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The most popular card games of the present day undoubtedly belong to the whist family, which embraces all those played with a full pack of fifty-two cards, ranking from the ace to the deuce, one suit being trumps, and the score being counted by tricks and honours, or by tricks alone.

The oldest and most important of the group is whist itself. The game appears to be of English origin, its immediate parent being “ruff and honours.” This was an old English game in which twelve cards only were dealt to each player, the uppermost of the remaining four being turned up for the trump suit. Whoever held the ace of trumps could “ruff” or take in these four cards, discarding in their place any four he chose. As the game developed into whisk, or whist, this ruffing feature disappeared. There was no stock, the four deuces being discarded from the pack instead. Twelve cards were dealt to each player, and the last was turned up for the trump.

About 1680 a variation of the game known as “swabbers” came into vogue. The swabbers were the heart ace, club jack, and the ace and deuce of trumps. The players to whom these cards were dealt were entitled to a certain share of the stakes or payments, independent of the play for tricks and honours. This variety of the game did not long remain in favor, but gave way to make room for one of the most important changes, the restoration of the deuces to the pack, which introduced the feature of the odd trick. This took place early in the last century, and seems to have so much improved the game that attention was soon drawn to its possibilities for scientific treatment.

About this time whist was taken up by a set of gentlemen who met at the Crown Coffee House in Bedford Row, London; chief among whom was Sir Jacob de Bouverie, Viscount Folkestone. After considerable experiment and practice this little whist school laid down the principles of the game as being: “to play from the strong suit; to study the partner’s hand; never to force partner unnecessarily, and to attend to the score.” It is generally believed that Edmond Hoyle was familiar with the proceedings of this set, and on their experiences based his celebrated “Short Treatise on the Game of Whist,” which was entered at Stationers’ Hall in London Nov. 17, 1742.

The only works previous to Hoyle touching upon whist were the “Compleat Gamester” of Cotton, which first appeared in 1674, and the “Court Gamester,” of Richard Seymour, 1719. One of Hoyle’s great points was his calculation of the probabilities at various stages of the rubber. This seems to have been looked upon as most important in guiding persons in their play, for we find that Abraham de Moivre, a famous mathematician, used to frequent the coffee houses, and for a small fee give decisions on questions of the odds at whist.

Bath seems to have been the great rallying-point for the whist-players of the last century; but the passion for the game soon spread all over Europe. In 1767 Benjamin Franklin went to Paris, and it is generally believed that he introduced the American variety of the game known as Boston, which became the rage in Paris some time after the war of independence.

So popular did whist become in Italy that we find the boxes at the opera in Florence provided with card tables in 1790. The music of the opera was considered of value chiefly as, “increasing the joy of good fortune, and soothing the affliction of bad.”

A code of laws was drawn up about 1760 by the frequenters of White’s and Saunders’ in London. These seem to have remained the standard until “Cælebs” published, in 1851, the code in use at the Portland Club. In 1863 John Loraine Baldwin got together a committee at the Arlington, now the Turf Club, and they drew up the code which is still in use all over the world for English whist. In the United States, laws better suited to the American style of play were drawn up by the American Whist League in 1891, and after several revisions were finally adopted, in 1893, as the official code for League clubs.

The literature of whist saw its palmiest days at the beginning of this century. 7,000 copies of Bob Short’s “Short Rules for Whist” were sold in less than a year. Mathews’, or Matthews’, “Advice to the Young Whist-Player,” went through eighteen editions between 1804 and 1828. After these writers came Admiral Burney, who published his “Treatise” in 1821; Major A. [Charles Barwell Coles,] gave us his “Short Whist” in 1835. Deschapelles published his “Traité du Whiste” in 1839, but it gave little but discussions on the laws. “Whist, its History and Practice” by Amateur, appeared in 1843. General de Vautré’s “Génie du Whiste,” in 1847. “Cælebs” [Edward Augustus Carlyon] wrote his “Laws and Practice” in 1851. Then in rapid succession came “Cavendish” in 1863, James Clay in 1864, Pole and “Cam” in 1865. Campbell-Walker’s “Correct Card” in 1876; Drayson’s “Art of Practical Whist,” with its new theories of trumps; Fisher Ames, “Modern Whist,” in 1879; “Whist, or Bumblepuppy?” by “Pembridge” [John Petch Hewby], in 1880; G.W.P. [Pettes], in 1881; Proctor’s “How to Play Whist,” in 1885; and the “Handbook of Whist,” by “Major Tenace,” 1885. Then began the long list of American authors (Pettes has already been mentioned): “Foster’s Whist Manual,” by R.F. Foster, appeared in 1890; “Practical Guide to Whist,” by Fisher Ames, in 1891; Hamilton’s “Modern Scientific Whist,” in 1894, and in the same year, Coffin’s “Gist of Whist,” and “Foster’s Whist Strategy.” In 1895, Milton C. Work’s “Whist of To-day,” and “Foster’s Whist Tactics,” giving the play in the first match by correspondence; and in 1896, Val Starnes’ “Short-suit Whist,” and Howell’s “Whist Openings.” In 1897, Mitchell’s “Duplicate Whist.” In 1898, Foster’s “Common Sense in Whist,” and in 1900, Fisher Ames’ “Standard Whist.” Since then whist literature has given place to bridge.

In periodical literature we find whist taken up in the pages of the “Sporting Magazine” in 1793. The London “Field” has had a card column since December 6, 1862. Proctor’s work first appeared in “Knowledge.” The “Westminster Papers” devoted a great deal of space to whist games and “jottings” every month for eleven years, beginning in April, 1868. “Whist,” a monthly journal devoted exclusively to the game, began publication in Milwaukee in 1891; but gave it up when bridge supplanted whist in popular favor.

Whist rapidly became a “newspaper game.” The New York Sunday Sun devoted two columns every Sunday to the discussion and illustration of moot points in whist tactics, and the analysis of hands played in important matches. In a series of articles begun February 23, 1896, this paper gave to the world the first systematic statement of the theory and practice of the short suit game. In 1898 there were at least forty whist columns published in the United States. Two magazines devoted to whist and bridge are now published, one in Boston and the other in New York.

While the parent game has been pursuing this prosperous course, many variations have been introduced. One of the most radical changes in the game itself has been cutting down the points from ten to five, which occurred about 1810. Mathews mentions it in 1813 as having occurred since the publication of his first edition in 1804, and Lord Peterborough, the unlucky gambler, for whose benefit the change was introduced, died in 1814. Another great change took place in America, where they played for the tricks alone, the honours not being counted at all. Turning the trump from the still pack was first tried by a Welsh baronet, and is mentioned by Southey in his “Letters of Espriella.” This custom was revived for a time by the Milwaukee Whist Club, and is still sometimes seen in Europe under the name of “Prussian Whist.”

Altogether we can trace nineteen games which are clearly derived from whist. Duplicate, Drive, and Progressive whist are simply changes in the arrangement of the players and in the methods of scoring. Prussian whist introduces the cutting of the trump from the still pack. Dummy and Double-dummy are simply whist with a limited number of players, necessitating the exposure of one or more hands upon the table. The French game of Mort is dummy with a better system of scoring introduced. Favourite Whist simply changes the value of the tricks in scoring, according to the trump suit. Cayenne and Bridge introduce the first changes of importance. In Cayenne, the dealer and his partner have the privilege of changing the trump from the suit turned up; in Bridge they name the trump suit without any turn-up, and play the hands as at dummy. In Boston, and Boston de Fontainebleau, in addition to making the trump suit instead of turning it up, further departures are introduced by naming the number of tricks to be played for, allowing the player to take all or none without any trump suit, and by ‘spreading’ certain hands, without allowing the adversaries to call the exposed cards. French and Russian Boston are simply varieties of Boston. Solo Whist is an attempt to simplify Boston by reducing the number of proposals and the complications of payments, and eliminating the feature of ‘spreads.’ Scotch Whist introduces a special object in addition to winning tricks—catching the ten of trumps; that card and the honours having particular values attached to them. This variety of whist may be played by any number of persons from two to eight; and its peculiarity is that when a small number play, each has several distinct hands, which must be played in regular order, as if held by different players. Humbug Whist is a variety of double-dummy, in which the players may exchange their hands for those dealt to the dummies, and the dealer may sometimes make the trump to suit himself. German Whist is played by two persons, and introduces the element of replenishing the hand after each trick by drawing cards from the remainder of the pack until the stock is exhausted. Chinese Whist is double-dummy for two, three, or four persons, only half of each player’s cards being exposed, the others being turned up as the exposed cards are got rid of in the course of play.

All these varieties have been entirely supplanted and overshadowed by bridge. When they play whist at all, the English think there is nothing better than the original whist, counting honours, and playing to the score. The Americans think Duplicate superior to all other forms, especially when two tables are engaged, and four players are opposed by four others for a specified number of deals. We are inclined to agree with Clay that the French game of Mort is “charming and highly scientific.” He says English dummy is a “very slow game.”

Whether it is because the game has been found ‘slow,’ or because its more attractive forms are little known, it is certainly true that writers on whist pay little or no attention to dummy. The English authors mention it only in connection with laws and decisions. No American text-book makes any allusion to the game, and there is no reference to it in the American Whist League’s code of laws.

In the first edition of this work, written in 1895, the author ventured to prophesy that the day was not far distant when dummy would supersede all other varieties of whist among the most expert players; either in the form of the charming Mort or the fascinating Bridge. Very few persons who have played either of these games sufficiently to appreciate their beauties care to return to the platitudes of straight whist.

At that time, bridge was unknown in America except to the members of The Whist Club of New York and their friends. In the short space of ten years it has become the card game of the world; but in spite of its present popularity it has its defects, and it would not be surprising to see its place usurped by another game, not a member of the whist family, which has been steadily gaining ground among those who have the intellectual capacity for card games of the highest class, and that is skat.

The first text-book on bridge was a little leaflet printed in England in 1886, which gave the rules for “Biritch, or Russian Whist.” “Boax” came out with a little “Pocket Guide” in 1894, followed by “The Laws of Bridge” in 1895. The Whist Club of N.Y. published the American laws of bridge in 1897, and “Badsworth” came out with the English laws in 1898. In the following year, 1899, Archibald Dunn, Jr., gave us “Bridge and How to Play It,” and John Doe published “Bridge Conventions,” A.G. Hulme-Beaman’s “Bridge for Beginners” appearing in the same year. In 1900, “Foster’s Bridge Manual” appeared in America, reprinted in England under the title of “Foster on Bridge.”

In the years following, text-books on bridge came from the press by the dozen, the most notable authors being Dalton and “Hellespont” in 1901; Elwell and Robertson in 1902; Street and Lister in 1903. Many of the writers already mentioned published later and more complete works, embodying the results of time and experience. Foster’s Self-playing Bridge Cards were brought out in 1903. Elwell’s “Advanced Bridge” appeared in 1904 and Foster’s “Complete Bridge” in 1905.

While bridge has never been such a popular “newspaper game” as whist was in America, it has been much more so in England. Articles on bridge, for beginners chiefly, were published in 1905 and 1906 by the San Francisco Call, Pittsburgh Post Despatch, Cincinnati Commercial Tribune, Chicago Journal, St. Paul Despatch, Milwaukee Journal, Baltimore American, Houston Post, Indianapolis Star, and the N.Y. Globe. These were all edited by R.F. Foster.

Bridge Tournaments, offering prizes for the best play of certain hands were run by the N.Y. Evening Telegram, the N.Y. Globe, the N.Y. Evening Mail, and the Chicago Journal. A number of the weekly magazines offer similar competitions in England, but as a rule the problems in that country are of very poor quality.

About 1910 it became the fashion not to play spades, it being considered a waste of time to play a hand for such a small amount as 2 points a trick, so the dealer was allowed to score 2 for the odd and 4 for honours, regardless of how the cards were distributed, the hand being abandoned. The objection to this practice was that many hands were worth much more than 2 points, and in some cases the spade make would have gone game at the score. This led to the practice of playing “royal spades,” which were played at 10 and then at 9 a trick, sometimes with a penalty of 20 if the declarer failed to make the odd.

Shortly after this, later in 1910, there developed a decided rebellion against the dealer’s monopoly of the make, and in order to allow any player at the table who held good cards to get the benefit of them, whether he was the dealer or not, bidding for the privilege of making the trump came into vogue. This was the starting point of auction, its chief difference from the older game being that only the side that made the highest bid for the declaration could score toward game. The full number of tricks bid had to be made, and if they were not made, the adversaries scored in the honour column for penalties, the penalty being always the same, regardless of the trump suit.

The great disparity in the values of the suits as then played practically confined the bidding to the hearts and royal spades. This soon brought about another change, which was to raise the values of all the suits except spades and to cut down the no-trumper. This was done in 1912, and made it possible for any suit to go game on the hand. All the well known writers on whist and bridge came out with text-books on auction, and the newspapers took up the subject in weekly articles.

Although to many the game now seemed perfect, there were those that felt the helplessness of weak hands to offer any defence in the bidding against a run of no-trumpers or hearts and royals. To remedy this, F.C. Thwaites of the Milwaukee Whist Club suggested the introduction of the nullo. This was a bid to lose tricks, at no trump only, and its value was to be minus 10, that is, it was to be outranked only by a no-trumper to win. At first, this bid was largely used simply as an additional game-going declaration, and was strongly objected to by many leading players. But as its true place as a defensive bid became better understood it soon came into favour. In the nullo there are no honours, and the declarer scores the tricks over the book made by his opponents, which he forces them to take. Many interesting card problems have been built upon the nullo.

Toward the end of 1913 still another change seems to have suggested itself to some of the English players who were familiar with the Russian game of vint, and that is to play auction just as it is played up to the point of the lead to the first trick, but that no dummy is exposed, the four players holding up their cards and following suit just as they would at whist. Whether or not this game will ever become as popular as the combination of dealer and dummy, it is difficult to say, but appearances are against it.

There seems to be a growing tendency in America to adopt the English rule of cutting out the spade suit at 2 a trick, and making it always a royal spade, worth 9. The dealer is allowed to pass without making a bid, the lowest call being one club. If all pass, the deal goes to the left.