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The first Spanish books about the game of draughts have a very high standard and date from the XVI century, while the first French book comes from the XVII century and the game description is very basic. Contrarily to this evidence scholars did not consider it necessary to grant Spain the honour of being the country of creation of the game of draughts and of the new modality in chess with the new dama. Both the Alquerque-3 and the Alquerque-9 games were known in Roman times. The situation is completely different for the Alquerque-12 game. It is said that the Alquerque has its origin in Egypt. Perhaps this is the case for the Alquerque-3 and Alquerque-9 games, but never for Alquerque-12. Some authors claim that the Alquerque-12 game is a Greek or Roman game, but the great expert of these games, Dr. Ulrich Schadler, discards those theories. The first volume of the Alquerque-12 game unravels France and Spain. The second volume deals with the remaining countries of the world."
Since 1987 we have defended in articles that the Spanish queen Isabella I of Castile (Isabel la Catolica) was the new chess queen (dama) on the chessboard. Other publications were in 1990, 1994, 1997, and 2004. And of course, Marilyn Yalom studied our book during her visit to the National Library in The Hague (Holland) before she wrote Birth of the Chess Queen in 2004. In her book one cannot see that in 1987, 1990, and 1994 we already published material about Isabel la Catolica (Isabel I of Castile) being the new powerful dama or chess queen on the chessboard. In other words we can state here that we have been studying Spanish history and its chess literature for over 30 years. Since 2003 we have also known the development of the new bishop in chess."
Every checkers player knows about Woldouby's famous position. This 21 year-old Senegalese drew a lot of attention in Paris in 1910 when he won against all challengers in his store located in the Senegalese village of the Exposition of Jardin d'Acclimatation zoologique. No one understood how this player could win all the games that fast. After Amadou Kandie Woldouby was the second African who participated in a checkers tournament in Paris since he became the city champion in 1911. In 1911 he left France and no one knew his whereabouts since then. In this biography we show that Weiss' golpe (shot) actually was Woldouby's golpe, since he won against Isidore Weiss with it. On the other hand we want to show that Woldouby returned to Senegal in 1911 to take the place of a checkers runner-up in 1913. His biography deserves a worthy place in the history of checkers, as he was the prominent predecessor of the famous Senegalese checkers player Baba Sy.
After more than fifty years, Cycles of Conquest is still one of the best syntheses of more than four centuries of conquest, colonization, and resistance ever published. It explores how ten major Native groups in northern Mexico and what is now the United States responded to political incorporation, linguistic hegemony, community reorganization, religious conversion, and economic integration. Thomas E. Sheridan writes in the new foreword commissioned for this special edition that the book is “monumental in scope and magisterial in presentation.” Cycles of Conquest remains a seminal work, deeply influencing how we have come to view the greater Southwest and its peoples.
The City of Glasgow possesses an internationally renowned collection of Impressionist and Post-Impressionist paintings. This magnificent book, the catalogue for a major exhibition, features sixty-four of the finest paintings in this collection, including important works by Rousseau, Corot, Monet, Renoir, Cézanne, Gauguin, Van Gogh, Picasso, Derain, Matisse, and Rouault. The lavishly illustrated book provides a short essay on each work as well as full catalogue details. There are also four introductory essays by prominent scholars that set the paintings in context. Irene Maver examines the social, political, and economic environment of Glasgow from its beginnings until the First World War; Frances Fowle charts the taste for French art in the west of Scotland during the late nineteenth and early twentieth century; Hugh Stevenson explores the early history of the city's collection and its assimilation of contemporary French paintings; and Belinda Thomson discusses how Glasgow's collection relates to the wider historical context of French painting of the period.
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