6. If a player who has the option of huffing touches the man he is entitled to "remove, he must huff. 6. A false move loses the game. 7. If a player capture one of his own men by error, the adversary may have it replaced or not. 8. When more than one man can be taken at one move, the player must not remove his hand from the capturing man until he has taken all he can ; if he does so the move is completed, and he is liable to be huffed. 9. When a player pushes a man to king, his adversary is bound to crown it. 10. Each player must move within a specified time [the time is generally three, five, or six minutes by previous agreement, unless there is only one way of taking or one move on the board, when only two minutes areas a rule allowed]. 11. The player having the stronger force may have notice given him to win in forty moves ; when two kings remain against one, in twenty moves. When the odds of the draw are given, and the situations may be rendered equal by repeating the same manoeuvres, the player giving the odds may be required to win in twenty moves.
Polish Draughts was formerly played on a board of a hundred squares with forty men ; but it is now more frequently played with an ordinary draught-board and men, the men being placed at starting as at draughts. The men move and take as at draughts, except that in capturing they move either forwards or backwards like a draught king. A man arriving at a crowning square becomes a queen, and has the move of a bishop at chess. In her capture she takes any unguarded man or queen in any diagonal she commands, leaping over the captured man or queen and remaining on any unoccupied square she chooses of the same diagonal, beyond the piece taken. But if there is another unguarded man she is bound to choose the diagonal on which it can be taken. For example, place a queen on square 29, and adverse men at squares 22, 16, 24, 14. The queen is bound to move from 29 to 11, 20, 27, and having made the captures to remain at 9 or 5, which ever she prefers.
The capturing queen or man must take all the adverse pieces that are en prise, or that become so by the uncover ing of any square from which a piece has been removed during the capture, e.y.. white queen at square 7, black at squares 10, 18, 19, 22, and 27, the quesn captures at 10, 22, 27, and 19, and the piece at 22 being now removed, she must go to 15, take the man at 18, and stay at 22, 25, or 29. In consequence of the intricacy of some of these moves, it is the rule to remove every captured piecB as it is taken.
If a man arrives at a crowning square when taking, and he can still continue to take, he must do so, and not stay on the crowning square as at draughts. Passing a crown ing square in taking does not entitle him to be made a queen.
ln capturing, the player must choose the direction by which he can take the greatest number of men or queens, or he may be huffed. Numerical power is the criterion, e.g., three men must be taken in preference to two queens. If the numbers are equal and one force comprises more queens than the othor, the plajer may take whichever lot he chooses.
A single queen against three queens can draw. If one player has a queen and man, and the other three queens, the best play is to sacrifice the man, as the draw is more certain with the queen alone.
When two men of one colour are played on a diagonal with one vacant square between them (e.g., at squares 16 and 23), the position is called a lunette. If the adversary enters the lunette he must capture one of the pieces which compose it. Before entering a lunette it is advisable to calculate what the position will be after a capture, as the position is sometimes intentionally left as a trap.
William Payne, Introduction to the Game of Draughts, London, 1756 ; W. Painter, Companion to the Draught Player, 1767 ; Joshua Sturges, Guide to the Game of Draughts, London, 1800 (re-edited by Walker, 1835 ; reprinted with additions by Martin in Bonn s Handbook of Games, 1850); Henry Spayth, The American Draught Player.
DRAWING. Although the verb to draw has various meanings, the substantive drawing is confined by usage to that of design, and is treated as if it were a synonym of design. The word comes from the Latin trahere, or from a kindred Gothic word, so that traction and drawing are nearly related, and preserve still the same meaning when applied to the work of animals or machines, as we say that a traction engine draws so many tons. Another form of the same word is dray, the strong low vehicle used by brewers and carriers. It may be worth while to inquire what is the connection between the idea of a dray horse and that of a drawing-master.
The primitive idea, which is the common origin of both senses of the word to draw, is that of moving something in one s own direction. Thus, a horse draws a plough; but a carpenter does not draw his plane, he pushes it ; and we should say that a locomotive drew a train when the locomotive was in front, but not when it was behind. The same idea is preserved in the fine arts. We do not usually say, or think, that a sculptor is drawing when he is using his chisel, although he may be expressing or denning forms, nor that an engraver is drawing when he is pushing the burin with the palm of the hand, although the result may be the rendering of a design. But we do say that an artist is drawing when ho uses the lead pencil, and here we have a motion bearing some resemblance to that of the horse or engine. The fingers of the artist draw the pencil point along the paper. The analogy may be clearly seen in certain circumstances. When the North American Indians shift their camps they frequently tie a tent-pole on each side of the horse like a shaft, leaving the ends to drag along the ground, whilst their baggage is laid on cross pieces. Here we have a very close analogy with artistic drawing. The poles are drawn on the ground as a pencil is on paper, and they leave marks behind them corresponding to the lines of the pencil.
The same analogy may be observed between two of the senses in which the French verb tirer is frequently employed. This verb is not derived from trahere, but may be ultimately traced, like our own verb to tear, to the Ionic Set/ia). It was formerly used by good writers in the two senses of our verb to draw. Thus Lafontaine says, " Six forts chevaux tiraient un coche ;" and Caillieres wrote, " II n y a pas longtemps que je me suis fait tirer par Eigaud," meaning that Eigaud had drawn or painted his portrait. At the present day the verb tirer has fallen into disuse amongst cultivated Frenchmen with regard to the drawing and painting, but it is still universally used for all kinds of design and even for photography by the common people. The cultivated use it still for printing, as for example " cette gravure sera tirce a cent exomplaires," but here rather in the sense of pulling than of drawing.
A verb much more nearly related to the English verb in draw is traire, which has trait for its past participle. It comes from trahere, and is so little altered as to be scarcely even a corruption of the original Latin form. Traire is now used exclusively for milking cows and other animals, and the analogy between this and artistic drawing is nut obvious at first, nevertheless there is a certain analogy of motion, the hand passing down the teat draws the milk downwards. The word trait is much more familiar in connection with art as " les traits du visage," the natural markings of the face, and it is very often used in a figura tive sense, as we say " traits of character." It is quite familiar in portrait, derived from protrahere.
clearly the conception that drawing was done in line (delineare) or in shade (adumbrare), though there are reasons for believing that the words were often indis
criminately applied. Although the modern Italians have