Fools of Fortune; or, Gambling and Gamblers

by John Philip Quinn

The origin of the game of faro, like that of most games of cards, is obscure. There is a tradition that it emanated from the shores of the Nile, and that its antiquity is as venerable as that of the pyramids. Perhaps this rather fanciful theory has grown in favor from the fact that its name is sometimes spelled “pharo,” the name of the founder of the great Egyptian dynasty, whose head is said, in ancient times, to have been depicted upon one of the cards. Be this as it may, it is certain that centuries ago it was popular among the gamesters of France and other countries of Europe, whence it crossed the channel to the British isles and later was brought across the Atlantic to America. In the United States, it is a game par excellence at every gambling establishment, being at once the most absorbingly fascinating to players and the most profitable to the bank. Across the green cloth which separates the former from the latter, fortunes are hourly lost and won. The monotonous, droning call of the dealer, falling upon the ears of players, whose interest is breathless in its intensity, has proved to thousands the knell of doom to wealth, honor, integrity, and happiness. With its allurement of excitement and its tempting bait of gain, it woos its votaries to shipwreck equally certain and no less terrible than that which befell the mariner of old, whose charmed senses drank in the intoxicating music of the siren’s song. Faro has been happily likened to the “tiger,” which, crafty, treacherous, cruel and relentless, hides under cover waiting, with impatient eagerness, for the moment when it may bury its velvet covered claws within the vitals of its unsuspecting victim and slake its fiery, unquenchable thirst with his life blood.

The principles of the game as fairly played to-day do not materially differ from those laid down by Hoyle a hundred years ago. Be it understood, however, that this remark applies to modern faro, as played in the “hells” of this year of grace, only in the abstract. The principles (sic) upon which it is practically conducted by the dealers of to-day are of a sort calculated to astound that eminent authority on the doctrine of chances. In order, however, that the reader may thoroughly comprehend to how great an extent the player is at the mercy of the banker, it will be necessary to explain first the method of legitimate playing (i. e., if any gambling can be properly called legitimate) and then some of the devices whereby the dealer may transform his naturally overwhelming chances of winning to a practical certainty.

As preparatory to a discussion of the first branch of the subject, it may be remarked that faro is pre-eminently a game of chance. Even when played with absolute fairness, success or failure, fortune or misfortune, depend—not upon the skill of the player, but upon the caprice of blind chance. It is true that mathematical science has attempted to reduce this chance to some sort of law, and has formulated a theory as to the inherent probability or improbability of certain events happening or failing to happen, and there are devotees of faro who play upon what they believe—with a faith which approaches the sublime—to be an infallible “system.” But the doctrine of chance is, after all, but an approximation to accuracy, and the only certainty about any system, however cunningly devised, is the certainty that at the supreme moment it will prove a delusion and a snare.

But, to return to the method of playing: Any number of persons may participate in the game, which requires a full pack of fifty-two cards. The dealer acts as “banker,” and may, at his discretion, limit the sums to be played for, according to the amount of his capital. At public games, this functionary, assisted by one or more persons known as “lookers-out,” whose duty it is to watch the table, the players and the bets, with a view to seeing that the bank’s winnings are promptly gathered in, and that the interests of “the house” are properly guarded. In order to facilitate the making of bets, players purchase checks, usually made of ivory or bone or composition, though sometimes of paste-board, from the banker, who redeems them at the option of the holder. Their value is denoted either by their color, or figures stamped upon them. The banker usually limits the sums that may be bet in accordance with his capital, and the limit may be of two kinds, known as the plain and the running limit. The plain limit is usually twice as much for double, treble or quadruple cards as for single cards. That is to say, if a player may bet fifty dollars on either or all of the latter, he may bet $100 on all or any of the double. The running limit is any sum named and its multiple of four. To illustrate, the running limit may be 50 and 200; in that case, the player may bet fifty dollars, and if he wins, may suffer the original stake and its increase (which would amount to $100) to be where it is or move it to another place, where he may win another $100, thus giving him with his first stake $200, which is the limit. This is known as parleeing a bet, and if the first bet is five, the second will be ten, the third twenty, the fourth forty, and so on. Almost all bankers will allow a player to “parlee,” as the percentage is largely in favor of the bank.

Each banker is provided with a “board” about three by one and one-half feet in dimensions, which is placed on a table about four by two and one-half feet. This “board” is covered with green cloth, on which one suit of thirteen cards of the ordinary pack are portrayed in the order shown in the foregoing illustration.

In the centre of the cut given above, the arrangement of the cards in the “lay-out” is shown. The outer line of the parallelogram represents the table. Letter “G” indicates the seat of the dealer; “I” that of the “lookout;” “F” that part of the table on which the “case keeper” (the use of which will be explained later) is placed; and “H” shows where sits that important functionary who operates the “case keeper.” The players sit or stand all around the table. “A” represents the dealing box, and “B” and “C” the two piles into which the cards are divided as they issue from the box. “D” shows the “check-rack,” or the apparatus for holding the “checks,” and “E” shows the position of the money drawer.

The ace, deuce, queen and king are called the big square; the deuce, tray, queen and jack the second square, and so on; the six, seven and eight are called the pot. The players select their cards upon which they wish to bet, and lay upon them their checks.

All preliminaries being settled, before any bets are made the dealer shuffles and cuts the cards and places them face upward in a metal box, containing an aperture at the top, sufficiently large to allow the full faces of the cards to be seen. Originally, the cards while being dealt, were held in the dealer’s hands, and in Germany they are nailed to the table and torn off one by one. For many years, however, it has been the practice to deal from an uncovered metal box, a little longer than the pack, in which are placed the “pasteboards” faces upward, so that the top card is always exposed to view. Near the top of one end of this receptacle is a horizontal slit, wide enough to admit the passage of a single card, and at the bottom are four springs, which, pressing upward, automatically force the pack toward the top of the box, thus keeping one card always opposite the slit. The top card, called the “soda,” having been seen, is not used for betting, and is laid aside. The card immediately below is the banker’s card, and it wins for him all stakes placed upon it in the “lay-out,” provided it has not been “coppered,” as explained below. The next is the player’s card and wins for him in the same manner. Each pair of cards taken from the box and exposed constitute what is denominated a “turn.” It may happen, however, that the player may wish to bet that a certain card may lose. In that case he places a copper (which is provided for the purpose) upon the top of his stake. This is called “coppering,” because originally old fashioned copper cents were employed for this purpose instead of the wooden checkers.

Whenever two cards of the same denomination appear in the same “turn,” the dealer takes half the money found upon such card. This is called a “split,” and is, in effect, a percentage taken by the bank. If a player wins his bet and allows both stake and winnings to remain on the same card for another “turn,” he is said to play a paroli or parlee. At the end of a “turn” a pause is made, to permit the paying of bets already determined and the making of new ones. And the same routine is followed until the pack is exhausted, when a fresh deal is made and the process repeated. It will be seen that there are twenty-five “turns” in every deal. The dealer may close the game at the end of any deal when he may see fit. The last card remaining in the box at the end of each deal neither wins nor loses, although originally it was claimed by the dealer, who took all the money staked upon that card. The bank thus had the certainty of winning such stakes, with no possibility of loss; hence, that card came to be called “hock” or “hockelty,” which means certainty, and by that name it is known.