The idea of using fire artillery our ancestors borrowed from German troops in the late fourteenth century. Sigismund Augustus laid the first cannon factory in the lands of the principality in the 16th century in Vilnius. Serpentines, falconets, and martyrs were cast from copper and bronze and transported to border castles and cities. In the following century, guns stood out in a separate corps, and the position of "senior over the cannon" - general of the artillery. Influential magnates began to establish private mansions just in residences. At the request of Radziwill, the Orphan foreign master poured a series of cannons of special decor in Nesvizh, each of which had its own name. He decorated the "hydra" with a monster with wings and seven heads.
In the field battle, the cannons of the Grand Duchy first distinguished themselves near Orsha - with their help Konstantin Ostrogsky managed to unexpectedly change the course of the battle for the enemy. Guns were fired not very often - loading, cleaning and cooling the barrel took time - but accurately. And far away: the nucleus usually flew about three hundred meters. In addition, the very appearance of this weapon often forced the enemy to press his head into his shoulders, waste militant passion and flee the field.
In 1650, the Belarusian scientist Kazimir Semenovich published the book "The Great Art of Artillery", which was translated from Latin into French, German, English and became a table for European artillerymen.
At the Belarusian-Lithuanian chessboard, one artillery general guards the tower, the other is waiting for the hetman's order: b1, g1 - white; c9, h9 are black. The figure moves diagonally in any direction and at any distance. The real power of the gun is gained by acting together. The greatest benefit is brought as an auxiliary to attack other figures.