INTRODUCTION.

Our young friends ought to know, not only how to ride, but also how to

drive. From the very earliest times, horse and chariot races were

considered the noblest of sports, and Apollo is represented as driving

the chariot of the sun. The four horses were typical of the four seasons

of the year. Four horses driven abreast was common also to the Olympic

games, and the Hippodrome was the scene of chariot races in which even a

greater number was sometimes used.

It was, indeed, an imposing sight to see the Hippodromic course at the

time of one of these chariot festivals. The place set apart for the

contest was about a mile in length. Over a bar that ran across the

entrance of the lists was placed a brazen dolphin, and upon an altar in

the middle of the barrier stood an eagle of the same metal. By means of

a machine, put in motion by the president of the games, the eagle

suddenly sprang up into the air with its wings extended, so as to be

seen by all spectators; and at the same moment the dolphin sank to the

ground, which was a signal for the cars to arrange themselves in order

for the race. Besides the statue of Hippodamia, and the table on which

were placed the crowns and palm-branches, there were several images and

altars in the course, particularly that of the genius Taraxippus, who,

as his name imports, was said to inspire the horses with a secret

terror, which was increased by the shrill clangour of the trumpets

placed near the boundary, and the deafening shouts and outcries of the

multitude.

While the chariots were ranged in line ready to start, the horses, whose

ardour it was difficult to restrain, attracted all eyes by their beauty,

as well as for the victories which some of them had already gained.

Pindar speaks of no less than forty chariots engaged at one and the same

time. If we recollect that they had to run twelve times the length of

the Hippodrome, in going and returning, and to steer round a pillar or

goal erected near each extremity, we may imagine what confusion must

have ensued when, upon the signal trumpet being sounded, they started

amid a cloud of dust, crossing and jostling each other, and rushing

forward with such rapidity that the eye could scarcely follow them. At

one of the boundaries a narrow pass was left only for the chariots,

which often baffled the skill of the expertest driver; and there were

upwards of twenty turnings to make round the two pillars; so that at

almost every moment some accident happened, calculated to excite the

pity or insulting laughter of the assembly. In such a number of chariots

at full speed, pushing for precedence in turning round the columns, on

which victory often depended, some were sure to be dashed to pieces,

covering the course with their fragments, and adding to the dangers of

the race. As it was, moreover, exceedingly difficult for the charioteer,

in his unsteady two-wheeled car, to retain his standing attitude, many

were thrown out, when the masterless horses plunged wildly about the

Hippodrome, overturning others who had, perhaps, previously escaped

every danger, and thought themselves sure of winning. To increase the

confusion, and thereby afford better opportunities for the display of

skill and courage, there was reason to believe that some artifice was

employed for the express purpose of frightening the horses when they

reached the statue of Taraxippus. So great sometimes was their

consternation, that, no longer regarding the rein, the whip, or the

voice of their master, they broke loose, or overturned the chariot, and

wounded the driver.

Such is the ancient description given by a Greek writer of the chariot

races of the Hippodrome. We have no coach racing now-a-days, except

omnibus racing in the streets: not a great deal of “coaching.” Now and

then, indeed, we see the “Brighton four-horse,” and start with wonder at

the sight. But still there are necessities for private driving, more

important at the present than at any former period; and we hold driving

to be not only a necessary, but an indispensable accomplishment to every

young gentleman.

THE HORSE IN HARNESS.

A horse fully equipped in harness, attached to a dennet or stanhope, is

one of the most beautiful things to look at in the world: few boys are

trusted to drive a pair; nor have they physical power for the task. We

will therefore confine our attention chiefly to single harness, adding

only a short description of the various kinds of carriages in common

use. If, however, the youthful charioteer can drive a single horse well,

he will find no difficulty in controlling a pair, provided their mouths

are sufficiently tender for his strength to manage. The horse is here

represented harnessed to a light dennet-gig.

THE HORSE

May be either a full-sized harness horse, or a galloway, or a pony; the

two last being the best fitted for juvenile driving.

[Illustration]

THE HARNESS,

In every case, is composed of the same parts, which consist of three

essential divisions: 1st, the driving, or guiding part; 2d, the drawing

part; and 3d, that for holding up the shafts. The driving part comprises

the bridle and reins. The bridle is made up of a front piece (1), a head

piece (2), two cheek pieces and winkers (3), a nose band (4), and a

throat lash (5). The cheek pieces are buckled to the bit (6) by means of

leather loops, called billets, as also are the driving-reins (7), and

the bearing-rein, which is attached to a separate bit called the bridoon

(a plain snaffle), and then is hooked to the pad-hook. This is now very

generally dispensed with, as shown in the cut at the head of this

article; but for young drivers it is often desirable when they have not

strength to check the fall of a horse. The drawing parts consist of a

padded oval ring fitted to the shoulders, and called the collar (10),

sometimes replaced by a padded strap across the chest called the

breast-strap. On the collar are fastened two iron bars called hames

(12), by means of a strap at the top and bottom (8-11), and these hames

have a ring in the upper part for the reins to pass through, called the

hame terret (9); and nearer the lower part, a strong arm of iron covered

with a coating of brass, silver, or leather, which receives in its eye

the tug of the trace (13.) The trace (17) is a long and strong strap of

double leather, stitched, which runs from the collar to the drawing bar,

and may be lengthened or shortened by a buckle. The part for holding the

gig up consists of a pad or saddle, which is buckled on to the horse by

the belly-band (16), and from which the shaft is suspended by the

back-band and shaft-tug. It is prevented from slipping forward by the

crupper, which is slipped over the tail. Besides these parts, some

horses have in addition a breechen (18-19) which holds the shafts back

in going down hill; and when they are addicted to kicking, a strap is

buckled over their hips to the shaft which is called a kicking-strap.

[Illustration]

THE CARRIAGE.

[Illustration: THE BRITZSCHKA.]

The Dennet-gig, as represented in the last page, is the most common form

for a two-wheeled carriage; but there are also the Stanhope, the

Cabriolet, as here shown, the Tilbury, and the Dog-cart. The various

open four-wheeled carriages are the Britzschka, Barouche, and Phaeton;

and of closed four-wheeled carriages there are the Brougham and Clarence

on elliptic springs, and the chariot and family coach with c springs.

When these two last are made to open, they are called the Landaulet and

Landau.

[Illustration: NEW BROUGHAM.]

[Illustration: THE FAMILY COACH.]

PUTTING TO.

Before driving, it is necessary that the horse or pony should be “put

to,” which is effected as follows: 1st, slip the shafts through the

tugs, or, if there are hooks, drop them down into them; 2d, put the

traces on to the drawing-bar, either hooking them on, or else slipping

them on to the eyes, and being careful to place the leather stops in

these, to prevent the trace coming off; 3d, buckle the belly-band

sufficiently tight; and 4th, buckle the kicking-strap, or breechen, if

either is used. After this, the reins are taken from the terrets, where

they were previously placed, and the horse is ready.

DIRECTIONS FOR DRIVING.

In driving, the reins are held differently from the mode already

described as used in riding, the fore-finger being first placed between

them, and then both the reins are grasped by all the other fingers, and

the near-side rein is also held firmly against the fore-finger by means

of the thumb. In this way, on an emergency, the near or left rein may be

pulled by itself, by holding it firmly with the thumb, and suffering the

other, or off rein, to slip through the fingers, or _vice versâ_. The

most usual way is to pull the left rein with the left hand, and the

right with the right hand, by hooking one or two fingers over it while

held firmly in the left. In this manner, with the whip also held in the

right hand, the horse is guided or stopped. The young driver should take

care and keep his feet well before him, with his knees as straight and

firm as possible, so that in case of a fall of the horse he may not be

thrown forwards out of the vehicle he is driving. He should also sit

square to his work, with his elbow held easily to his side, and his left

thumb pointing to his horse’s head, by which, as in riding, his elbow is

pretty sure to be properly placed. The bit should not be too firmly

pulled against, but a light and “give and take” kind of handling is the

best, by which the horse is allowed freedom of action, and yet is

checked if he makes a mistake. In meeting other vehicles, the rule is to

keep to your left, and in passing them, to leave them also on your left.

This should be rigidly adhered to for fear of the accidents which would

otherwise constantly happen.

[Illustration]

In reference to driving in America, nothing better can be given than the

rules of the English school for driving. In America the rule governing

the side to pass another rider on is the reverse of the English rule. In

America the law is “drive to the right.” In England it is to the left.

The former appears to us to be the “right” one.

[Illustration]

FENCING.

Fencing is the art of using the small-sword or rapier. The small-sword

has a straight blade, about thirty-two inches in length, outside the

guard, and is fashioned for _thrusting_ only. Although it is an art of

the greatest antiquity, very great improvements have been made in it

during the last half-century, chiefly by French masters, who excel those

of all other countries. This has been attributed to various causes; by

some to the agility and acknowledged power of rapid physical action

possessed by this nation; by others, to their natural vivacity and

mental quickness. In my opinion, however, a more direct and powerful

cause may be traced in the great encouragement and universal patronage

which it has ever received from every grade of a chivalrous and military

people. Every regiment has its maître d’armes, and every barrack its

fencing-school. Indeed, in so important a light was the proper teaching

of this art held, that one of the French kings (Louis XIV.) granted

letters-patent to twenty eminent masters, who alone were permitted to

teach in Paris. When a vacancy occurred, no interest and no favour could

enable a candidate to obtain this privilege: he had to fence in public

with six of these chosen masters; and if by any of them he was beaten by

two distinct hits, he was considered unqualified to teach in the

capital. Independent of its value as the scientific use of the

sword,--the gentleman’s weapon of defence, _par excellence_,--fencing

stands unrivalled as an _exercise_; and it is in this sense that it will

now be treated. The most eminent physicians which this country have

produced have all, in the most earnest manner, recommended it to the

attention of the young. Thus, Dr. Clive says:--

“Muscular exertion is essential in perfecting the form of the body, and

those exercises which require the exercise of the greatest number of

muscles are the most conducive to this end. Fencing causes more muscles

to act at the same time than most other exercises. It promotes the

expansion of the chest, and improves respiration, whereby the functions

of the most important organs of the body are more perfectly performed.”

Sir Anthony Carlisle uses similar language:--

“According to my judgment, the exercise of fencing tends to promote

bodily health, and the development of athletic powers. It is likewise

apparent, that the attitudes and exertions of fencing are conducive to

the manly forms and muscular energies of the human figure.”

Again, Sir Everard Home, in still stronger terms:--

“Of all the different modes in which the body can be exercised, there is

none, in my judgment, that is capable of giving strength and velocity,

as well as precision, to the action of all the voluntary muscles of the

body in an equal degree as the practice of fencing, and none more

conducive to bodily health.”

I shall give one more extract from another physician of equal eminence,

Dr. Babbington:--

“I am of opinion that, in addition to the amusement which this exercise

(fencing) affords, it is particularly calculated to excite in young

persons a greater degree of energy and circumspection than they might

otherwise possess; and it is obvious that, in respect of health, that

mode of exertion is _superior to all others_, which, while it gives

motion and activity to every part of the body, produces at the same time

corresponding interest in the mind.”

Sir John Sinclair, Dr. Pemberton, &c., speak in terms equally

recommendatory.

To avoid all danger in the lessons and practice, foils are substituted

for real swords. Strong wire masks are worn on the face, a well-padded

glove on the hand, and the upper part of the body, at which alone the

thrusts are aimed, is protected by a strong jacket, the right side and

collar of which should be of leather.

The first movement a beginner has to learn is the manner of placing

himself in the position called

THE GUARD.

It is from this position that all movements are made, whether offensive

or defensive. Let the beginner be placed with his knees straight, his

feet at right angles, heel to heel; the right foot, right side, and face

directed to the master. The body must be held upright and firm, the arms

hanging down by the side, but easily and without constraint; the left

hand holding the foil a few inches beneath its guard. Next let him bring

the right hand across the body, and seize the foil-handle; by a second

movement, bring the foil above the head, the hands separating as they

ascend, until both arms be nearly extended upwards and outwards. Here

pause. This may be called the _first position_ of the Guard.

These movements should be frequently practised, as they accustom the

arms to move independently of the body, flatten the joints of the

shoulders, and give prominence to the chest.

[Illustration]

To arrive at the _second position_ of the Guard, the right arm, with the

foil, is brought down to the front, until the right elbow is a little

above and in advance of the waist; the fore-arm and foil sloping

upwards; the point of the foil being the height of the upper part of the

face; then, by a second movement, the learner must sink down, separating

the knees, and stepping forward with the right foot fourteen or sixteen

inches; for, of course, the guard of a tall man will be wider than that

of a short one. However, his own comfort in the position will direct him

as to the distance; and the general rule is, that the knee of the left

leg will jut over the toes of the left foot, and the right leg from

ankle to knee be perpendicular. It is in this position that he will

receive all attacks from an adversary, and from this position will all

his own attacks be made. Also in this position will he

ADVANCE

upon an adversary, when beyond hitting distance. The step in the advance

is usually about that of the width of the Guard, although of course

this would vary with circumstances. The step is made by advancing the

right foot the distance I have named; and on its reaching the ground,

the left foot is brought up, and takes its place. To

RETREAT,

the reverse of the above movement is made. The left foot takes the lead,

stepping to the rear about as far as the right had stepped to the front;

the right occupying its place on its taking up its new position. The

next movement,

THE LONGE,

is a very important movement, and is rather difficult to make properly,

and fatiguing to practise. Indeed, the first movements in fencing are

the most trying to the learner; and he must not be discouraged if he

fails to do them correctly at first--practice only will give him this

power. The Longe is that extension of body which accompanies every

attack, and is thus made: The right arm is extended straight from the

shoulder, the arm and blade being on the same level; by a second

movement, the right foot is raised from the ground, and a step made

forward, about eighteen inches in length, while the left remains firmly

planted in its place. At the instant that this step is made, the left

hand is allowed to fall within a few inches of the left thigh, and the

left knee is stiffened back until the leg is perfectly straight.

[Illustration]

The thigh of the right leg will now be in a position nearly horizontal;

from the knee downwards, perpendicular. Having executed the Longe, the

next movement to be made is

THE RECOVER;

that is, to return from the position of the Longe to that of the Guard,

and is thus effected: The left arm is nimbly thrown up to its place, the

right arm drawn in, and the left knee re-bent. These movements must be

made at the same time, as it is their _united_ action that enables a

person to recover from so extended a position as the Longe quick enough

to avoid a thrust if his own attack has failed.

These movements must be frequently practised before any others are

attempted--the Guard, the Advance, the Retreat, the Longe, and the

Recover; and when the learner has attained some proficiency in them, he

may begin the more delicate movements of attack and defence. Of these I

will now speak.

THE ENGAGE.

It is customary for adversaries, on coming to the Guard, to _Engage_, or

to join blades, on what is called the _inside_, that is, the _right_

side; although there are occasions on which it is advisable to engage on

the _outside_, or on the left; otherwise called the _Quarte_ or _Tierce_

sides.

Two men thus opposed to each other will at once perceive that there are

two lines of attack open to them, _i. e._ the line inside and the line

outside the blade--these, and no more. But these may be, and in fencing

are, subdivided into inside above the hand, and inside under the hand,

and the same subdivision for outside. This gives four lines of

attack--or, to speak more simply, gives four openings through which an

adversary may be assailed. Now, to protect each of these assailable

points, are four defensive movements, called

PARADES.

Each opening has its own parade or defence, and each parade will guard

its own opening, and, strictly speaking, no other. The opening inside

above the hand is defended by two parades.

[Illustration]

As its name imports, the first and most natural parade is that of

_Prime_. The action of drawing the sword from its sheath is almost

exactly the movement made use of in the parade of Prime.

In this parade, the hand is raised as high as the forehead, so that the

fencer can see his opponent’s face under his wrist. The blade of the

foil is almost horizontal, but the point is rather lowered towards the

ground. As this parade will throw the right side of the body open to the

adversary’s sword, it is good play to disengage from left to right, and

deliver a rapid thrust at the adversary, in order to anticipate him

before he can bring his own sword round for another thrust. His point

will be thrown far out of line, so that he is behind-hand in point of

time.

This is a very useful parade for fencers of short stature, as they can

sometimes get in their blade under their adversary’s arm, after they

have parried his thrust.

The other parade is that of

QUARTE.

It is thus formed. On the approach of the point of an adversary’s blade

(and how these approaches are made I will presently explain), the right

hand is moved a few inches--three or four will be enough--across the

body on the inside; the hand being neither depressed nor raised, and the

foil being kept on the same slope as in the Guard. This guards the body

on the inside above the hand, but (and here comes an important law in

fencing) the very movement which has guarded the body on one side has

exposed it on the other: this is the case with all the simple parades.

[Illustration]

Suppose, now, that the exposed part _outside above_ the hand were

assailed, then the defence for it is the parade of

TIERCE.

It is formed by turning the hand with the nails downwards, and crossing

to the opposite side some six or eight inches; the hand and point at the

same elevation as before: this will guard this opening. If, however, the

attack had been made _under_ instead of over the hand, then the proper

parade would have been _Seconde_.

[Illustration]

There is another method of parrying, called _Quarte_, over the arm,

which is executed by making almost the same parade as in Tierce, with

this exception--first, the hand is retained in its original position,

with the nails upwards; and, secondly, the point is not raised above the

eye of the adversary.

[Illustration]

It is rather more delicate than tierce, but wants its power and energy.

The Ripostes, or reply thrusts, are made, as they would have been had

the parade been that of Tierce.

[Illustration]

[Illustration]

SECONDE

is formed by turning the hand in the same position in which it was

turned for Tierce, but the point of the foil slopes as much downwards as

in Tierce it did upwards; the direction and distance for the hand to

traverse being the same. Again, had the attack been delivered at none of

these, but at the _inside under_ the hand, then the proper parade would

have been

DEMI-CERCLE,

which, as its name expresses, is a half-circle, described by a sweep of

the blade traversing the _under_ line. Next comes the parade of

OCTAVE.

In this parade the hand is held as in Quarte; the hilt of the foil is

kept lower than that of the opponent; the blade is almost horizontal,

the point being only slightly lower than the hilt, and directed towards

the body of the adversary.

[Illustration]

Octave is extremely useful when the fencer misses his parade of

Demi-cercle, as there is but a short distance for the point to traverse,

and it generally meets the blade of the adversary before the point can

be properly fixed. Moreover, it brings the point so near the adversary’s

body, that he will not venture to make another thrust until he has

removed the foil.

Thus I have enumerated, and partly explained, the forms and uses of

these four parades: they are called Simple Parades, to distinguish them

from another set of defensive movements, called

CONTRE-PARADES.

I have said and shown that a man standing foil in hand, in the position

of the guard, is exposed in four distinct places to thrusts from an

adversary within longing distance. I have also shown that he has a

defence for each of these exposed places; but if a man has but _one_

defence for each assailable part, then his adversary, knowing beforehand

what the defence must be, would be prepared beforehand to deceive him.

But if he has a reserve--if he has a _second_ defence for each part,

then the adversary cannot tell what the defence will be, until his

attack, false or real, is begun.

To meet this contingency, a second series of defences have been devised,

which are of an entirely different nature from the _Simple_ Parades.

Again, as each of the simple parades is framed to guard only one

opening, it was found desirable that the contre-parades should be of a

more comprehensive character. They are therefore devised so that each is

capable of protecting the entire front. It is evident that this object

could not be attained without the sacrifice of quickness, because a

larger space must be traversed, and therefore more time is occupied with

a contre than a simple parade.

To know one contre-parade is virtually to know all, as they are all

formed on the same plan. They are all full circles in the position of

hand and direction of foil of the different simple parades; or more

clearly speaking, each simple parade has a contre-parade; there are,

therefore, four simple and four contre-parades, which may be thus

arranged:--

Quarte Contre de Quarte.

Tierce Contre de Tierce.

Seconde Contre de Seconde.

Demi-cercle Contre de Cercle.

I have said that a contre-parade is a full circle in the position of

hand and direction of blade of its simple; thus, contre de quarte is

made by retaining the hand in the position of quarte, while the foil

describes a circle descending on the inside, and returning by the

outside to the place of its departure. So with all the others, the foil

_following the direction of the simple_ parade, of which it is the

contre. These complete the entire system of defences.

I now come to movements of an opposite nature, namely, the

ATTACKS,

and shall begin with the most simple of them. I will again suppose two

adversaries standing, _en guard_, within longing distance of each other:

now the most simple movement that the attacking party could make would

be,

THE STRAIGHT THRUST

to the outside or inside, according to his line of engagement. I have,

in describing the longe, in effect described the straight thrust; it is

but a longe in a straight line, taking care, however, to feel firmly the

adversary’s blade, but taking care also not to press or lean on it

during the delivering of the thrust.

Next in character comes

THE DISENGAGEMENT.

This attack is made by dropping the point of the foil beneath the

adversary’s blade, and raising it on the opposite side, at the same

time, rising with the arm fully extended; on the completion of the

extension the longe is made and the thrust delivered.

THE ONE-TWO

is but a double disengagement, the first being but a feint or false

attack, to induce the adversary to form a parade to cover the part

threatened, for the covering of one part of the body exposes the

opposite: the second disengagement is made to take advantage of this

exposure. The arm is extended halfway on the first, and then wholly on

the second, to be immediately followed by the longe.

THE BEAT AND THRUST.

This is another variety of attack. Supposing the adversary’s blade to be

firmly joined to yours, when you wished to deliver a _straight thrust_,

there would then be danger of your falling upon his point. This danger

is avoided by giving a slight beat on his blade the instant preceding

your extension of arm, of course to be followed _en suite_ by the longe.

The companion attack to this attack is

THE BEAT AND DISENGAGEMENT.

The _beat_ here takes the character of the first disengagement in

_one-two_, _i. e._ becomes a _feint_, and is intended to induce the

adversary to return to the place he occupied when the beat was made. You

then immediately pass to the opposite side of his blade in the manner

described in the _disengagement_.

It will be seen that all these movements pass _under_ the adversary’s

blade. However, there are certain situations in the _assault_, as a

fencing bout is called, when an adversary is more assailable _over the

point_ than under the blade; for this purpose there is what the French

call the _coupé sur point_, or

CUT OVER THE POINT.

It is thus made: By the action of the hand, and without drawing it back

at all, the foil is raised and brought down on the opposite side of the

adversary’s blade, the arm being extended during its fall to the

horizontal position, on attaining which the longe is delivered.

CUT OVER AND DISENGAGEMENT

is on the same principle as the _one-two_ and the _beat and

disengagement_. On the adversary opposing the first movement (the cut)

with a parade, the second movement (the disengagement) is made to the

opposite side, to be followed of course by the longe; the extension of

the arm being divided between the two movements.

These attacks are called simple attacks, because they may be parried by

one or more simple parades, according to the number of movements in the

attack. In fact, every attack can be parried, and every parade can be

deceived: it is the _additional_ movement last made which hits or

guards.

Thus, you threaten by a disengagement to the outside; your adversary

bars your way effectually by the parade of _tierce_; you make a second

disengagement to the inside, which is now exposed from the very fact of

the outside being guarded (for both lines of attack cannot be guarded at

the same time), thus converting your attack into _one-two_; but if your

adversary parries quarte on your _second_ movement, your attack would be

warded off. This can be carried much further, but the above will, I

think, be sufficient to explain the nature of simple parades and

attacks.

To deceive a _contre_-parade, a separate movement, called a _doublé_, or

DOUBLE,

has been invented; it is very simple in principle, and admirably answers

the purpose. For instance, if you were to threaten your adversary by a

disengagement to the outside, and if, instead of tierce, he parried

_contre de quarte_, the double is then made by your making a _second_

disengagement _to the same side as the first_, for it will be found that

his _contre de quarte_ has replaced the blades in the positions they

occupied previous to your disengagement. You will then have an opening,

and may finish the attack by the longe.

As all the contre-parades are on the same plan and principle, so are all

the doubles. Of course, it is understood that you will make all the

movements of the double _en suite_, and without allowing your

adversary’s blade to overtake yours.

ALL FEINTS.

The foregoing movements having been well practised in the lesson, the

next step is that of _all feints_ and _all parades_, and may be

practised either with a master or fellow-pupil. The practice consists of

one pupil standing on the defensive _entirely_, while another assumes

the offensive, and attacks him with _all_ the _feints_ of which he is

master, the other, of course, defending with all his parades. It is

excellent practice, as it accustoms the pupil to think for himself

gradually, he having thus but one set of movements to think about. He is

therefore enabled to make them boldly, without having to encounter

unknown movements from his adversary.

It also enables him to see the extent of his resources, both for attack

and defence. When he can both attack and defend with some presence of

mind, he may then begin

THE ASSAULT;

that is, he may encounter an adversary, to attack or defend as occasion

presents. He is then left to his own resources entirely. The following

GENERAL ADVICE,

given by a very eminent fencer and excellent teacher, cannot fail to be

of use:--

“Do not put yourself on the position of the guard within the reach of

your adversary’s thrust, especially at the time of drawing your sword.

“If you are much inferior make no long assaults.

“Do nothing that is useless; every movement should tend to your

advantage.

“Let your movements be made as much within the line of your adversary’s

body as possible.

“Endeavour both to discover your adversary’s designs, and to conceal

your own.

“Two skilful men, acting together, fight more with their heads than

their hands.

“The smaller you can make the movements with your foil, the quicker will

your point arrive at your adversary’s body.

“Do not endeavour to give many thrusts on the longe, thus running the

risk of receiving one in the interim.

“If your adversary drops his foil by accident, or in consequence of a

smart parade of yours, you should immediately pick it up, and present it

to him politely.

“Always join blades (if possible) previously to another attack, after a

hit is given.”

BROADSWORD.

The principal distinction between the broadsword and the rapier is, that

the latter is formed only for thrusting, while the former is adapted for

cutting also. Indeed, those who use the broadsword are, in my opinion,

too apt to neglect the use of the point, and to give their attention

almost exclusively to the cuts.

The first lesson in the sword exercise is necessarily to know how to

stand. The learner should be instructed to perform the different

movements by word of command, remembering to consider the first parts of

the word as a caution, and not to stir until the _last_ syllable is

uttered. At the last syllable, the movement should be performed smartly.

In giving the word, the instructor always makes a slight pause, in order

to give his pupils time to remember what they must do. For example, the

words Draw Swords, is given thus, Draw . . . . . Swords--the word swords

being spoken smartly, in order that the movement may correspond.

POSITIONS.

_First Position._--Make the target[3] about fourteen inches in diameter,

and place it on the wall, having its centre about four feet from the

ground. Draw a perpendicular line from the spot at the bottom of the

target to the ground, and continue it on the floor, in order to ensure

the proper position of the heels. The learner stands perfectly upright

opposite the target, with his right side towards it, his heels close

together, his right toe pointing to the target, and his left foot at

right angles with the left. His arms must be clasped behind his back,

his right palm supporting the left elbow, and his left hand grasping the

right arm just above the elbow. In this position, he must bend both

knees and sink down as far as possible. This will not be very far at

first, but he will soon sink down quite easily. See accompanying figure

(1).

[3] For target, see next page.

[Illustration: Fig. 1.]

[Illustration: Fig. 2.]

_Second Position._--This is accomplished by placing the right foot

smartly in front, about sixteen or fourteen inches before the left. See

(2). He must accustom himself to balance himself so perfectly on his

left foot, that he can place the right either before or behind it,

without losing his balance.

_Third Position._--The third position must then be learned. This

consists in stepping well forward with the right foot, until the left

knee is quite straight, and the right knee exactly perpendicularly

placed over the right foot. Great care must be taken to keep the heels

exactly in the same line, and the body perfectly upright. See Figure

(3).

[Illustration: Fig. 3.]

These preliminaries having been settled, the learner stands upright

before the target, as in (1). A sword is then put into his hand, and the

target is explained as follows:--

[Illustration]

TARGET.

The interior lines represent the cuts. Cut one being directed from No. 1

diagonally through the target, coming out at 4. Cut two is the same,

only from left to right. Three is made upwards diagonally, and four is

the same, only in the opposite direction. Cut five is horizontally

through the target, from right to left, and six from left to right. Cut

seven is perpendicularly downwards. Care must be taken that the cuts are

fairly given with the edge.

The swords drawn on the target represent the guards. The seventh guard

ought, however, not to be made directly across, but must have the point

directly rather forwards and downwards, as a cut 7 glides off the blade,

and can be instantly answered either by a thrust or by cut 1.

The two dark circles represent the places where the thrusts take effect.

[Illustration]

The learner begins by taking the sword in his right hand, having its

edge toward the target and its back resting on his shoulder. His right

arm is bent at right angles, and the elbow against his side. The left

hand must rest upon the hip, the thumb being to the rear. At the word--

CUTS AND GUARDS.

CUTS.

_Cut 1._--The young swordsman extends his right arm, and makes the cut

clear through the target. When the point has cleared the target,

continue the sweep of the sword, and by a turn of the wrist bring it

with its back on the left shoulder, its edge towards the left. The arm

is then ready for

_Cut 2._--Bring the sword from 2 to 3, continue the movement of the

sword, and turn the wrist so that the point is below the right hip and

the edge towards the ground.

_Cut 3._--Cut through the target diagonally, bringing the sword from No.

3 to No. 2, and bring the sword onwards, so that it rests with the edge

downwards, and point below the left hip. At

_Cut 4._--Cut from 4 to 1, and bring the sword round until its point is

over the right shoulder, and its edge well to the right.

_Cut 5._--At the word Five, make a horizontal cut from 5 to 6, and sweep

the sword round until it rests on the left shoulder, with its edge to

the left, and its point well over the shoulder.

_Cut 6._--Cut horizontally through the target, from 6 to 5, and bring

the sword over the head, with its edge upwards, and its point hanging

over the back. From this position,--

_Cut 7._--Make a downward stroke until the sword reaches the centre of

the target. Arrest it there, and remain with the arm extended, waiting

for the word

POINTS.

_First Point._--Draw back the sword, until the right wrist is against

the right temple, the edge of the sword being upwards. Make a slight

pause, and then thrust smartly forward towards the centre of the target,

raising the right wrist as high as No. 1, and pressing the left shoulder

well back.

[Illustration: FIRST POINT.]

_Second Point._--Turn the wrist round to the left, so that the edge

comes upwards, draw the hand back until it rests on the breast, and give

the point forwards, to the centre of the target, raising the hand as

before.

[Illustration: SECOND POINT.]

_Third Point._--Give the handle of the sword a slight twist in the hand

to the right, so that the edge again comes uppermost, and the guard

rests against the back of the hand. Draw back the hand until it rests

against the right hip, and deliver it forwards towards the spot at the

bottom of the target, raising the wrist as high as the spot in the

centre. The object in raising the wrist is to deceive the eye of the

opponent, who will be more likely to notice the position of your wrist

than of your point. In all the thrusts, the left shoulder should be

rather brought forward before the point is given, and pressed well back

while it is being delivered.

[Illustration: THIRD POINT.]

GUARDS.

Wait after the third point has been delivered for the word

_Defend._--At this word draw up the hand smartly, and form the first

guard. Make the other guards in succession as they are named, while the

instructor proves their accuracy by giving the corresponding cuts. The

guards must be learned from the target, by placing the sword in exactly

the same position as those delineated. The guards are these:--

A First guard.

B Second.

C Third.

D Fourth.

E Fifth.

F Sixth.

G Seventh.

The two spots H and I mark the places towards which the points are made,

H for the first and second point, I for the third.

PARRY.

The parry or parade of a thrust is executed with the back of the sword.

The firmest way of parrying is to hold the sword perpendicular, with its

edge to the right and its hilt about the height of and close to the

right shoulder; then, by sweeping the sword round from left to right,

any thrust within its sweep is thrown wide of the body.

The parry is executed with the wrist and not with the arm, which must

not move.

HANGING GUARD.

When the pupil is acquainted with both cuts and guards, he should learn

the hanging guard, a most useful position, as it keeps the body well

hidden under the sword, and at the same time leaves the sword in a good

position to strike or thrust.

It is accomplished in the following way. Step out to the second

position, as in Figure 2, raise the arm until the hand is just over the

right foot, and as high as the head. The edge of the sword is upwards,

and the point is directed downwards and towards the left. The left

shoulder is pressed rather forward, and the neck and chest drawn inward.

In this position, the swordsman is in a position to receive or make an

attack as he may think fit. It is rather fatiguing at first, owing to

the unaccustomed position of the arm and head, but the fatigue is soon

overcome, and then it will be found that there is no attitude which

gives equal advantages.

[Illustration: HANGING GUARD.]

There are two other modes of standing on guard, each possessing their

peculiar advantages. These are, the inside and outside guard. The inside

guard is made as follows:--

INSIDE GUARD.

Stand in the second position, having the wrist of the right hand nearly

as low as the waist, the hand being exactly over the right foot. The

point of the sword is raised as high as the eyes, and the edge is turned

inwards, as will be seen from the accompanying engraving.

[Illustration: INSIDE GUARD.]

OUTSIDE GUARD.

The outside guard is formed in the same manner as the inside, with the

exception that the edge of the sword is turned well outwards.

[Illustration: OUTSIDE GUARD.]

To get to the hanging guard, the words are given as follows:--inside

guard--outside guard--guard.

ATTACK AND DEFENCE.

The swordsman having learned thus far, is taught to combine the three

movements of striking, thrusting, and guarding, by the following

exercise:--

1. Inside Guard.

2. Outside Guard.

3. Guard.

4. Cut One.

5. First Guard.

6. Cut Two.

7. Second Guard.

8. Cut Three.

9. Third Guard.

10. Cut Four.

11. Fourth Guard.

12. Cut Five.

13. Fifth Guard.

14. Cut Six.

15. Sixth Guard.

16. Cut Seven.

17. Seventh Guard.

18. First Point. [Prepare for the point in First Position.] Two.

[Thrust in Third Position.]

19. Second Point. [Prepare for it in First Position.] Two. [Thrust in

Third Position.]

20. Third Point. [Prepare.] Two. [Thrust.]

21. Parry. [Prepare to parry in First Position.] Two. [Parry.]

22. Guard.

The young swordsman must remember that in this, as in all the exercises,

the cuts and points must be given in the third position, as in the

accompanying illustration, which shows the swordsman just as he has

delivered the seventh cut, and is waiting for the next word before he

resumes the first position.

[Illustration: SEVENTH CUT.]

The guards, on the contrary, are given in the first position, as is seen

in the figure on p. 219, which illustrates the seventh guard.

These exercises are always learned with the single-stick, or

basket-hilted cudgel, in order to avoid the dangers which would be

inevitable if the sword were used. But as the single-stick is only an

imitation of the sword, I will give the method of getting the sword out

of the sheath into any position required.

DRAW SWORDS.

The first word of command is _draw swords_. At the word _draw_, seize

the sheath just below the hilt, with the left hand, and raise the hilt

as high as the hip, at the same time grasping the hilt with the right

hand, turning the edge of the sword to the rear, and drawing it

partially from the sheath, to ensure its easy removal.

[Illustration: SEVENTH GUARD.]

At the word _swords_, draw the blade smartly out of the scabbard,

throwing the point upwards, at the full extent of the arm, the edge

being still to the rear.

RECOVER SWORDS.

The wrist is now smartly lowered until it is level with the chin, the

blade upright, and the edge to the left. This is the position of recover

swords. The elbow must be kept close to the body, as in the cut.

[Illustration: RECOVER SWORDS.]

CARRY SWORDS.

The wrist is now sharply lowered until the arm hangs at its full length,

the wrist being in the line with the hip, the edge of the sword to the

front, and its back resting in the hollow of the shoulder, the fingers

lightly holding the hilt. The left hand hangs at the side until the word

_inside guard_, when it is placed on the left hip.

SLOPE SWORDS.

At the word _swords_, raise the right hand smartly, until it forms a

right angle at the elbow.

RETURN SWORDS.

At the word, raise the blade until it is perpendicular, move the hilt to

the hollow of the left shoulder, drop the point of the sword into the

scabbard (which has been grasped by the left hand and slightly raised,)

at the same time turning the edge to the rear. Pause an instant, and

send the sword smartly into the sheath, removing both hands as the hilt

strikes against the mouth of the scabbard: drop them to the side, with

the palms outwards, and stand in the first position.

PRACTICES.

There are many exercises with the broadsword, called _Practices_. I have

given one of them, which is to be practised alone; but when the pupil

has attained some confidence in the use of his weapon, he must be placed

opposite another pupil, and they must go through them, each taking the

attack and defence in turn.

The young swordsman must be provided with a very stout wire mask, which

defends the face and part of the neck, and which should be worked in a

kind of helmet above, to guard against the disastrous consequences of

receiving the seventh guard. No practices, loose or otherwise, should be

permitted without the masks, as neither party would be able to cut or

thrust with proper confidence.

SECOND PRACTICE.

This is very useful in teaching the point and parry, as well as giving

steadiness on the feet. Two boys are placed opposite each other, at just

such a distance, that when perfectly erect they can touch the hilt of

their adversary’s sword with the point of their own.

The one who gives the first point is called Front Rank, (there may be a

dozen in each rank, each having tried the distance to his right by

extending his sword,) and the one who gives first parry is called Rear

Rank.

WORD OF COMMAND. FRONT RANK. REAR RANK.

Guard. Hanging Guard. Hanging Guard.

Third Point. Prepare to give Third Point. Prepare to Parry.

Point. {Give Third Point, and when } Parry Third Point,

{parried spring back to First } and prepare to

{Position, and prepare to parry.} give Third Point.

Point. {Parry Third Point, and prepare } Give Third Point,

{for Third Point. } and prepare to

{ } Parry.

Point, &c. &c.

This should be continued until both are weary. Both swordsmen should

learn to do it more rapidly every time they practise. Next time of going

through it, front rank and rear rank change places, as they must do in

all the practices.

THIRD PRACTICE.

WORD OF COMMAND. FRONT RANK. REAR RANK.

Guard. Hanging Guard. Hanging Guard.

Leg. Cut Four. Cut Seven.

Inside Guard. Inside Guard. Inside Guard.

Leg. Cut Six [at Leg]. Cut Six [at Neck].

Outside Guard. Outside Guard. Outside Guard.

Leg. Cut Five [at Leg]. Cut Five [at Neck].

Guard. Hanging Guard. Hanging Guard.

Slope Swords. Slope Swords. Slope Swords.

In this and the other practices, the cuts must be delivered in the

third position, and the guards in the first. In the third and fourth

practices, the cuts must be given lightly, as many of them are not

intended to be guarded, but merely to show the powers of the sword in

various positions.

FOURTH PRACTICE.

WORD OF COMMAND. FRONT RANK. REAR RANK.

Guard. Hanging Guard. Hanging Guard.

Head. Seventh Cut. Seventh Guard.

Head. Seventh Guard. Cut Seven.

Leg. Fourth Cut. Seventh Guard.

Leg. Seventh Guard. Fourth Cut.

Head. Seventh Cut. Seventh Guard.

Head. Seventh Guard. Seventh Cut.

Guard. Hanging Guard. Hanging Guard.

Slope Swords. Slope Swords. Slope Swords.

In this and the preceding exercise, the power of shifting the leg is

shown. If two swordsmen attack each other, and No. 1 strikes at the leg

of No. 2, it will be better for No. 2 not to oppose the cut by the third

or fourth guard, but to draw back the leg smartly, and cut six or seven

at the adversary’s head or neck.

In loose play, as it is called, _i. e._ when two parties engage with

swords without following any word of command, but strike and guard as

they can, both players stand in the second position, because they can

either advance or retreat as they choose, and can longe out to the third

position for a thrust or a cut, or spring up to the first position for a

guard with equal ease.

It is often a kind of trap, to put the right leg more forward than

usual, in order to induce the adversary to make a cut at it. When he

does so, the leg is drawn back, the stroke passes harmless, and the

deceived striker gets the stick of his opponent on his head or

shoulders.

We now come to a very complicated exercise, called the

FIFTH PRACTICE.

WORD OF COMMAND. FRONT RANK. REAR RANK.

Draw Swords. Draw Swords. Draw Swords.

Inside Guard. Inside Guard. Inside Guard.

Outside Guard. Outside Guard. Outside Guard.

Guard. Hanging Guard. Hanging Guard.

Head. Seventh Cut. Seventh Guard.

Head. Seventh Guard. Seventh Cut.

Arm. Second Cut [at Arm]. Second Guard.

Head. Seventh Guard. Seventh Cut.

Head. Seventh Cut. Seventh Guard.

Arm. Second Guard. Second Cut [at Arm].

Head. Seventh Cut. Seventh Guard.

Head. Seventh Guard. Seventh Cut.

Right Side. Sixth Cut. Sixth Guard.

Head. Seventh Guard. Seventh Cut.

Head. Seventh Cut. Seventh Guard.

Right Side. Sixth Guard. Sixth Cut.

Guard. Hanging Guard. Hanging Guard.

This practice is capital exercise, and looks very imposing. All these

practices ought to be so familiar, that the words of command are not

needed, the only word required being First, Second, or Third Practices,

as the case may be.

I remember once, that two of my pupils had attained such a mastery of

their weapons, that we used often to go through the practices with real

swords. On one occasion, we were acting a charade, and my eldest pupil

and myself were enacting the part of two distinguished foreigners

(country unknown) who were to get up a fight. So we began by a little

quarrel, and finally drew our swords and set hard to work at the fifth

practice, which we could do with extreme rapidity, and without the use

of words of command. The spectators were horrified, and the ladies

greatly alarmed; for there seems to be no particular order in that

practice, and an inexperienced eye would certainly fancy that the

combatants were in earnest.

FORT AND FEEBLE.

The half of the sword blade next the hilt is called the “fort,” because

it is the strongest place on which the cut of an adversary can be

received. Always parry and guard with the fort of your sword, as, if you

try to guard a cut with the “feeble,” which is the remaining half of the

blade, your guard will be forced, and the cut take effect.

DRAWING CUT.

The drawing cut is made best with a curved sword, and is executed by

placing the edge of the sword on the object, and drawing it over it

until it is severed. A good large mangel worzel is capital practice.

Place the root loose on a table, stand at arm’s length from it, lay the

edge of the sword lightly on it, and slice the root by repeatedly

drawing the sword over it. This is very difficult, although it looks

easy enough, and is sure to jar the arm from the wrist to the shoulder

the first time or two, while the sword glides off as if the root were

cased in polished steel. However, a little practice will soon overcome

the difficulty. This cut is much in use among the Sikhs.

GENERAL ADVICE.

Never look at your own sword, but watch the eye and sword wrist of your

opponent.

Remember that the great point in this exercise, as in fencing, is to

gain time. Endeavour, therefore, to advance your point nearer your

adversary than his is to you.

Begin the assault out of distance, so that neither party can complain of

being taken by surprise.

If the two parties exchange a cut or a thrust at the same moment, the

one who gave his cut or thrust in the third position is victorious.

When a cut or thrust is made, the one who receives it passes his sword,

_i. e._ stick, into his left hand, and his opponent comes to inside

guard.

Always spring back to the second position after delivering a cut or

thrust.

Keep the line of direction carefully, or you will leave an open space

for the adversary to get his sword into.

Last and most important, Don’t lose your temper.

[Illustration]

FIVES.

It is impossible to play at this excellent game unless there be a high

wall, free from abutments, and a smooth, dry, paved ground before it.

When this can be procured, a line is drawn on the wall, about 38 inches

from the ground; another line is drawn on the ground, about 10 feet from

the wall, A; and two others are drawn on each side as boundaries, B C.

The instruments used in the play are a ball of tightly-sewn leather and

a fives-bat. It has a long handle, and an oval bowl of wood. The ball is

hard, rebounding, small, and white. The game may be played by two or

four people; in the last case, two on each side. The method of play is

as follows:--The game may be played either single-handed or with

partners. When it is played with partners, the players toss up for

innings. The first player takes the ball, and strikes it against the

wall with his bat _above the line on the wall_, and so that it may fall

_without the line on the ground_. The other then strikes it, and the

players continue to hit it against the wall, either before it comes to

the ground or at the first bounce, until one of them missing it, or

driving it out of bounds, or beneath the wall-line, loses or goes out.

Of course the ball may fall anywhere within the side boundaries, after

being once struck up by the player who is in. The game is usually

fifteen, but is sometimes extended to twenty-five. The game above

described is that known as bat-fives, and differs little from the game

of rackets, except that it may be played in any open court, and that a

differently-shaped bat and a larger ball are employed. Fives was

originally played with the hand, instead of a racket, and in the

fourteenth century was called Hand Tennis in England, and in France,

Palm Play. It is said to have obtained the name of Fives, from ten of

the Earl of Hertford’s servants having played before Queen Elizabeth,

five of a side; but more probably on account of the five fingers of the

hand. This game of “hand-fives” is the one ordinarily played by boys,

and known technically as “fives.” The ball is hit against the wall

entirely by the hand, and no bat of any description is used. The game

may be played by two or more people, and is usually fifteen. Players

with tender hands usually play with an ordinary kid or padded glove,

either of which is quite admissible. There are variations of the game at

different schools, owing to peculiarities in the shape of the courts. At

Eton, for instance, a buttress of the chapel abuts into the court, and

the Eton courts at Oxford are made on a similar plan. But the game as

ordinarily played is that as described above.

FOOT-BALL.

Uncertain as to the date of its origin, there is no English game which

is at once so popular and about which so much difference of opinion

exists. All agree as to its manly character, its capabilities for

endurance, activity, hardihood, and strategical skill, but there are

very few who agree entirely as to the rules by which the game should be

played.

In ancient records there is no mention of the game before the reign of

Edward III.; and at that period it seems to have been so popular that by

royal edict it was put down, as being antagonistic to the royal

amusement of archery. But that it flourished, and flourished

considerably, beyond that date, there is no doubt. In many market-towns

of England and Scotland, and notably in that of Kingston-on-Thames, all

business is suspended on Shrove Tuesday, and a great game of foot-ball

is played in the market-place. All is officially conducted, and the

mayor is honoured with the privilege of “kick-off.”

It would seem a pity at first sight that there is no authority like that

of the Marylebone Club to revise the laws of foot-ball and insist upon

their being observed in all places where the game is played. Foot-ball

as now constituted is not, and cannot be, a national game. There are

hardly two schools in England that agree in its first principles, and

that are not continually wrangling and disputing as to how the game

should be played. To touch the ball with the hands is in some eyes a

heresy, and in others an uncommon virtue. Some schools advocate running

with the ball, while others consider such licence as antagonistic to the

proper principles and well-being of the game. And, indeed, looking round

at the various head-quarters of foot-ball in England, it really does

seem a difficult matter to reconcile the games as now played so as to

suit all tastes. Rugby and Eton foot-ball can hardly be looked upon as

the same game.

[Illustration: FOOTBALL.]

We have one set of people advocating the employment of only eleven, or

at most twenty, players on a side, and another maintaining that a

hundred or so on a side matters little. We have one school playing the

game against a brick wall, another using boundaries of canvas, another

dashing the ball about in narrow cloisters, and another marshalling a

little army of players, with regularly organized back and forward

players, reserve forces, vanguard, scouts, runners, all of whom have

their direct influence on the fate and fortunes of the game.

The great essentials for foot-ball are pluck, endurance, and good

temper. Half the disputes at foot-ball which are ascribed to “hacking”

and “shinning” would not have occurred had good temper been observed. No

one “hacks” or “shins” wilfully, except he loses his temper; and a

player in foot-ball, as in other games, who cannot keep his temper is

unfit in every way to enjoy the game. As a match at foot-ball is now

made, two parties, containing any number of competitors, take the field,

and, having tossed up for sides, stand between two goals, placed at a

distance of some eighty yards apart. The party that loses the toss has

the privilege of “kick-off.” The goal is marked by two upright poles,

driven into the ground about ten yards apart. The ball, which used

formerly to be made of a blown bladder, is now made of an inflated

vulcanized india-rubber case, inclosed again in a case of laced and

well-sewn leather. The object of each party is to drive the ball through

the goal of their antagonists. The skill of the players is best employed

in attacking and defending the goals.

In the game of football the fewer the rules, and the simpler those rules

are, the better. The great “bone of contention” with lovers of the game

is, as to whether players should be allowed to touch the ball with their

hands or not. Eton and Westminster players will be arguing for ever that

the game is foot-ball, and not _hand_-ball; while Rugbæans, on the other

hand, will contend that without the use of the hands as well as the feet

the game is robbed of one of its principal charms. In the following

rules a medium course is advocated, as, while nothing looks so bad as to

see a lazy or inactive player, who does not care to follow the ball,

playing fives with it whenever it comes within his reach, it would be

equally absurd to stop a player who catches the ball fairly either on

the full or first bound from running a yard or so with it in his hands,

in order to allow him to get up the necessary impetus for a strong

drop-kick. With regard also to “off-side,” it is essentially necessary

that some clear and definite rules should be laid down. What can

possibly look worse than to see a player, again one of those who are too

indolent to “follow up” the ball, coolly stand in the middle of the

course, or, worse still, at the very door of his neighbour’s goal,

waiting until the ball is kicked up to him, in order that he, fresh and

full of wind as he is, may follow it in to the goal? It is hoped that

the following rules may give general satisfaction, and prevent disputes

and obstacles:--

1. A goal may be obtained by a fair full kick or drop-kick off the hand,

provided the ball goes over the bar which runs between the goal-posts;

or a goal may be obtained by a fair foot-ball “bulley,” which sends the

ball through all obstacles anywhere between the posts.

2. The foot-ball course must be marked by side boundaries. When the ball

is kicked outside these boundaries, a player of either side may kick it

into the course again in a straight line from where it went out.

3. A player who shall not have been behind the last player on his own

side who kicked the ball shall be considered “off his side.”

4. No player who shall be “off his side” shall be allowed to kick the

ball until it shall have touched one of the opposite side, when he

becomes on his side again, and may join in the game.

5. A player who obtains a fair catch of the ball, either full or on the

first bound, may take a short run, in order to obtain a “drop-kick,” or

may kick it at once full off his hands.

6. Any player of the opposite side may use his best endeavours to

prevent a drop or full kick after a fair catch.

7. No “holding” must be allowed at any period of the game.

8. No “shinning” or “hacking” is to be allowed.

9. At the commencement of the game the captains of each side shall

determine mutually how long the game is to last.

10. At the end of the time, no matter in what position the game is, one

of the captains shall cry “no game,” and the game shall immediately

cease.

GOLFING.

[Illustration]

Golfing is played with a club and ball. The club is from three to four

feet long, according to the height and length of arm of the player. It

is curved and massive towards the end, to give strength and weight. This

knob is formed for strength from some very tough wood, as beech, and as

it curves and proceeds upwards is planed off, so as to adapt itself to

the handle, to which it is partly glued and tightly corded down. A want

of due attention to these particulars in the making of it will render

the head liable to split and fly off by either a very hard or indirect

stroke. The face of the club is further secured by a piece of hard bone,

and occasionally of ivory, at least half an inch thick. It is also

loaded with from four to six ounces of lead, according to the will of

the player. The handle is usually bound with cord, list, or velvet, at

the pleasure of the owner. It is, however, to be remembered, that the

form of the club, the materials of which it is made, and the numbers

taken to the golfing ground, vary considerably, according to the

circumstances and habits of the players, the attendant cad or caddie

having usually many varieties, to suit every peculiarity under which the

ball may be placed; for in many clubs it can never be touched by the

hand until holed.

The golf ball is about the size of an egg, and is made very hard. It is

composed of stout leather, which, having been previously soaked in

boiling water, allows of its being first very firmly sewed, and then

turned inside out, leaving a small opening only, by which it is very

forcibly stuffed with feathers. The leather being yet wet, it contracts

into a ball of the dimensions stated, but never gets circular, as that

used in the game of cricket. It is afterwards painted over with several

coats of white paint; in doing which it is requisite that the lead used

should be very pure and exceedingly well ground down, as well as that

each coat laid on should be perfectly dry and hard before another is

applied.

The game is played by two or more persons, so that there be an equal

number on each side; but only two balls are used, one belonging to each

party, each party also striking in turn: but if the last striker does

not drive his ball as far as that of his opponent, one of his party must

then strike one, or perhaps two more, and the game is thus marked by

calling out one, two, or three more, as the case may be. If more than

two are playing, the same person does not strike twice in succession: a

miss is considered one. The party who puts the ball into the hole in the

fewest strokes wins the game.

The grounds used for this sport vary in different parts of Scotland.

Some are nearly square, in which case a hole is made in each corner; but

if it be irregular in figure, it is not uncommon to place one at each

angle, so that the party shall traverse the whole surface, and finish at

the spot from whence he started; a quarter of a mile being usually

allowed between each hole. Besides the stick, or club, already

described, there are others, usually carried by an attendant for each

party. These are called, by way of distinction, putters--of which,

however, there are several sorts, one being short, stiff, and heavy,

similar in figure, but longer on the head, for making a steady and

direct stroke when near the hole. Another, formed of iron, instead of

wood, is used for making a hit at a ball when very unfavourably placed,

as in a rut, where the common club would be in danger of breaking. When

a ball falls into a hole or rut, from which it is impossible to strike

it out, the party is allowed, by a special agreement, in some clubs, to

take it out with his hand, and throw it up in a line with the spot,

which is accounted as one, and he then strikes from where it chances to

rest; but, as already observed, this indulgence does not extend to every

Golfing Society.

[Illustration]

GYMNASTICS.

INTRODUCTION.

The study of Gymnastics is of the utmost importance to young persons, as

its object is to call into exercise, and to train to perfection, all the

corporeal or bodily powers. It is the education of the limbs, joints,

and muscles; and includes not only the systematic training of these, but

also assists the sciences of riding, driving, wrestling, rowing,

sailing, skating, swimming, &c.

In the following gymnastic exercises we have determined to introduce

only those more simple and useful feats which may be said to make up the

“Alphabet of the Science,” and all the individual and progressive

exercises are susceptible of being everywhere introduced. They may be

performed in very small spaces, and require no particular preparation,

expense, or place. By attention to the directions any pupil between the

ages of twelve and sixteen may train and exercise himself, and a number

of other children younger than himself; and this excellent study may

thus become a source of amusement and delight.

[Illustration: GYMNASTICS.]

HISTORICAL MEMORANDA.

The first gymnasium is said to have been established at Sparta, and some

years afterwards at Athens. In the former city the exercises partook of

a rude military character; but among the Athenians, who were always

disposed to mingle the elements of the beautiful in whatever they

undertook, gymnastics were refined, and the Gymnasia became temples of

the Graces. In each there was a place called Palæstra, in which

wrestling, boxing, running, leaping, throwing the discus, and other

exercises of the kind were taught. Gymnastics were afterwards divided

into two principal branches--the _Palæstræ_, taking its name from the

Palæstra, and the _Orchestræ_. The former embraced the whole class of

athletic exercises; the latter dancing, and the art of gesticulation and

declamation.

The Gymnasia were spacious edifices, surrounded by gardens and a sacred

grove. Their principal parts were: 1. The Portices, furnished with seats

and side buildings, where the youths met to converse. 2. The Ephebeion,

that part of the edifice where the youth alone exercised. 3. The

Apodyterion, or undressing room to the Conisterium, or small court in

which was kept the yellow kind of sand sprinkled by the wrestlers over

their bodies after being anointed with the aroma, or oil tempered with

wax. 5. The Palæstra properly was the place for wrestling. 6. The

Sphæristerium, where the game of ball was played. 7. Aliterium, where

the wrestlers anointed themselves with oil. 8. The Area or great court,

where running, leaping, and pitching the quoit were performed. 9. The

Xysta, open walks in which the youths exercised themselves in running.

10. The Balanea, or baths. Behind the Xysta lay the Stadium, which, as

its name imports, was the eighth of a mile in length; and in this were

performed all sorts of exercises, in the presence of large numbers of

persons and the chiefs of the state.

To all these branches of gymnastics the Grecian youth applied themselves

with peculiar eagerness, and on quitting the schools devoted to them a

particular portion of their time, since they regarded them as a

preparation for victory in the Olympic and other games, and as the best

possible means for promoting health and ripening the physical powers;

nor could anything be better adapted for those whose heroism was

liberty, and whose first great aims were to be good citizens and the

defenders of their country.

The Romans never made gymnastics a national matter, but considered them

merely as preparatory to the military service; and, though forming a

part of the exhibitions at festivals, they were practised only by a

particular class trained for brutal entertainments, at which large bets

were laid by the spectators, as is still the custom on our own

racecourse: but when all the acquisitions of the human intellect were

lost in the utter corruption of the Roman empire and the irruptions of

wandering nations, the gymnastic art perished.

MODERN GYMNASTICS.

The commencement of tournaments during the Dark Ages in some degree

revived athletic exercises; but the invention of gunpowder, the use of

the small sword, the rifle, and scientific tactics, by which battles

were gained more by skill than force, kept down the training of the body

for athletic feats. But in the last century, when men broke loose from

the yoke of authority, and education began to be studied, it was found

that physical education had been forgotten. Salzmann, a German

clergyman, invented a system of physical exercises, principally confined

to running, leaping, swimming, climbing, and balancing; and at the

commencement of the present century a German of the name of Volker

established the first gymnasium in London, while Captain Clias, a Swiss,

established one in the Royal Military Asylum; and since then many of the

best schools and colleges have a gymnasium attached to their

establishments.

It generally happens that the pupils of a gymnasium, after a time, lose

their interest in the exercises. The reason of this appears to be that

little or no difference is made in the exercises of different ages, and

it is natural that an exercise repeated for years should become

wearisome. Gymnastics, therefore, when they are taught, should be

divided into two courses. In the first course we would include walking

and pedestrian excursions, elementary exercises of various tests,

running, leaping in height, in length, in depth, leaping with a pole (in

length and height), vaulting, balancing, exercises on the single and

parallel bars, climbing, throwing, dragging, pushing, lifting, carrying,

wrestling, jumping (1. with the hoop; 2. with the rope), exercises with

the dumb bells, various gymnastic feats or games; and, lastly, swimming,

skating, fencing, riding on horseback, rowing, &c.

Gymnastic exercises may be begun by a boy of about eight years of age,

or may be commenced at any age; but in all cases he should begin gently,

and proceed gradually, without any abrupt transitions. They should be

commenced before breakfast in the morning, or before dinner or supper;

but never immediately after meals: and the pupil should be very careful,

after becoming heated by exercises, of draughts or cold, and especially

refrain from lying on the damp ground, or from standing without his coat

or other garments; and rigidly guard against the dangerous practice of

drinking cold water, which, in many instances, has been known to produce

immediate death.

WALKING.

In all gymnastic exercises walking, running, and jumping deserve the

preference, because they are the most natural movements of man, and

those which he has most frequent occasion to use. This exercise, within

the reach of everybody, ought to be placed among the number of those

which are direct conservators of health, and which have the most

important beneficial effects upon our mental and moral economy. Walking

provokes appetite, assists digestion, accelerates the circulation,

brings the fluids to the skin, strengthens the memory, and gives

cheerfulness to the mind, and in fatiguing the limbs gives repose to the

senses and the brain.

It might be supposed that every one knows how to walk: not so, however;

some persons crawl, some hobble, some shuffle along. Few have the

graceful noble movement that ought to belong to progression, or, however

well formed, preserve a really erect position and an air of becoming

confidence and dignity. To teach walking--that is to say, to teach young

persons to walk properly--we should advise a class of them to unite,

that they may be able to teach themselves, which they may readily do if

they follow the instructions given below.

A company of boys being formed, the eldest, or the one best adapted to

the task, should act as captain, and at the word of command, “Fall in,”

all the boys are to advance on the same line, preserving between each

the distance of about an arm’s length. At the word “Dress” each boy

places his right hand on the left shoulder of the next, extending his

arm at full length, and turning his head to the right. At the word

“Attention” the arms fall down by the side, and the head returns to the

first position. The captain should now place his little regiment in the

following manner:--1. The head up. 2. The shoulders back. 3. The body

erect. 4. The stomach in. 5. The knees straight, the heels on the same

line. 6. The toes turned very slightly outwards. The captain now stands

before his men, and advancing his left foot, his knee straight, and his

toe inclined towards the ground, he counts one, two, placing his boot on

the ground, the toe before the heel; he then directs his pupils to obey

him, and to follow his motions, and says, “March,” when each foot is

advanced simultaneously, till he gives the word “Halt.” He then makes

them advance, wheel to the right and left, in slow time, quick time,

always observing the position of the body, and requiring that they move

all together.

THE TIP-TOE MARCH.

This movement is preparatory to running and jumping. The boys being in

line, the word “On tip-toes” is given: each boy places his hands on his

sides, and waits for the word, “Rise;” when they all gently raise

themselves on their toes, joining their heels together, and keeping the

knees straight, remain in this position till the word “Rest” is given,

when they fall back slightly on their heels, their hands at the same

time falling down by their sides. Proceeding in this manner through a

few courses, with such changes as may present themselves, the pupils

will soon acquire a habit of graceful walking, of the highest

importance to every one who studies a gentlemanly bearing.

RUNNING.

Running is both useful and natural; it favours the development of the

chest, dilates the lungs, and, when moderate, is a highly salutary

exercise. To run fast and gracefully one should as it were graze the

ground with the feet, by keeping the legs as straight as possible whilst

moving them forward. During the course the upper part of the body is

inclined a little forward, the arms are as it were glued to the sides,

and turned in at the point of the hips, the hands shut, and the nails

turned inwards. The faults in running are swinging the arms, raising the

legs too high behind, taking too large strides, bending the knees too

much, and in not properly managing their wind. In all running exercises

the young should begin gradually, and never run themselves out of breath

at any time. By careful practice a boy may soon acquire the power of

running a mile in ten minutes; this is called moderate running: in what

is called prompt running a thousand yards in two minutes is thought very

good work, and in quick running 600 yards in a minute is considered

good. The first distance that children, from eight to ten years of age,

may be made to run is about 200 yards; the second, for those more

advanced, 300 yards; and the third, for adults, 400 yards. It is however

most essential, that in running boys should not over-tax their strength

or “wind.” We are not all constituted alike, and a boy who could last

for 200 yards or so might injure himself considerably by racing for a

mile.

JUMPING.

Of all the corporeal exercises jumping is one of the most useful; and

during our lives very many instances occur of a good jump having done us

essential service. To jump with grace and assurance one should always

fall on the toes, taking care especially to bend the knees on the hips:

the upper part of the body should be inclined forwards, and the arms

extended towards the ground. The hands should serve to break the fall

when jumping from a great height. In jumping we should hold the breath

and never alight on the heels. Boys should exercise themselves in

jumping, by jumping in length, and jumping from a height, with attention

to the above cautions. They may make progressive exercises in _length_

by varying the distance from time to time, and in height by jumping from

a flight of stairs or steps, increasing a step at a time: they will soon

be able to jump in length three yards, and from a height six feet,

without injury.

LEAPING.

Leaping is somewhat different to what is called jumping, as the object

is to pass over an obstacle; and, as in jumping, it is of great

importance to draw in the breath, while the hands should be shut, the

arms pendent, to operate after the manner of a fly-wheel or pendulum. It

may be practised by a leaping stand, which can be easily made of two

sticks or stakes sunk in the ground, in which little catches are made at

various distances, on which an even piece may be laid, that may readily

be knocked over, so as to offer no resistance to the jumper, and injure

him by an ugly fall.

The principal exercises in leaping are:--1. The high leap without a run.

2. The high leap with a run. 3. The long leap without a run. 4. And the

long leap with a run. In the first of these the legs and feet are

closed, the knees are bent till the calves nearly touch the thighs, and

the arms are thrown in the direction of the leap, which increases the

impulse. This leap may be practised at the following progressive

heights,--eighteen inches, twenty-four inches, thirty-two inches,

forty-eight inches, which last is perhaps what few lads would attain.

_The high leap with a run._--The run should never exceed twelve paces,

the distance between the point of springing and the obstacle to leap

over to be about three-fifths the height of the obstacle from the

ground; and in making it the leaper should go fairly and straightly over

without veering to the side, and descend on the ball of the foot just

beyond the toes. The heights that may be cleared by the running leap

vary from three to six feet. A good leaper of sixteen years old ought to

leap four feet six inches, and an extraordinarily good leaper five feet.

Adults well trained will leap six, and some have been known to leap

seven feet.

_The long leap without a run._--The long leap may be marked out from

four to eight feet, according to the agility and strength of the leaper;

and the object to be cleared, a small block of wood, which should in

this kind of leap be never more than six inches high, placed midway. In

leaping the body is bent forward, the feet are closed, the arms first

sway forwards, then backwards, and then forwards at the moment of taking

the leap. In this kind of leap ten or twelve feet is considered good

work.

_The long leap with a run._--The run should be on firm level ground. The

body should be inclined forward, and the run consist of about twelve

paces, a small block of wood, as before, being placed mid distance in

the leap. The spring should be principally on the right foot, and the

arms should be thrown forwards at the time of the leap. In descending,

if the leap be a very long one, the leaper should descend principally

upon his toes; if the leap be not very long, he may descend on the balls

of the toes. The leap is considered good if fifteen feet be cleared, but

twenty may be done by a good leaper, and one or two individuals have

fairly reached twenty-three feet.

_Vaulting._--Vaulting is performed by springing over some stationary

body, such as a gate or bar, by the aid of the hands, which bear upon

it. To perform it, the vaulter may approach the bar with a slight run,

and placing his hands upon it, heave himself up and throw his legs

obliquely over it. The legs should be kept close together: while the

body is in suspension over the bar, the right hand supports and guides

it, while the left is free. The vaulter may commence this exercise with

a bar or a stile three feet high, and extend it gradually to six feet.

_Leaping with a Pole._--A great variety of leaps may be practised with a

pole, which should be of a sufficient length, and shod at one end with

iron, so as to take hold of the ground. The leaper should grasp with his

right hand that part of the pole a little below the level of his head,

and with his left that part of it just below the level of his hips; he

should then make a slight run, and, placing the pole on the ground, take

a spring forward, and swing himself slightly round, so that when he

alights the fall may be brought towards the place from which he rose.

The pole is also employed in both long and deep leaps. In both of these

the mode of holding the pole is similar; but in leaping from a height

the pole should be grasped at the level of the knee, and then the

leaper, with a slight circular swing, should descend on the balls of his

toes.

TO CLIMB UP A BOARD.

This should be firmly fixed at an angle of thirty degrees. The climber

should seize both sides with his hands, and place his feet in the middle

on the soles. This will teach him to hold firm by his hands, and to

cling with his feet. As the climber gets used to this exercise, the

angle of the board may be increased. The young gymnast can ascend when

the plank is perfectly perpendicular. A pole may be mounted in the same

manner.

CLIMBING THE POLE.

The pole should be about nine inches in diameter, and firmly fixed in

the ground in a perpendicular position. In mounting, the pole is to be

grasped firmly with both hands, the right above the left. The legs are

alternately to grasp the pole in the ascent by means of the great toe,

which is turned towards the pole. In descending, the friction is to be

thrown on the inner part of the thighs, and the hands are left

comparatively free.

Climbing the mast is similar to climbing the pole; but in this exercise

the climber is unable to grasp it with his hands, but holds it in his

arms: the position of the legs is the same as for the pole.

CLIMBING THE ROPE.

In climbing the rope, it is firmly grasped by the hands, which are

placed one above the other, and so moved alternately. The heels are

crossed over the rope, which is held fast by their pressure, the body

being supported principally by them. In the sailor’s method the rope

passes from the hands round the inside of the thigh, under the

knee-joint, over the outside of the leg, and across the instep. But the

enterprising gymnast will not be satisfied until he can climb the rope

by his hands only, allowing the rest of his body to hang freely

suspended.

CLIMBING TREES.

In climbing trees the hands, and feet, and knees, are all to be used;

but the climber should never forget that it is to the hands that he has

to trust. He should carefully look upwards and select the branches for

his hands, and the knobs and other excrescences of the trees for his

feet. He should also mark the best openings for the advance of his body.

He should also be particularly cautious in laying hold of withered

branches, or those that have suffered decay at their junction with the

body of the tree, in consequence of the growth of moss, or through the

effects of wet. In descending, he should be more cautious than in

ascending, and hold fast by his hands. He should rarely slide down by a

branch to the ground, as distances are very ill-calculated from the

branches of a tree.

THE GIANT STRIDE, OR FLYING STEPS, AND ITS CAPABILITIES.

The valuable and invigorating apparatus which is called the Giant Stride

in some places, and the Flying Steps in others, is to be found in many

schools where an inclosed open-air playground can be secured. Excepting

on a few occasions, or when the charm of novelty induces the boys to

exercise, it is seldom in much favour, and is usually seen idle, with

the ironwork rusting, the beam rotting, and the ropes yielding to

exposure.

In fact, it really seems as if the masters and teachers were doing their

best to weaken their apparatus, and to cause a severe accident whenever

it breaks down, as such is always the case, sooner or later. The rusty

iron gives way to a harder pull than usual, the ropes snap, or the

upright post breaks off level with the ground, and falls with dreadful

force. We knew of a boy being killed by such an accident, and in

consequence the parents of the other pupils laid the blame on the Giant

Stride itself, instead of on those who allowed it to get into such a

state of decay.

Boys, too, soon get tired of it; they take hold of the ropes, run round

a few times, and then leave it, naturally, seeing no interest in such a

proceeding. But in reality the Giant Stride is a most useful article in

the muscular education, as it exercises at the same time the arms and

legs, is capital for the lungs, and strengthens those invaluable muscles

about the loins which we so sadly neglect, and by reason of whose

weakness many dangerous injuries occur to young and old.

There is something most fascinating in the exercises that can be

achieved on this apparatus; the gymnast seems to be almost endowed with

wings, and in his aërial course hardly touches the ground with his toes,

flying, like feathered Mercury, through the air, and literally basking

in the pure element. The common posture of holding the bars close to the

breast, and then running round the post, is radically false, and

deprives the Giant Stride of all its use, and the greater part of its

pleasure. Being ourselves ardent advocates of this instrument as

affording an amount of healthy exercise not to be obtained by any other

means, we gladly take this opportunity of describing the manufacture and

capabilities of the Giant Stride.

Having fixed upon a suitable spot of level ground, well laid with

gravel, and carefully drained, dig a hole at least seven feet in depth,

and fill about eighteen inches with stones about the size of the fist,

or, to use a homely but expressive simile, as if a sack of potatoes had

been emptied into it. Pound and press the stones well down, and then

pour rough gravel upon them until you have made the surface tolerably

level. The object of these stones is to prevent the water from

accumulating round the post and rotting it.

Now for the post. This should be at least twenty feet long, so as to

leave about fifteen feet projecting when set upright in the hole. The

butt should be left very large, as is done with ordinary wooden

gate-posts, and the whole affair ought to be made of thoroughly seasoned

wood. Unless this is the case, it is sure to rot, and then down it comes

some day, when least expected. Triangular steps should be nailed upon

opposite sides, like those on railway signal-posts, as otherwise the

daily task of removing and replacing the ropes will be very irksome.

[Illustration]

Get a blacksmith to make a stout iron pin, such as is shown at _a_,

having a projecting shoulder, to prevent it from entering too far into

the wood. He should also make a strong iron collar to put over the top

of the pole, as is seen at _b_, where the pin is also shown fixed. The

last piece of blacksmith’s work is an iron disc, having a cap or thimble

in the middle, which is intended to receive the iron pin, and to enable

the disc to spin round freely. Four holes are bored through the edge of

the disc, as seen at _c_. Purchase four iron [S] hooks, and the same

number of swivels, and good store of well-made half-inch rope, and the

machine may then be set up.

First char carefully the whole of the butt that is to enter the ground,

and for about six inches above, in order to prevent the wood from being

injured by wet. Place it upright in the hole, testing it by a plumb-line

tied to the top, and fill in the hole with earth, pounding it down

firmly with a heavy rammer. You cannot be too careful about this

process, and the apparatus should not be used until the earth has had

time to settle. While waiting for this operation, cut the rope into

appropriate lengths, and fasten one end of each rope to a swivel, and

the other to the centre of a stout bâton of elm or oak wood, about

eighteen inches long. Unless you are very sure of your powers of

splicing ropes and making “eyes,” let the ropemaker do this for you, as

it is a most important operation, and involves the security of the

gymnast in no slight degree. It is necessary to have swivels, as the

ropes would otherwise become so twisted as to lose their freedom of

play, or even to weaken their structure. These preparations being

completed, mount the post by the steps, taking the cap with you, grease

the pin well with an end of tallow-candle, and slip the cap upon it,

taking care to spin it well in order to assure yourself that all is

right. Hang the swivels to the circular plate by means of the [S] hooks,

one curve of which passes through the hole in the plate, and the other

through the loop in the swivel.

The ropes should be just so long that when they hang loosely along the

pole the cross-bar should be two feet from the ground. As, however, new

ropes stretch in a wonderful manner, it is needful to allow considerably

for this property.

One thing more is needed, and then the whole apparatus will be complete.

Measure the greatest distance which can be reached by the feet of any

one swinging round by the ropes, and about one yard beyond that line

erect a slender pole nearly as high as the central post, having pegs

driven at intervals of four inches. This is intended to aid the learner

in leaping, and the mode by which this object is accomplished is seen in

fig. 1.

[Illustration: FIG. 1.]

Having now everything ready, we first look to all the fastenings, a

precaution which must never be neglected; see that the pin and swivels

are well greased, take the cross-bar of one rope in both hands, and

retire from the post as far as the outstretched arms will permit. Of

course, if there are four performers, each takes his stand exactly

opposite his neighbour. It is better not to exercise alone, on account

of the unequal strain on the post; and it is evident that the opposite

players should be as nearly as possible of similar weights, so as to

balance each other in their course. It may easily be imagined that the

strain upon the base of the post is enormous, there being a leverage of

fifteen feet, and that some precautions are necessary to prevent injury.

Keeping our right sides to the post, and the rope tightly stretched, we

begin to run, throwing as much weight as possible on the rope, and as

little as possible on the feet. As the pace increases, the feet are

taken off the ground, and touch it at longer intervals, until, when at

full speed, they only come to the ground occasionally, just sufficient

to maintain the impetus.

Having kept up this speed as long as is agreeable, we slacken the pace

gradually, and stop. Next time we take care to run the contrary way,

keeping the left side towards the pole. This is done to exercise equally

the muscular system on both sides of the body; and to save time and

space, we will say, once for all, that when any feat is described, it

must be accomplished in either direction with equal ease.

We will now explain the method of leaping, one of the most exciting of

all these exercises.

Set the string to quite a low elevation,--say two feet from the

ground,--stand with your back to it, the cross-bar in your hands, and

run quickly round. When you come about one quarter of the distance, try

to fling yourself into the air, not by jumping with the legs, but by

letting the whole weight depend on the rope, so that the centrifugal

force takes you off your feet. As you touch the ground, take about three

long steps, and at the third step hurl yourself again off the ground,

with the body straight, and the feet extended well behind, and the

impetus will carry you over the string, and land you neatly on the other

side. You will soon learn to increase the height of the jump, until you

can pass over the string at an elevation of ten feet with perfect

certainty.

Another very pretty, though not so dashing, a feat is to spin round on

your own axis as you run round the course. At first it is needful to

manage this cautiously, as a slip of the foot is sure to disturb your

balance, and send you ignominiously scraping your way over the gravel in

a derogatory and rather painful position. When, however, you have

mastered this art, you can go round revolving the whole time, keeping

your legs straight, feet together, and toes pointed.

There are many modifications of these exercises which I should right

well like to describe; but as our space is limited, we must content

ourselves with two more. At the same time I may say, that if any of the

readers of this book succeed in achieving them, they will bid fair to

attain no mean position in the gymnastic art.

[Illustration: FIG. 2.]

In the first of these exercises the performer never moves hand or foot,

but holds himself straight, stiff, and immovable as an Egyptian statue,

and in the course of his progress round the central post his feet

describe a series of circles, or rather spirals, while his hands merely

move in a circle, and serve as the axis on which the body revolves. This

feat is not very easily made intelligible, but with the help of two

diagrams we hope that our readers will comprehend it. Fig. 2 shows the

method of commencing it. The performer grasps the cross-bar in both

hands at the full stretch of his arms, holds himself quite straight and

stiff, points his toes, and then falls forward, as shown in the

engraving. If he has the strength and nerve to hold himself quite stiff,

though his face comes rather near the ground, the whole body swings off

the ground, the hands being the pivot, and the feet take the course

denoted by the dotted line, the hands retaining their position. It is

possible, by dint of practice, to manage so as to make the entire

circuit of the pole in four such revolutions, and the course of the

performer is shown by the accompanying diagram (fig. 3), where the dark

circle in the centre represents the pole, the dotted line is the course

taken by the hands, and the continuous line the course of the feet.

[Illustration: FIG. 3.]

This is a most elegant and graceful performance, and never fails to

elicit the admiration and applause of the bystanders. There seem to be

no means of propulsion, and the performer appears, to an uninitiated

spectator, to be impelled by a simple act of volition.

The last is the most daring and difficult of all the feats, being

nothing less than passing over the string with the head downwards and

the feet in the air. This need not be attempted by any but a tolerable

gymnast, and is achieved by running at the string in the manner already

described, and just as the body is rising in the swing drawing the hands

smartly to the breast, throwing the feet into the air, and clasping the

rope between them. It is a most dashing feat, and generally takes

spectators entirely by surprise.

We should well have liked a longer disquisition on a favourite subject,

but must now take our leave, merely assuring the reader that the few

exercises which we have described are the keys to the thorough mastery

of the Giant Stride.

As a last caution, let us recommend that the ropes should be taken down

every evening and put in a dry spot, as they are liable to be much

weakened if permitted to hang in the open air. In wet weather the same

precaution should be taken.

PARALLEL BARS.

These are two pieces of wood, from six to eight feet in length, and

about four inches square, the edges rounded. For lads, they are fixed at

about eighteen inches apart, and supported by two round standards,

firmly fixed in the ground, from three to four feet high, according to

the stature of the boys.

_Balancing._--Being placed between the bars and in the centre, put your

hands right and left on the bars at the same time. After a little jump

upwards, preserve your equilibrium on both wrists, the legs close; this

is called the first position. Then communicate to your body a gentle

movement of balancing from behind, forwards, and continue this for

several times, the body moving as it were upon a pivot. This should be

practised until the body swings freely backwards and forwards.

[Illustration]

_To bring both legs over._--From the first position, after a little

movement of balancing, bring both legs, close and at once, over one of

the bars forwards, without touching it or moving your hands from the

place. The same ought to be made backwards, from right to left.

[Illustration]

_To jump out._--After having communicated to the body a movement of

balance, the moment at which the legs are raised over the bars, jump

backwards over the right without touching it with the feet or waist;

then perform the same jump forwards. By the vaulting jump you may easily

come between the bars, and also bring your body over both without

touching them otherwise than with your hands.

[Illustration]