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George-style set The increased interest in the game of, particularly in international play during the late 18th century and early 19th century, brought about a renewed demand for a more universal model for. The variety and styles of the conventional form, begun in the 15th century, had expanded tremendously by the beginning of the nineteenth century. Conventional types popular during the period included the English Barleycorn chess set, the St. George chess set, the French Regence chess set (named after the in Paris) and the central European. Most pieces were tall, easily tipped and cumbersome during play, but their major disadvantage was the similarity of the pieces within a set. A player's unfamiliarity with an opponent's set could alter the outcome of a game. By the early decades of the 19th century, it was all too clear that there was a great need for a chess set with pieces that were easy to use and universally recognized by of diverse backgrounds.

The solution, first released in 1849 by the purveyors of fine games,, sport and games manufacturers, of,, was to become known as the Staunton chess set after (1810–1874), the chess player and writer who was generally considered the from 1843 to 1851. Although has long been credited with the design, it may have been conceived by his brother-in-law and owner of the firm, John Jaques. One theory of the development of the set is that Mr. Aplikasi Facebook Yang Bagus Dipakai Di Hp Symbian on this page. Oblivion Guida Strategica Pdf Printer. Cook had used prestigious architectural concepts, familiar to an expanding class of educated and prosperous gentry. London architects, strongly influenced by the and the, were designing prestigious buildings in the.

The appearance of the new chessmen was based on this style and the pieces were symbols of 'respectable' Victorian society: a distinguished, a 's and 's, a carved as a 's head from the from the Parthenon, and a streamlined into clean classical lines, projecting an aura of strength and security. The form of the was based on the '; however, another theory regards the pawns' form as derived from the balconies of. There were also practical innovations: for the first time a crown emblem was stamped onto a and of each side, to identify their positioning on to the king's side of the board. The reason for this is that in, the rooks and knights were often designated by being the 'queen's knight', the 'king's rook', etc. Another possibility is that Jaques, a master, 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 new design that used universally recognizable symbols atop conventional stems and bases. Moreover, the pieces were compact, well balanced and weighted to provide a useful understandable playing set.