Invention Du Casino

Abstract: Methods and systems for enabling network based live casino gaming, wherein a game user is enabled to participate from a remote location by a game user device in a live casino game operated by a casino operator, the system comprising a studio being configured for performing and recording live casino gaming; a data integration center being configured for integrating data pertaining to. List of casinos in the U.S. State of Wisconsin; Casino City County State District Type Comments Bad River Lodge& Casino: Odanah: Ashland: Wisconsin: Grindstone Creek Casino: Hayward. The 19th Century: The Invention of Photography Gustave Le Gray, French, 1820–1884, The Pont du Carrousel, Paris: View to the West from the Pont des Arts, 1856–1858, albumen print, Patrons’ Permanent Fund, 1995.36.94. Invention is often thought of as systematic problem solving, the kind that supposedly goes on at the well-manicured campuses of corporate research laboratories. In fact, many important inventions arose, and continue to arise, from the creative use of an accident or mistake. The invention of the “white people” was a blatant mechanism of power and domination. Dismantling that murderous myth will break down the backbone of a racist ideology that has kept a settler.

• House Way Strategies
• Player Strategies
• Miscellaneous

Introduction

Pai gow (tiles) is perhaps the oldest casino game. The name roughly translates to 'make nine.' In fact, the concept of scoring by the ones digit only, as in baccarat, likely stems from pai gow.

Of all the casino games, there can be little debate that pai gow is the hardest to learn. Before playing the game, one should learn the ranking of 16 pairs of tiles. To the westerner, or anybody not steeped in Chinese mythology, this ranking will likely seem arbitrary and thus difficult to memorize. However, there is a legend behind the game, and acquainting oneself with that legend can aid in understanding the order of the pairs.

On December 30, 2011, I met a very nice Caucasian gentleman by the name of Colonel Rob Patton at the pai gow table at the Paris casino in Las Vegas. He mentioned that he had been playing the game for about 25 years. This took me quite by surprise. When I started to play the game around 2001, there was almost never another pale-faced player at the table. Now I would say non-Asians make up about 20% of the players.

In the mid Eighties, I would have been shocked to see any non-Asians playing. Based on early literature, the few Caucasian players you might have found were likely mathematicians like Michael Musante, John M. Gwynn Jr., or Bill Zender. To this day, white players are still often made to feel a bit unwelcome at pai gow tables. The attitude that 'whitey' can be unlucky is still prevalent in Macau and Australia.

Rob said his efforts to learn the game were not easy, due to Asian dealers not having the ability or inclination to explain the game in English. One day, though, he found a Caucasian dealer at Caesars in Lake Tahoe who was very helpful. In his efforts to explain the tile rankings, he told Rob the Chinese legend of the creation of the universe to help with the explanation. Here it is:

Part 1 - The Supreme Pair

Part 2 - The Civilian Pairs

Part 3 - The Military Pairs

Finally come the mixed pairs, which represent the military. The greater the number of dots, the higher the rank.

Rank of the 2-4 Gee Tile

Some casino rule books state the value of the 2-4 tile is above the two fives, while others rank it last with the 1-2 tile. In my own explanation of the rules, I rank it last. So, why the discrepancy? According to John Gwynn, who quotes Michael Musante, in his article 'A Detailed Study of Pai Gow,' (page 308), published in Finding the Edge, there is an unwritten rule that the 2-4 tile is ranked just above the five-point tiles (1-4 and 2-3), except if it is used to count as three points, in which case it is ranked last, with the 1-2 tile. This demotion only makes a difference when the Gee tile is combined with either five-point tile (1-4 or 2-3). In this case it is treated as three points, demoting it below the rank of the five-point tile. So, for all intents and purposes, both Gee tiles should be and effectively are ranked last.

If we assume that Gwynn and Mustante are right, and I wouldn't trust anybody more than them, then I would claim that the Venetian rules are in error, which imply the 2-4 tile is always ranked higher than the five-point tiles. However, this would only come into effect if the banker had the 1-2 tile and a 5-point tile, and the player had the 2-4 tile and the other 5-point tile. According to the rule booklet, the Venetian would score it as a win for the player. However, both hands should be equally ranked, which would be a win for the banker. The odds of this are 1 in 107,880.

Chinese Dice

Finally, Rob addressed a question I have wondered about for years: Why do dice in all the Chinese games, namely pai gow, pai gow poker, baccarat, and sic bo, paint the one and four red but all the other numbers black? His answer follows.

Each tile pattern in the Chinese domino set is made up of the outcome of a throw of two six-sided dice. There are therefore 21 unique patterns (6+5+4+3+2+1).

Using the same coloring scheme of the traditional Chinese dice, every half domino with 1 or 4 spots has those dots colored red, (for example, the 4-5 domino has four red spots and five white spots). The only exception is the pair of 6-6 tiles. Half of the spots on the 6-6 domino are colored red to make them stand out as the top ranking Civilian tiles. In Pai Gow, dot color plays no role in the play of the game; it is only to visually make the tiles traditional.

The Chinese custom of painting the 4-spot red is said to have originated when an Emperor playing sugoruku (Japanese Backgammon) with his queen was about to lose and desperately needed fours to win the game. He cried out, threw the dice and they came up accordingly. He was so glad that he ordered that fours be painted red from then on.

The emperor is said to have been Lo Ling Wong who reigned under the title Chong Tsung (AD 684 - 701) during the Tang dynasty. Whether this story is true is questionable, and it has been suggested that the 4-spot is painted red because dice were imported from India where red fours are also traditional. The reason why the 1-spot is large and painted red is not clear. It is said the stark combination of black and white would be unlucky, red being considered very lucky in China. Another possibility is that it counters and balances the die, compensating for the opposite 6-spot indentations.

Pierre Lescot (c. 1515 – 10 September 1578) was a French architect active during the French Renaissance. His most notable works include the Fontaine des Innocents and the Lescot wing of the Louvre in Paris. He played an important role in the introduction of elements of classical architecture into French architecture. ^[1]

Biography[edit]

Lescot was born in Paris. King Francis I of France took him into his service, and appointed him architect in charge of the building projects at the Palais du Louvre,^[2] which transformed the old château into the palace that we know. A project put forward by the Italian architect and theorist Sebastiano Serlio was set aside in favor of Lescot's, in which three sides of a square court were to be enclosed by splendid apartments, while on the east, facing the city as it then was, the fourth side was probably destined to be lightly closed with an arcade. Festive corner pavilions of commanding height and adorned by pillars and statues were to replace the medieval towers. Elsewhere in the Louvre, little was actually achieved beyond razing some of the old feudal structure.

Though Lescot was confirmed in his position after the king's death by his heir Henry II, and though he worked at the Louvre project until his death, only the west side and part of the south side were completed, comprising the present southwest wing of the Cour Carré, the Aile Lescot, or 'Lescot Wing' (illustration).^[3] Even so, the building was executed from 1546 to 1551 set the mold of French classicism: it is of two stories with an attic richly embellished with Jean Goujon's panels of bas-reliefs; it is crowned by a sloping roof, a traditional feature of French building and practical in a rainy climate. The deeply recessed arch-headed windows of the ground story give the impression of an arcade, while the projecting central and end pavilions bear small round oeil de boeuf windows above them. In the second storey slender fluted pilasters separate the windows, which alternate delicate triangular and arched pediments. Goujon's noble sculpture and architectural ornaments are cleverly subordinated to the construction, but the surviving groundfloor Salle des Caryatides (1546–49) is named for Goujon's four caryatid figures that support the musicians' gallery. Of Lescot's constructions at the Louvre there also remain the Salle des Gardes and the Henry II staircase.

His first achievements (1540 – 1545) were the rood-screen in Saint-Germain l'Auxerrois, of which only some sculptures by Goujon have been saved and in Paris the Hôtel de Ligneris (1548–50, now the Musée Carnavalet, which was thoroughly altered by François Mansart). Here and especially in the design of the Fountain of Nymphs (1547–49, illustration, right), his moderate tectonic role is outshone by Goujon's sculpture.^[4] He was also responsible for the Château de Vallery.

Lescot's career is so scantily documented it is not known whether he ever visited Italy, or whether his knowledge of Italian practice was derived through the architecture and engravings that issued from the School of Fontainebleau. All of Lescot's known works have sculptural decoration by Trebatti and by Jean Goujon, who collaborated with him at the Louvre. Unlike the other architects of the French Flamboyant Gothic and Renaissance, Pierre Lescot was not from a line of masons, with practical experience, but the son of a seigneur. His father, also Pierre Lescot, was sieur of Lissy-en-Brie and Clagny, not far from Versailles, seigneuries that his son Pierre inherited. Although, according to a eulogistic poem by Ronsard,^[5] Pierre Lescot busied himself zealously in early youth making drawings and paintings, and, after his twentieth year, with mathematics and architecture, his wealth and the duties of his offices appear subsequently to have interfered with his artistic activity. No other documented works are identified, though a dismissive reference in the memoires of the duc de Nevers, published long afterwards, instances 'Magny' (i.e. Clagny) as 'a painter who used to make inventions of masquerades and tourneys',^[6] as all court architects were expected to produce in the fifteenth to seventeenth centuries.

At his death, Lescot was succeeded at the Louvre by Jean Baptiste Androuet du Cerceau.

See also[edit]

Other outstanding architects of the French Renaissance:

• Androuet du Cerceau, a dynasty of designers and architects

Notes[edit]

1. ^ 'the man who was first responsible for the implantation of pure and correct classical architecture in France.'David Thomson, 'A Note on Pierre Lescot, the Painter' The Burlington Magazine120 No. 907 (October 1978, pp. 666-667) p 666; see Henri Zerner, L'art de la Renaissance en France. L'invention du classicisme (Paris: Flammarion) 1996. Lescot
2. ^The contract is of 1551. The project is analyzed in the context of Parisian urbanism in David Thomson, Renaissance Paris: Architecture and Growth, 1475-1600 (Berkeley: University of California Press) 1984, figs. 60-70.
3. ^Cour Carrée illustration.
4. ^The Fontaine des nymphes replaced an ancioent public fountain for the entry of Henry II into Paris, 1549.It stood against a wall; when it was rearranged in 1788 as a free-standing fountain, Augustin Pajou sculpted a fourth face. (InseculaArchived 2007-05-12 at the Wayback Machine).
5. ^Ronsard's poem, Discours à Pierre Lescot, was written in 1555 and subsequently modified (Thomson 1978:667).
6. ^'un Peintre qui souloit faire des inventions pour les masquerades & tournois nommé Magny, resident à Paris...', noted in Thomson 1978:667 and note.

External links[edit]

Invention Du Casino Entertainment

• Catholic Encyclopedia 1908: 'Pierre Lescot'
• Imago Mundi: Pierre Lescot (in French)

Invention Du Casino Bingo

Invention Du Casino Hotel