingly to all. And sixth, and last, is Love—two children affectionately embracing each other, with cheek pressed to cheek, while above them is a bright single star. The pawns are Angel Heads, winged and worshipping, signifying prayers; for, as in the game of chess, an officer lost may be recovered by a pawn, so a spiritual loss may often he recovered by prayer. Such are the pieces on either side. As to the game, it stands ill for the young man. His adversary has already weakened the power of prayer, by taking from him several angel heads. Love is lost; Innocence is lost; Humility is gone; and Peace, just seized, is still in the grasp of Satan. Pleasure, Unbelief, and Evil Doubts, are all urgently pressing forward against Religion; while she still stands, tranquil and sublime, protecting man, who though attacked in so many ways, is yet safe, and may hope for escape so long as she is not given up. Unhappy man has only vanquished Anger, and overcome a single Doubt. And the danger of hie position is been, also, in the figures sculptured on the sarcophagus, viz., Psyche, (the soul,) alarmed at the approach of Death ; two Death's heads, with tieshless jaws, seizing on her wings— she, horror struck, endeavoring to escape, knowing that if she can get away from her phantom tormentors, they, rooted and fixed as they are in the marble, will be unable to follow her, so that tho terrors of the grave will not overcome the soul. Such is the striking allegory—bold, original, in perfect keeping in all its parts, and in all full of meaning. No one could have wrought it out but an artist of wondrous and almost fearful power, and of terrible acquaintance with the realities of life amid the dangers that beset the soul. It speaks, in every line, of all that is most serious in life, and dangerous in our earthly probation. It admonishes in solemn tones of the temptations that always beset us, and warns us that through indolence, pride, falsehood, avarice, envy, unbelief, and evil doubts, the soul is exposed to ruin,—and that it is only by struggling with and overcoming these, we are safe. On the other hand, it inculcates truth, humility, and love; peace, which flows only from a good conscience, innocence, with its child-like spirit, and hope with its cheerful courage,—the pledge of effort, and the presage of victory. It tells us that prayer is the best shield against temptation ; and above all, that while religion is preserved, we are safe,—while if she is sacrificed, all is lost. Deeply let these lessons be pondered. especially by the young,—and above all, by young men. Let every one remember that "The Game of Life" is in progress, and the stake, to each, is his own soul! -Byron Edwards, D.D.

from The International cyclopedia by Selim H. Peabody and Charles F. Richardson 1898: FREDRICH August Moritz, an eminent German painter and engraver, was b. in Dresden, Dec. 9, 1779, studied at the academy of his native city, where he became a professor in 1834. Retzsch died July 11, 1857. He has acquired great celebrity by his illustrations in outline of the great German poets, Schiller, Goethe, etc. — those of Goethe's Faust being particularly well known, not only in his own country, but also in France and England. His illustrations of Fouques charming romances, Undine and Sintram, are singularly beautiful. Retzsch likewise executed several fine works, the subjects of which are taken from the classical mythology, as " The Child Bacchus asleep on a Panther," "Diana," "Love and Psyche embracing in the Clouds ""A Satyr and Nymph." "The Four Epochs of Human Life," etc. Among his other works of conspicuous merit are: " The Struggle of Light and Darkness," " The Chess Players." and "Fantasies." Retzsch ranks as one of the most original, thoughtful, and vigorous artists of modern Germany. His works display the presence of a strong, inventive, and cultured imagination, whose efforts at expression never degenerated into a weak scutimentalism. As a miniature oil-painter Retzsch was also very successful.

Gilbert R. Frith wrote an essay for the Columbia Chess Journal describing an incident in which Morphy offered to, and succeeded at, playing for "Man" in Retzsch's painting (below) and saving his seemingly lost game against Satan for which his soul was at stake.

The correspondents refer to the picture as "Jeu d' Echecs" (The Game of Chess) rather than the correct " Les joueurs d'échecs" (The Chess Players). Galbreath mentions that the a1 square is white instead of black. The reproduction of the original clearly shows the a1 square as black.

Columbia Chess Chronicle 1888

ANECDOTE OF MORPHY THE following anecdote of that phenomenon of Chess, Paul Morphy, may interest not only the lovers and followers of the game, but the general public as well. It was related to the writer by tlie gentleman at whose home in Richmond, Va., the incidents occurred. The host of that evening, twenty odd years ago, survives the champion, and still, with undiminished vigor and ever fresh enthusiasm, gladly gives combat as of old to any Knight who essays his prowess on the checkered field ; and it may be premised, whether he prove victor or defeated, that any such essayist will enjoy a combat which may readily be arranged for at the 'Chess Club at Richmond, Va.

In the early days of " the late unpleasantness" when it would have been much more difficult to have arranged for a casual Chess encounter between North and South "that has been premised above, the celebrated Paul Morphy happened to be in Richmond, as an officer on Beauregard's staff. The war spirit must have been very absorbing in most men's minds, and of deepest import was it to our friends. Still it takes a great deal to thoroughly banish Chess. The arrival of the noted player excited, even at that troublous time, a keen interest among the lovers of the kingly game. An invitation was extended to the champion, and, with himself as the centre, a coterie of notables assembled for an evening's play at the home of the hospitable Mr. H. How fortune went with Mr. Morphy in the earlier part of the evening mat easily be inferred. While at supper Morphy's attention was attracted by a picture which hung prominently upon the wall. This picture seems to be pretty well known, , and indeed somewhat celebrated, alrough the writer regrets that he himself never had the pleasure of meeting with it. It represents the—to speak politely - and he is thus politely depicted - Mephistphiles [sic] playing a game of Chess with a young man for his soul. The Chessmen with which his Satanic Majesty plays are the Vices ; the pieces of the young man are, or have been, the Virtues—for, alas! he has very few left. In bad case, indeed, is the unhappy youth, for his game, as represented, appears not only desperate but hopeless, and his fate sealed. His adversary gloats in anticipation of the final coup. and the gleaming smile on the face of the hitter intensifies the despair which that of the young man shows.' With the close of the supper, deeply interested, Morphy approached the picture, studied it awhile intently, then turning to his host he said, modestly: "I think that I can take the young man's game and win." " Why, impossible !" was the answer; "not even you, Mr. Morphy, can retrieve that game." " Yet, I think I can." said Morphy. " Suppose we place the men and try." A board was arranged, and the rest of the company gathered round it, deeply interested in the result. To the surprise of every one, victory was snatched from the devil and the young man saved. Thinking that a blunder must have led to this unexpected result, one after another did each sober, serious gentleman essay the devil's part, and to each in turn did Mr. Morphy prove that not even on intellectual grounds could the "enemy" be defended, for Morphy beat them one and all. The writer, who sends the narrative, thinking it too good to be lost, has long been interested to see this picture ; and it may interest readers to look for it, and with the position which is represented, try whether he or she could make an escape from the claws of the Evil One. G. R. F.

Editors C. C. C.—That was a very pretty anecdote told of Paul Morphy by your correspondent, G. R. F., in the Chronicle of August 18th, but there are three good reasons why it will have to go into the category with most fish stories. I would not take one leaf from Morphy's wreath of glory, yet the truth of history must be preserved. 1. Paul Morphy never was an officer on General Beauregard's staff, nor was lhe in the Confederate Army in any capacity. 2. About the time mentioned, Morphy was beginning to suffer from the malady which finally destroyed him, and one of his remarkable peculiarities was his aversion to Chess.

He could not bear to play Chess or to talk about it, except with a few persons with whom he was very intimate. Nothing could have induced him to play at a gathering after his return from Europe in 1858 or '59. 3. The lithograph alluded to a splendid subject, is a highly attractive picture with one extraordinary defect : the position of the Chess board violates one of the fundamental laws of the game, a black square is to the right of each of the players instead of a white one. Dayton truly says that the position attempted to be shown in the picture is impossible to be deciphered. I have a copy of the lithograph and have tried in vain to make out the position. I cannot understand how Mr. Chas. Gilberg reaches the conclusion that the position he furnishes in the Chronicle of Sept. 22nd is the one represented in Retzsch's picture. Mr. Gilberg's position is on a rightly placed Chessboard, and with ordinary Chessmen, while in the picture it is the merest guess work as to which of the Chess pieces, the grotesque figures there presented are intended to correspond. The picture I have is a large, colored lithograph. 24X191/2, " Dess. par le Prof. Retch " is printed in the lower left-hand corner, "Jeu d'Echecs " is the title. "Imp. Lemercier, Paris" and " Publie par Daziaro, Paris, St. Petersbourg, Moscou et Varsovie " is printed in the centre, under the title, and " Lith. par Chevalier" is printed in the lower right-hand corner. The scene represented is weird and powerful. In the foreground is the table, seated at which, partially turned to the front, one easily recognizes Mephistopheles with bristling moustache, traditional head-dress, and wearing cock's feather. His right elbow rests on the table, the hand supporting his chin, in which position he is gloatingly contemplating the noble-appearing young man on the other side of the board, whose turn it is to move. The youth has his right hand to his fair white forehead, and is anxiously scanning the board hoping to find a loophole out of the dilemma in which his manner plainly shows him to be. The side of the table presented to view is covered with coverings of human skulls and other bones, the centre of the adorn ments being the figure of a woman in sitting attitude her hands to her eyes and weeping. To the right of the Satanic player is an attendant Dragon, one of its paws holding a human skull. In the background the " Angel of Mercy," with a pitying expression on her face, is contemplating the game. Beyond her is an arch very like the one illustrating the front of Mr. Steinitz's International Magazine. The two columns of the arch are guarded by lizard-like monsters, and beyond the arch is utter darkness. Mephistopheles is playing with the black forces, and their grotesque and hideous figures are like the phantasmagoria of a nightmare. The white forces are Angels, Saints and Cherubs, but as remarked before, it is quite impossible to determine which of the Chess pieces any of the figures are intended to correspond. The position of the board makes the game all wrong to a Chess player, but nevertheless the conception and the general features make the picture remarkably attractive to anyone who sees it. —Jno. A. Galbreath. Vicksburgh, Miss., Oct. 9th.

CORRESPONDENCE "ANECDOTE OF MORPHY " Editors C. C. C.—On leaving Richmond last July, and a leturn to the State being indefinite, I sent to you, as a conclusion of some pleasant services as contributor of Chess happenings at Richmond and in Virginia, an anecdote of Morphy, which I had heard from a member of the Richmond Chess Club, whose home was the scene of the incident. It had often occurred to me before to send the story to one of the Chess periodicals, for it struck me as a singularly interesting one, which ought not to be lost to the Chess world. Knowing that he would be averse to needless publicity, the name of the gentleman from whom it came was not given, and to the recital I appended my own initials. After its appearance in the 'Midsummer Number of your magazine several notices of one kind and another appeared in your columns as evidencing the interest the story has excited. One correspondent, however, signing " Dayton," in the number of September 8th, threw discredit on the narrative, because, as he claimed, no position could be made out from the picture. He concluded thus: "It is a pily to spoil such a good story, but Morphy's fame does not need any fictitious aid, and the truth of history should be vindicated." Before my rejoinder to this could be made, Mr. Charles Gilberg appeared with effectual aid, and in C. C. C. of 22d idem furnished a diagram showing an actual position, and offered to show to any one who might be interested two pictutes of this same subject, but differently treated—one being an etching, the other and larger one a colored engraving. This seemed in itself a sufficient answer to " Dayton," and however interesting the anecdote might be, it seemed needless to raise a controversy about it. So I was content to state that I knew the story to be substantially correct, on account of the source whence it emanated, and I tendered thanks to Mr. Gilberg. I have myself never seen the picture alluded to; am willing to suppose that the Chess position may not be apparent to a casual observer, as I had conceived to be the case; and to this extent "Dayton" was warranted in taking exception, perhaps; but he was not justified in characterizing the story as fictitious. This, my second communication, again with initials appended, was penned 13th October, but before it was published in C. C. C. another communication, written about the same time, appeared in number of October aoth, and this was so positive and contradicted the statements in the Morphy anecdote so flatly as to call for some vindicatory notice. The letter in question is subscribed "Jno. A. Galbraith," and bears date Vicksburg, Miss., Oct. 8th. Mr. Galbraith states that "there are three good reasons why it (the 'very pretty story,' as he calls it) will have to go into the category with most fish stories." First he says, very positively, that Paul Morphy never had any connection with Beauregard or the Confederate army. Secondly, with equal positiveness he avows, that Morphy's remarkable revulsion and aversion to Chess had already come upon him at the time attributed to the incident, and that " nothing could have induced him to play at a gathering after his return from Europe in 1858 or "59." Thirdly, that from the picture it is " impossible" that any position can be deciphered. Mr. Galbraith adds, like " Dayton," "the truth of history must be preserved." So be it. In one thing I agree with Mess. Dayton and Galbraith : the fame of Mr. Morphy as a Chess player needs nothing to enhance it. His position is a unique one,, and can now be neither increased nor belittled. The story was not given for any such reason, but because it did seem worthy of him, and worth preserving. Readers of the C. C. C. can judge from

the following how far it is substantially authenticated. Mr. Harrison, for many years a prominent lawyer of Richmond, is now the beloved pastor of one of her churches. Though adverse to being brought conspicuously into print, he gives his statement as a tribute to " the truth of history." The public, I think, will agree that such a recital as this Morphy incident might come appropriately from the pulpit itself. It is a personal satisfaction to be thus, through the frank courtesy of Mr. Harrison, enabled to sustain a story coining from him, and through one of the most genial, courtly and charming of all possible coteries, " The Richmond Chess Club." Long life to it ! Through the courtesy and hospitality to strangers, so proverbial of Virginians, the writer may boast what he esteems a high honor—certainly not won by any masterly qualities of his own in the noble game, —that of having been a president of the R. C. C., and also of the State Chess Association of Virginia. Respectfully, Gilbert R. Frith. Rosedale, Toronto, 13th Dec., 1888.

Statement of Rev. R. R. Harrison "Some time in the autumn season of 1861, Paul Morphy, Esq., of New Orleans, who had gained the reputation of being the most skillful Chess player in the world, came to Richmond, Va. I had been for seventeen years a resident in the city, engaged in the practice of law. I was fond of Chess, and was a member of their Chess association of the city, which was composed of a number of gentlemen who had attained some skill in the game, among whom may be mentioned Hon. John Robertson, Judge in the former General Court of Virginia; William F. Wickham, Col. John E. Johnson. Charles Pinckney Burruss, Richard G. Morris, John F. Shackelford, Col. J. Thompson Brown, Dr George W. Jones, and others. Soon after Mr. Morphy arrived in our city I paid him a visit at his hotel, and invited him to take tea and spend an evening with my family and a few invited friends at my residence on Governor Street. He very promptly and courteously accepted the invitation. On this occasion, besides my own family and Mr. Morphy, there were present Capt. Franklin Buchanan (afterwards admiral in the Confederate navy, and who commanded the war steamer Virginia, formerly Merrimac, in her successful encounters with the U. S. frigates Cumberland and Congress, and her terrible combat with the U. S. Monitor); John R. Thompson, Esq., the poet and author: and Capt. J. Nicholson Barney, also of the Confederate navy, and a descendant of the naval hero, Commodore Barney, of Baltimore. Mrs. Barney, who is my niece, and a daughter of the late Commodore T. A. Dorsini, U S. N., was also present. After supper, while we were assembled in the parlors, our attention was called to a colored engraving entitled "Jeu d' Echecs," which was hanging in the room. It represented Satan, in style and dress after the German ideal of Mephistopheles, and engaged in a game of Chess with a young man. The board is on the flat slab of a tomb and the guardian angel of the youth is represented looking down with deep sadness and interest upon the position of the pieces on the board. The young man's pieces represent the Manly Virtues, and many of them have already been captured and removed. Satan's pieces represent the Tempting Vices. I had previously examined the engraving with some care, and had sought to reproduce

the position on a Chess board. I had regarded the young man's game as hopeless. I now set the pieces and Pawns on a board on one of the parlor-tables, as I had gathered it from the engraving. The position in the picture was, it is true, somewhat obscure; but I thought that I had correctly reproduced it, and still think so. Mr. Morphy examined it-, and I remember well that he asked : " Do you think you have the position correctly?" I answered that I thought so, and we did the best we could, by re-examining the engraving, to verify the position of every piece and Pawn. Mr. Morphy said, in his quiet but, always dignified manner, that he believed he could take the young man's position and win the game. All persons who knew anything of Chess expressed surprise. But Morphy vindicated his belief in a short time. He took the young man's game, and played against each gentleman in succession and won ! Of those who were present, Buchanan, Thompson and Morphy have all passed away from this world. But Cap. Barney and his wife are alive, and in answer to a letter lately written to him by me he writes under date of Nov. 17, 1888 " I remember distinctly the admiration evinced by those present at the wonderful skill displayed by Mr. Morphy at Chess. My wife recalls the fact of your inviting Mr. Morphy's attention to the colored engraving of which you speak, with the remark that the young man seemed to be in a desperate position, or something of that kind. Mr. Morphy replied that he thought the youth's game could be won—that the pieces were placed on the board, she supposes, in the positions of those in the picture, (but being entirely ignorant of the game of Chess, she cannot positively assert this) and that Mr. Morphy did win the game against Satan." Thus the facts I have stated are substantially corroborated. I am not able however to reproduce the position now, but I am certain we thought we had reproduced it correctly from the picture. Mr. Morphy made many friends in Richmond by his genial and gentlemanly manners and virtues. He went up to the Confederate Army then hear Manassas under command of generals Johnston and Beauregard. It was understood that Mr. Morphy was a Volunteer Aid of general Beauregard though I believe he was never actually commissioned as such. While in Richmond, he played a large number of parties with our most skillful amateurs in Chess, always giving the odds of his Queen's Knight, and to the best of my recollection he only lost two games. Richmond Va., Nov. 20th 1888.

— The Baltimore Association possesses a small steel engraving representing nearly the same ideas as that spoken of in the " Anecdote of Morphy." Christ and Satan are opposed to each other with the Angels of Light and Darkness for Chess men, and the legend is that Satan is playing for the recovery of his 4ost powers and glories. As in the other picture, he has great superiority in pieces, and lie is represented with the same "gleaming," triumphant smile. But the similarity ends here, for his opponent requires no Morphy's aid, and instead of "intense despair" displays a serene and confident countenance. After a profound study of the position He (the legend says) announces mate in seven moves ! From the picture nothing can be made of the position, and we are compelled to take the story on faith. —E. B. L.

THAT MORPHY ANECDOTE Editors C. C. C.—If you are not already satiated ad nauseam with correspondence 'in re' the much discussed etching by Prof. Retch, "The Game of Life," I should like to "put in my oar." I can settle some of Brother Galbreath's doubts, who does not know of, or has forgotten, Mr. Wm. Peel's explanation of this Chess allegory in Vol. V., pp. 126 and 127 of the American Chess Monthly, April, 1861. Copies of this picture were given as premiums to subscribers to the C. M. A few copies, carefully colored by hand, were issued with the title, in large capitals, " Le Bon et le Mauvais Génie." My copy is from this small package, thanks to the partiality of my friend. Wm. C. Miller, publisher C. M. I do not, of course, know where Mr. Peel got his information; but he writes as one having knowledge if not authority. All the explanatory 'addenda' are as Mr. Galbreath gives them. Mr. Peet says:—" The scene is chosen with a sort of mysterious reference to the whole idea that is to be expressed. It is a wide vault, whose arch is formed by two lizard-shaped monsters, whose heads are half locust half bird. The upper surface of a sarcophagus is transformed into a Chess-board, and man as a fair youth sits at the table, his head, covered with curls as in early manhood, resting on his hand, his countenance full of careful thoughts. Opposite to him is Satan, the Prince of Darkness, seated in a large chair, one of whose arms shows an openmouthed lion 'seeking whom he may devour.' Satan's King is himself, with a cock's feather in his hat; his Queen, a voluptuous female figure with unveiled bosom, is Pleasure. The officers are vices : 1st. Indolence (Castle), sitting on an unhewn block of wood, with the head of a swine; 2d Anger (Castle), like a turkey cock; 3d Pride (Bishop), grave, moving stiffly forward, wearing on his head— which is tossed backwards — a feather crown, one arm insolently Ihrust into his side, but forgetful while displaying his splendid peacock's tail how much of what disgraces him he leaves behind him—one hand holds a full purse, the other is stretched out as if giving command; 4th Falsehood (Bishop), a form spotted like a tiger's, with the head of a cat, the ears laid fawningly back, one hand is placed upon the breast, and the other hides a dagger behind her; 5th Avarice and Envy in one form, a bent lean figure gnawing its own hand and pressing a casket under its arm; 6th Unbelief, an impudent horned figure, both hands thrust into its sides and overthrowing the cross with its foot. The eight Pawns are Doubts—small, harpy-shaped creatures, with wings like bats and sharp teeth. Man's King is his soul, with wings of a butterfly on his shoulders. His Queen is Religion, a lofty, majestic figure, with ample pinions, stretching out one hand as giving protection, and holding in the other the sign of expiation. The officers are—1st Hope (Castle), with her anchor; 2d Truth (Castle), with a lighted torch and a reflecting shield, stands with Hope as a castle at her side; 3d Peace (Bishop), with the palm; 4th Humility (Bishop), her head bent in prayer and her person sparingly clad; 5th Innocence (Knight), a naked child stretching forth its arms confidently to all; 6th Love (Kt), two children embracing each other, while above both rests a single star. The Pawns are here represented as angels' heads, winged and worshipping. The game stands ill for the human being. His adversary has taken from him several angels' heads. Love and Innocence are lost, Humility is gone, and Peace, just seized, is

still held in his clawlike fingers. Unhappy man himself has only vanquished Anger and overcome a single Doubt. Peace is already in Satan's hands; Innocence gone, Doubts urgent, and the assured prospect is that the whole game itself must be lost if Religion be sacrificed. Here follows the position in letter-press which Bro. Gilberg gave you on diagram. Of course the error of the artist in placing the board is of no practical consequence. After what you have given, the above explanation seems interesting and valuable. If it prove so, I gladly remain Yours, in Caissa's genial bonds. -Miron "The Larches, " Nov., '88.