MANUAL.
In billiards first impressions form no inconsiderable bearing upon the
future practice, and success depends, to a considerable extent, whether
these impressions be good or bad, true or false. Too often one
endeavoring to learn without the aid of an instructor falls into error
through a misunderstanding of the first principles, or a disregard for
them, in efforts to accomplish the desired ends, by means which at the
moment appear the readiest, but are liable, in the majority of cases, to
be at variance, and opposed to the laws governing the principle.
Repetitions of this fault create a habit, and the player, finding his
game does not show the satisfactory improvement he has reason to expect,
seeks a remedy in an instructor who, seeing the false ideas governing
his pupil’s movements, is forced to rid him of all that he has acquired,
and recommence upon an entirely new basis. All know the difficulty of
changing at once the ideas which have been long entertained, even though
one is satisfied of their falsity; and to avoid this it is better, when
possible, to start in a proper manner, secure a competent teacher, and
accustom one’s self to the proper mode of play in the beginning. A
teacher, to be valuable, should be able not only to show how the stroke
is to be made, but to make it and tell why the effect is produced and
how, to give the reasons for the different motions, and, in fact, to
understand the philosophy as well as the practice of the game.
There have been published some fifty or more volumes upon the game of
billiards, in English, French, and German, and despite this number the
remark has often been made that one cannot learn to execute well from a
book. This, to a great extent, has been the fault of the authors, who
have been obscure in their meanings, have not shown the _simple_ reasons
why each particular description of stroke is made, and have indulged too
much in perplexing fractions and algebraic problems, or else they have
reached the opposite extreme, and give no particulars other than how to
strike the ball, and what the result will be after it is so struck. It
has been the desire and effort of the writer to make the following
directions and diagrams so plain and comprehensible that any one, by the
exercise of ordinary care, can learn to play billiards _well_, by
following them, and the finished player may be able to learn something
further by a study of these pages. But, in order that this end may be
attained, the player is urged to follow the teachings _implicitly_, and
where his own views may be in conflict with those herein expressed, he
should discard them and conform strictly with those found hereafter.
Every diagram and example in this volume has been carefully tested, and
if the stroke is made as required, the result is _inevitably_ as set
forth; should it fail, the player will discover some divergence on his
part from the instruction.
ATTITUDE.
The acquisition of a good attitude is a point of the first importance to
the student of billiards, and yet, from its purely physical nature, is a
subject which almost defies the control of any written rules. There are
peculiarities of height and figure which render the rules that would be
excellent in one case totally inapplicable in the other; thus it is
impossible to define by inches the distance at which a player should
stand from the table, when about to strike; for not only will the
different statures of men cause a difference of position—but, even with
the same player, different positions of the ball will call for
corresponding changes of attitude.
Under these circumstances, the best that can be done is to give a
general direction, which each student must apply for himself to his own
particular case. Let him stand with his left foot slightly advanced, his
left arm extended and resting on the table to form a bridge, and his
body, not facing the table squarely, but forming an acute angle with the
side at which he stands; let him relax all the muscles of his limbs into
their usual and most natural posture—for rigidity of body is at all
times awkward and ungraceful, and seriously interferes with play. The
striking motion should be confined to the wrist and arm, and chiefly to
the lower division of it; athletes in billiards, or those persons who
throw their bodies forward after the cue, would do well to renounce the
“game,” for that quality totally unfits them for the delicacy of touch
and firmness of body, eye, and purpose, which are the grand essentials
of success. The body should remain immovable as a rock, while the right
arm swings to and fro at a sufficient distance to avoid contact with the
side, when advancing. All spasmodic motion and muscular contortions
should be avoided; mere bodily strength in the player will not give
strength to his stroke; the quantity of motion imparted to the ball will
correspond precisely with the weight of the cue multiplied by the
velocity with which it is advancing at the instant of contact; and
therefore the only force required from the player, even for the
strongest stroke, is force enough to cause his cue to move forward at a
rate of speed which, multiplied by its gravity, will give the required
result. As said, this motion should emanate especially from the wrist
and forearm. It is impossible to describe exactly what should be
conveyed; but if the readers, when striking, will imagine that they are
throwing a lasso, and give the same quick, steady force of wrist to the
cue that is required in flinging the coil, they will understand exactly
what is required.
It is owing to the knowledge of this secret, that men, physically weak,
are frequently more than a match in billiard-strength for players who
have the proportions of Hercules, and the “dead pull” of Samson when he
brought down the pillars of the temple on the heads of the assembled
heathen.
As for the attitude in which a lady should stand while playing
billiards, no instruction is needed; perfect ease is perfect grace, and
perfect ease of position is the grand DESIDERATUM for the
billiard-player. As the ladies are always graceful, they will naturally
observe that ease of attitude which it is only necessary to enforce upon
the ruder and more awkward sex.
The male novice should avoid all stiffness and parade—all affected
dignity. Let the dress and attitude be such as to afford the body a
perfect mastery of its own movements. A practised eye can discriminate
at the first glance, on entering a billiard-room, which is the really
skillful player, and which the pretentious bungler, by merely noting the
contrast which the good player’s easy grace presents to the rigid
formalism of the other. Paganini, in his younger days, when he taught
the violin, used to give his pupils six months time in which to practise
how to hold the instrument and bow. When they understood that
thoroughly, he could teach them, he said, the remainder of the art in a
few weeks.
Now, without requiring so long an apprenticeship—without, in fact,
requiring any at all—if the student will only allow himself to stand in
his natural position, the first essential feature of the game will have
been accomplished.
The left foot should be pushed slightly forward, pointing straight
ahead, while the right is withdrawn, and turned outward, at whatever
angle is habitual and most convenient to the player. The body should be
fairly balanced, for, without this equilibrium, we can neither have
grace nor ease. The left arm, when necessary, should be advanced and
rested on the table—the left hand being extended, as in the cut, to form
a “bridge.” (See page 36.)
SELECTION OF A CUE.
Select a cue in harmony with the physical powers, and become accustomed
so much as possible to play with cues of similar weight. From fifteen to
nineteen ounces are fair weights, according to the balls now used in
play. A cue, if too heavy, will paralyze the nerves of the arm and
render them unable to estimate correctly the amount of force employed;
if too light, on the other hand, it will call for an amount of force so
great as to be incompatible with a steady and deliberate aim. Without
some sensation communicated to the hand through the cue, when it
contacts with the ball, it would be impossible for experts to accomplish
the great runs so often made.
The heavier the cue the less is the influence of the stroke on the ball
felt, and it is carried beyond or falls short of the point desired. The
delicate touch for nursing should be as apparent as the stronger stroke.
Finally, let the cue be straight, for any crookedness in this instrument
distracts the eye, and may seriously interfere with the manual
correctness.
CUE-LEATHERS.
The leather is an important feature of the cue—in fact, an all-important
one to any player who deals much in the strokes which are technically
described as “forcing,” “twisting,” and “following.” With an inferior
leather, his play will be paralyzed by miscues. In selecting the
cue-leather, choose such as possess the finest fibre, and are at the
same time solid, pliable, and elastic; and see to it that they have a
good, solid under-leather, as that will save the point of the cue from
breaking away, and will last longer than a thin one. Before being fitted
on to the cue, they should be thoroughly well beaten out on a lapstone,
so as to prevent them from spreading in the course of play; but that
side of them which is next the cue should be roughened with a file or
sandpaper, as also the cue itself, in order that the adhesive wax may be
able to take good hold. The leather should be rounded, not flat, yet
each must decide for himself the exact degree of convexity which will
best suit his play. When the point of the leather becomes glazed from
excessive play, a little sandpaper should be used to roughen it, so that
the chalk may stick.
HOW TO HOLD THE CUE.
The cue should be held lightly in the hand, and when the tip rests
one-eighth of an inch from the ball the cue-hand will be found beneath
but a trifle forward of the elbow. This assures near a horizontal
stroke, whereas if the cue be held at the extreme end of the butt, a
curved motion up and down is given it in making the stroke. The cue is
to be held by the three fingers and thumb, bent about it for support.
When the stroke is given, and the cue carried forward, the hand closes
naturally and without effort on the part of the player, then as the cue
is drawn back the hand opens and is found again as described. The hand
is not closed upon the cue until the instant the ball is struck, when it
is done instinctively; the strength of this grasp being governed by the
quickness of the movement. The speed of the cue, rather than the weight
of the body or the greatness of muscle, gives force to the ball. At the
instant of aim being perfected the stroke should be made, and he who has
the faculty of quickest perception and calculation will become the
finest player.
AIM AND DELIVERY.
To determine the line of aim let the bridge hand be raised or lowered as
may be made necessary for the delivery of the cue, care being taken to
elevate the butt as little as possible, thus permitting the cue to rest
nearly horizontal. In changing the height of the bridge hand do not
allow the end of the thumb to rise or fall, separated from the
forefinger, against which it should rest gently, but secure the proper
height by raising or lowering the palm of the hand from the table,
permitting the weight to come upon the heel of the hand and the ends of
the fingers.
In preparing for the stroke many things must be considered; the strength
to be employed, the chances for a “kiss,” the weight of the ball and
cue, the probable position for the succeeding carom, and the more
important matter of all, the exact spot upon the cue-ball to be hit with
the cue-point.
First, resolve upon the direction of aim, then the point on the cue-ball
for receiving the cue; let the eye rise to the spot of contact on the
object-ball, and instantly upon being satisfied the calculations are
correct make the stroke. At the moment the cue strikes the cue-ball the
eye should shift to the object-ball, as with the marksman who regards
the target rather than his rifle, in shooting. In moving the cue
backward and forward to secure aim, let its point each time come within
one-eighth of an inch of the ball, being careful, of course, not to make
a foul. Some players do not permit the cue to approach nearer the ball
than an inch, and at that distance a stroke false to the calculation is
most certain to result. The beginner should not be discouraged by the
result of a stroke which he may have reasoned to himself was perfect.
Whatever the intentions may have been before making it, the course of
the ball will show beyond doubt the stroke that was _actually_ made, and
the player will then understand, if that course be different than he
anticipated, that the point of contact upon the cue-ball was not such as
he intended; he must remember, in fact, that the laws of motion are
unalterable, while human vision is easily deceived.
THE CUE-BALL.
The centre of the cue-ball being considered the point from which all
calculations are made, the following words are used in the directions
for making shots to express a stroke at fractional distances from this
centre.
The centre, as presented to player in a horizontal stroke:
_Above_ means above centre.
_Below_ means below centre.
_Right_ means right of centre.
_Left_ means left of centre.
_Massé Stroke._
The centre, as the player looks down upon the ball:
_Aft_ means off the perpendicular centre, directly away from the
object-ball looking from _above_, in direction of the line of aim.
_Forward_ means forward of centre toward object-ball.
_Right_ means right of centre from line of aim.
[Illustration: Diagram illustrating a stroke of the cue which imparts
the four primary motions to the ball.]
_Left_ means left of centre from line of aim.
_The cue-ball_ is that with which the play is made.
_The object-ball_ is the first ball struck by the cue-ball.
_The carom-ball_ is the second ball struck by the cue-ball, completing
the carom.
It is first necessary to master the centre-stroke, which is accomplished
by delivering the cue at the point _g_, the line _g_, _e_, _a_, being
the centre diameter of the ball.
The centre stroke imparts to the ball a _natural_ impelling force where
the strength of stroke is not in excess of “ordinary” (see Plate I).
This stroke should always be used unless the player has a _reason_ for a
different delivery. Any divergence from the centre produces an effect on
the ball in excess of the natural, and when applied in the smallest
degree the result should be fully understood.
A centre stroke, with exceeding strength, produces an effect herein
explained:
A centre stroke, slow or medium, will cause the cue-ball to rotate the
instant of delivery, but in excess of medium the ball will slide a
distance over the cloth before rotating, that distance being governed by
the strength of stroke, and when thus sliding should contact be had with
an object ball, at the slightest variation from its centre, right or
left, the cue-ball will perform a right angle to either side, and the
object-ball, taking up the impelling force, continues the direct right
line of the cue-ball.
_The Follow-Stroke._
By viewing the diagram in such way as will bring the explanation under
letter A into a proper reading position, the follow shot is seen. For
this stroke the cue is delivered ½ above centre, imparting two forces to
the ball: impelling it forward in direction of arrow a and rotating in
direction of arrow b, the entire force of the blow converging to centre
of motion _e_. With this stroke the cue-ball, after striking the
object-ball _full_, follows _directly_ in its path. At the instant of
impact with an object-ball, the cue-ball will, if struck with great
strength, apparently stand still through the resistance of opposite
forces caused by contact, but the rotating power overcoming the
repelling tendency of the concussion, carries it forward on its original
path.
It will be noticed the line _k_ through the cue meets the spot _h_ on
the ball which is the point of aim, and this should be the case in every
description of stroke. Only a part of the surface of the leather
impinges upon the ball in this stroke, and the quantity of surface is
governed by the strength used, for the stronger the blow the greater the
indentation of the ball in the leather. The effect of delivering the
cue-ball on the object-ball right or left of full will become apparent
to the student early in his practice.
The cue may be delivered still farther above the centre—a ⅝ delivery,
which imparts excessive rotation, and which is as far above as the
leather will hold on the ball surface. The “follow” can also be executed
with the cue delivered as far as one-fourth below centre, but the latter
delivery should be with a “slow” strength of stroke, that the ball may
rotate naturally; if it be _full_ upon the object-ball and with strength
exceeding “medium,” the cue-ball will stop, or will perform a right
angle if played a fraction off the centre, as shown in Plate IV., Balls
1 and 6.
_The Draw-Stroke._
Turn the diagram so the letter B may come beneath it and the draw-shot
is illustrated.
The delivery as shown is one-half below centre, with the central line
_k_ through cue meeting the point of contact, _h_, on ball, and
imparting to it three distinct forces, that of impulsion, rotation, and
retrograde, the latter causing the cue-ball to rotate in direction of
the arrow _b_; the strength of this force is such as to counteract the
natural tendency of the impulsion, prevent the forward rotation, and
cause the ball thereby to slide over the cloth without the rolling
motion. This stroke holds the ball (thus preventing for the instant its
natural rotation) in a position corresponding with the line _e_ to _i_,
the moment the impelling force is communicated to the object-ball, which
is at the instant of contact, the retrograde power acts with all its
_remaining_ strength, and it returns in the direction of the player. The
distance between the balls must regulate the strength of the stroke, but
greater distance between cue- and object-ball requires greater force,
that the cue-ball may retain its retrograde tendency which prevents its
being displaced by friction in sliding over the cloth, which inertia in
the cue-ball acts in the direction of dotted line _i_ to _j_. A delivery
½ below, with the object-ball the length of the table away, will act as
a “slowed” ball only. The quick, sudden delivery movement of the cue
made with the aid of the wrist is what imparts the retrograde or “draw”
tendency to the ball; there should be no spasmodic motion, but a free
and horizontal blow direct at the calculated spot on the surface of the
cue-ball, permitting the cue to pass naturally beyond where the cue-ball
has rested, as the grip of the hand upon the cue will stop the latter
when the limit of its swing is reached, except where cue- and
object-balls are near together; in the latter case, that a foul may be
avoided, a “twist” or “English” is imparted to the cue-ball, which
carries the cue naturally off the side of the cue-ball.
Do not withdraw the cue; it is an awkward habit many persons have
acquired. The limit of the swing of the cue is governed by the strength
of the stroke. Full instructions in regard to the cue and its delivery
have already been given.
_The “English” or “Twist”-Stroke._
Bringing C beneath the diagram, we have the “English” stroke, with the
cue delivered at ½ right of centre, which imparts to the cue-ball a
perpendicular axis. A variation to the slightest degree in twist makes a
difference in the direction of the cue-ball, which can only be
appreciated by those who have studied it carefully.
A player, when instructed to deliver a ⅛ cue-ball, for instance, will
disregard the direction and deliver a ¼ or even a ½ ball, apparently
unconscious or careless of the value of the change. When it is
understood that a cue-ball may be made to carom upon a ball placed
_anywhere_ upon the bed of the table by the application of the proper
degree of twist, then the player will recognize the necessity or
advisability of so fixing the various degrees in his mind as to have
them always ready for use. A twist secures, of course, a _false_ angle,
and is used generally when the natural angle will not accomplish the
result desired, and again, often is employed to control the object-ball.
The velocity of the cue-ball in the twist-stroke is governed by the
divergence from the centre at which delivery of cue is made. There is a
method in employing twist which is effective, that of combining it with
the division of the object- and cue-balls, giving an exact line of aim
to be had in no other way. When the twist is applied to that side of the
cue-ball coming in contact with the object-ball, the aim will be more
positive, as the cue covers the exact line of aim through the two balls.
The effect of the twist may be marked by placing the cue-ball upon its
spot, and playing the cue-ball, hit in its centre, at the left side
cushion, at an angle of 45°. The ball in its rebound taking a natural
angle, traverses a line corresponding to its original line of departure
from the cue. Impart right-hand English and the angle grows obtuse;
increase the twist and the angle widens accordingly, and it grows until
the extreme angle is reached through application of excessive twist.
Players frequently are at a loss to know upon which side to apply twist
to accomplish certain desired results, and but few give sufficient
thought to the matter to understand the theory of the “English.” A
cue-ball struck upon its right side and contacting with the left cushion
at an angle of 45°, the cue-ball touching cushion at point _l_ on ball
(see p. 44), will describe an obtuse or wide angle, which is nearer
parallel to the cushion than the natural angle, for the reason that the
circular spinning motion, imparted by the cue to the ball, is moving on
that side of the ball contacting with cushion in an opposite direction
to the impelling force (as shown in arrows _b_ and _l_); hence, when it
contacts with the cushion, it spins against it in a direction which acts
as a blow from the ball on the cushion, and this carries it farther
forward. When the reverse or left English is imparted the revolution of
the ball is exactly opposite to that already shown, and its tendency is
to leave the cushion toward an acute angle, the direction of the spin on
the side contacting being that in which the ball is moving; so, when it
meets the cushion, in place of gliding along it strikes it in such a
manner as to receive a check to further onward progress and describes a
line inclined toward a right angle from the point of contact.
When delivered directly upon a cushion the cue-ball should be struck
upon that side toward which it is expected to roll. In compound angles
the twist is so consumed after leaving the second cushion that the
response from a third cushion approximates a natural angle. Many players
are deluded with the idea that it is necessary to turn, jerk, or twist
the arm when making an “English” stroke, and some suppose the ball
should be rubbed by the cue in delivery; in reality no such thing is
required. After the aim is secured, and the point for striking is
determined upon, let the player make the stroke naturally and easily,
and leave everything else to take care of itself. After the blow has
been given, no amount of intelligence and no wonderful contortions can
alter its effects. In all deliveries imparting twist up to and including
“ordinary” strength of stroke, the wrist only is to be used. Every blow
delivered with the cue converges to the centre of motion at _e_ in the
cue-ball (as shown in arrow _c_, _c_,), and every grain of weight in the
ball is imparted through the cue to the hand; therefore with the expert
the weight and density of the ball is calculated to a nicety at each
delivery, whether it be at centre or at ⅝ right or left, else all
strengths could not be so cleverly estimated in gathering and holding
the balls for a long run.
_The Massé._
Bringing the letter D beneath the illustration the massé stroke is
shown.
This is the most difficult of all strokes to describe and instruct with
the pen. The cue is delivered in the diagram at the ½ ball surface-point
_h_; the cue is held slanting at an angle of 78¾ degrees, shown by
dotted line _d_. The butt of the cue is held as near the eye as is
possible, not interfering with the sight, that the eye may run down the
cue covering the spot on the ball to be hit; the cue is held between the
thumb and three fingers, the thumb being on that side toward the face,
and when the point of the cue rests on the ball the thumb of this
cue-hand should be about three inches above the horizontal line of the
elbow of that arm; this will show the spot on the cue-ball which is to
be struck. Permit the cue to play freely and without diverging from a
straight line in its movement up and down, to and from the ball, until
the aim is secured.
[Illustration]
The bridge is formed by resting the ends of the fingers of the
bridge-hand on the table with a slight pressure, the back of the hand
being turned outward nearly parallel with the side of the body, with the
fingers slightly spread to resist vibration from the play of the cue,
with the thumb separated from the hand, with its end resting about an
inch and a half from the forefinger. The spot upon the ball for delivery
of the cue must be found by looking between the thumb and forefinger,
immediately over the outer edge of the cue-tip. Practise this position
as instructed, and when it is acquired more than half the difficulties
of the stroke will be overcome. It is this correct attitude that goes
far toward insuring a proper delivery of the cue-tip on the cue-ball.
For deliveries in excess of “medium” the cue may be held at the butt,
the same as heretofore instructed for the regular massé, with the
exception that the left forearm must rest upon the hip, the forefinger
hooked about the cue a foot more or less from the tip. In this way
unlimited strength may be used. In the close massé the weight of the
cue, guided by the wrist only, is sufficient to accomplish the stroke.
The forearm is used in addition to the wrist when the balls lie farther
apart, judgment, of course, being exercised in imparting the force in
accordance with the distance between cue- and object-ball. When the
delivery is perfect, the bite or grasp of the cue-tip on the ball will
be felt in the hand by the player through a sensitive, keen vibration of
the cue. The retrograde movement imparted to the cue-ball is that
denoted by arrow _b_, and the slant given the cue, indicated by dotted
line _d_, imparts the impelling force and the ball moves in accordance
with the calculation. The cue-ball slides upon the cloth at point _a_,
the same as explained in the draw-stroke.
[Illustration: TAKING AIM.—THE ORDINARY MASSÉ.]
_Slowed Ball._
Slowing the cue-ball and speeding the object-ball is one of the most
important strokes in the game. If the cue-ball be delivered at the pivot
centre of the object-ball, the points of impact will be at the greatest
diameter of both balls and the exact centres of each ball will meet, and
the cue-ball, if hit ¼ below, will stop instantly and rest. If the
cue-ball be delivered a hair’s-breadth from the centre of the
object-ball, the former will describe a perfect right angle from the
object-ball, as illustrated in Plate IV., balls 1 and 6. The fractional
divergences from centre in delivery of cue on cue-ball gives that ball a
separate and distinct action.
_Elevation of the Cue._
[Illustration: Diagram giving the degrees of elevation at which the cue
should be held.]
The angle line 10° represents the position of cue in making the
“draw-jump” shot, the stroke “very hard” ⅝ below centre.
The angle 22½° is for the “jump stroke,” struck ¼ above the centre.
67½° is the “half-massé,” ½ aft the perpendicular or top centre, as
hereafter explained under “Massés.”
78¾° is the full massé, the cue-ball being struck ½ aft the
perpendicular centre, i.e., looking down from a line above the ball at
90°, at the top centre of the ball, which latter centre is directly over
the centre of motion, and the centre of gravity as well.
The common angle—45°—is denoted by a heavy line whereby the player may
better gauge the other lines.
_The “Jump”: its Causes and Preventions._
A ball is made to “jump” by being struck hard ¼ above its centre with
the cue held at an elevation of 22½°. The stroke of the cue at this
elevation is resisted by the bed of the table, and the ball rebounds,
leaves the table and flies through the air, the distance being regulated
by the strength of stroke, which is usually “hard.” When the cue-ball
reaches the object-ball or cushion, its centre is above that of the
object-ball or the top surface of the cushion, causing the ball to ride
over whatever it may contact with. If the force used is great the
object-ball will also be made to “jump,” often causing both balls to
fall to the floor. When a ball lies close under the cushion it makes
necessary an elevation of the cue to about the angle for a “jump;” when
this occurs the player must be very careful in making the stroke, and
must sacrifice a certain quantity of strength in order to secure the
carom, for should considerable force be used the ball will leave the bed
of the table. When the ball lies in the open table and it is desirable
to use more than “ordinary” strength, it is always better to deliver the
cue ½ below centre, so as to do away with any possibility of a “jump.”
The motion of the ball in being struck below centre is denoted by the
arrow _b_, the bed of the table being _j_, and when contacting with the
cushion at _a_ the ball is rolling upward, and the cushion acting
against it holds it down to the table.
In delivering cue on ball, it is always necessary to observe the exact
fractional divergence from centre, as the slightest change may make the
stroke a miss. For the fractional parts of balls, the reader is referred
to the next succeeding pages.
_Object-Ball._
In the object-ball all distance is measured from its central width
(indicated in cut by dotted line _a_) to its outer edge surface, and the
fractional strokes are calculated from this centre point, each
divergence denoting the body resistance received by the cue-ball from
the object-ball; thus with 8/8 as a _full_ ball, ⅞ signifies ⅛ to left
or right of centre as may be instructed.
The position which the object-ball may assume after being struck is
unimportant, _so far as that particular stroke is concerned_; but in the
management of the balls and the ability to leave them in a position
favorable to the next play—or unfavorable to his opponent, if the player
thinks it impossible to count himself—lies the strength and science of
the game.
_General Division of the Object-Balls._
The spots on the horizontal line through the centre diameter of the
ball, are the different fractional parts at which the cue-ball may be
delivered, to effect certain results. The spots are made by exact
measurement, and extend from the pivot A toward either side surface. The
centre A indicates a “dead full” delivery. The spots right and left of
this centre show the points of impact for the cue-ball, as may be
directed.
[Illustration]
[Illustration]
_Division of the Cue and Object Balls._
The division of the cue and object balls are important elements in the
game of billiards for the player to understand and master. Both should
be divided at the instant of aim, and the line of aim should be through
the points on the two balls at which they will come in contact. If a
delivery on the object-ball of a ½ ball right be required, then the left
half of the cue-ball will impinge upon the right half of the
object-ball; consequently aim should be taken from and to these parts.
It is impossible to deliver a _full_ cue-ball on a ½ or other fractional
part of an object-ball; for when a full cue-ball delivery is made upon a
full object-ball, the centres of both balls meet.
The dotted lines show the course the object-ball takes after being
struck by the cue-ball. These directions may be considered in effecting
either a carom, or in pocketing the ball in the pool games.
The line from _a_ upon the cue-ball to _a_ upon the object-ball
indicates the direction taken by the former when delivered full upon the
latter.
The corresponding letters upon the two balls denote the points of
contact. Thus, the letter _b_ on the cue-ball shows the point of
fractional division of a ¾ ball, and _b_ upon the object-ball indicates
exactly where such a delivery will bring the cue-ball into contact with
it; the other fractions are at _c_, _d_, _e_, and _f_.
The dotted lines _beyond_ the object-ball are the paths over which it
will travel after being struck by the cue-ball at the fractional
deliveries indicated.
These balls can, of course, be still further divided into other
fractions.
_Fractional Divisions of the Cue-Ball._
[Illustration]
When the reader finds, in the explanation of the following diagrams,
directions to strike the cue-ball at a stated distance above or below
the centre, a reference to this plate will show the exact point
indicated by the fractions.
The letters _b_, _c_, _d_, _e_, denote points at which the ball may be
struck, giving to it four distinct movements, impulsion, rotation,
English or twist, and draw or recoil.
DIAGRAM OF STROKES.
PLATE I.
EXPLANATION OF STRENGTH OF STROKE.
Stroke 1.—A one-cushion stroke, denominated SLOW.
Stroke 2.—A two-cushion stroke, denominated MEDIUM.
Stroke 3.—A three-cushion stroke, denominated ORDINARY.
Stroke 4.—A four-cushion stroke, denominated HARD.
Stroke 5.—A five-cushion stroke, denominated VERY HARD.
The fractional parts of the table are indicated by the figures ¼, ½ or
¾, and when employed are to be understood as directing that such force
shall be imparted to the cue-ball as to carry it the distance denoted,
either in excess or below the space traversed by the ball when struck
with either of the five degrees of strength; thus ½ in excess of slow
instructs the player to use such force as shall return the ball one-half
the length of the table after contacting with the cushion.
[Illustration]
[Illustration]
PLATE II.
CAROMS ILLUSTRATED.
_Illustrating different lineal directions of the cue-ball, with strength
of stroke, “Ordinary” to “Hard” (see Plate I. for strength of stroke)._
_Diagram 1._—Cue-ball ½ above, object-ball ¾ right; strength,
“ordinary” to “hard.” The cue-ball, partaking of the
“follow” quality, and having its direction changed by
contact with the object-ball, rebounds slightly with the
concussion, and in its efforts to regain its natural
course—that of the “follow”—describes a convex curve, and
effects carom in corner.
_Diagram 2._—Illustrating the concave curve. Cue-ball ½ below, object
ball ¾ right; strength of stroke, “ordinary” to “hard.” The
retrograde tendency given the cue-ball by the “draw” overcomes the
impelling power after its contact with the object-ball, and causes
it to make the curve shown.
_Diagram 3._—Straight line carom. Cue-ball centre, object-ball ¾
right; strength of stroke, “ordinary.” The cue-ball being struck
in the centre has neither rotary motion forward nor back, but
slides over the bed of the table a certain distance, when the
natural condition of a moving sphere overcomes the propelling
power, and it takes a rolling movement. Plate IV. fully explains
this centre delivery.
PLATE III.
PLAIN CAROMS WITH DIFFERENT DEGREES OF STRENGTH.
_Illustrating the control of cue-ball by application of different
forces, and being struck ¼ below at each stroke, the object-ball ⅞
right._
_To carom on ball 1._—Strength of stroke, MEDIUM.
_To carom on ball 2._—Strength of stroke, ORDINARY.
_To carom on ball 3._—Strength of stroke, HARD.
_To carom on ball 4._—Strength of stroke, VERY HARD.
Constant practice is necessary to properly gauge the strength required.
The force of the delivery controls the several caroms. Familiarize the
eye with the angle of departure from the object to the carom-ball,
noting the width of space between them. When like positions are brought
about in the progress of a game, the player will recognize the
similarity to those shown here, and will understand how to play.
[Illustration]
[Illustration]
PLATE IV.
DIAGRAM OF CAROMS SHOWING PLAYER’S CONTROL OF CUE-BALL.
This plate shows a most useful series of diagrams for general
instruction in striking the cue-ball. It is made to carom upon each of
the ten numbered balls, playing full each time upon the object-ball a,
simply by changing the position of the cue at, below, and above the
centre of the cue-ball.
_To carom on ball 1._—Cue-ball ¼ below, object-ball ⅞ left; strength
of stroke, “medium.” This gives the _slow_ movement to the
cue-ball and _speed_ to the object-ball, and is used in the game
to drive the object-ball for a gathering stroke.
_To carom on ball 2._—Cue-ball “centre,” object-ball ⅞ left; strength
of stroke “medium.” The stroke can also be played with any
strength desired.
_To carom on ball 3._—Cue-ball ½ above, object-ball ⅞ left; strength
of stroke, “medium.”
_To carom on ball 4._-Cue-ball ½ above, object-ball ⅞ right; stroke,
“medium.”
_To carom on ball 5._—Cue-ball centre, object-ball ⅞ right; stroke,
“medium.”
_To carom on ball 6._—Cue-ball ¼ below, object-ball ⅞ right; stroke,
“medium.” By playing the cue-ball ¼ below, and _full_ on the
object-ball, the cue-ball _stops_ and _rests_ at the point where
it comes in contact with the object-ball.
_To carom on ball 7._—Cue-ball ½ below, object-ball ¾ right; stroke,
“medium.”
_To carom on ball 8._—Cue-ball ⅝ below, object-ball ⅞ right; stroke,
“medium.”
_To carom on ball 9._—Cue-ball ⅝ below, object-ball ⅞ left; stroke,
“medium.”
_To carom on ball 10._—Cue-ball ½ below, object-ball ¾ left; stroke,
“medium.” The dotted lines 1 and 4 show course of object-ball from
a ¾ delivery, and lines 2 and 3 the course from a ⅞ delivery, and
show also how the object-ball may be thrown in position, as
explained hereafter in Part II.
The player should thoroughly understand what motion each stroke imparts
to the cue-ball, and what positive direction the latter gives to the
object-balls.
In all draw-shots allowance should be made for the curve of the cue-ball
when it leaves the object-ball, and direction thereafter should be
calculated with the curve considered, its extent being governed by the
strength and proximity to the centre of the object-ball—nearer the
centre the less marked is the divergence from a straight line.
[Illustration]
PLATE V.
_Illustrating the various angles resulting from the application of
different degrees of strength when played at the same point on the
cushion._
Having explained the methods of the direct caroms, the cushion play is
illustrated:
To perform the angle _a_ to _b_ strike the centre of the cue-ball, the
line of aim being at the point _a_. The natural angle from the cushion
through a medium stroke is that of line from _a_ to _b_, _b_, bearing in
mind that with the medium strength the angle of reflection is always
equal to the angle of incidence—that is to say, the line of angle from
_a_ to _b_ is the exact counterpart of the original direction of the
cue-ball to point _a_.
An “ordinary” stroke will effect angle from _a_ to _c_, and the “hard”
stroke will produce the angle _a_ to _d_.
As the strength of stroke is increased the ball necessarily imbeds
itself more firmly in the cushion, and the sudden rebound, together with
the resistance from the rubber through indentation, throws it off with
greater velocity and produces a more acute angle.
PLATE VI.
DIVISION OF ANGLES.
_Diagram 1._—The angle from _c_, _a_, to ball 2 represents the angles
of incidence and reflection, and it is drawn mentally before
considering the ball 1. If a ball is banked from _c_ at the centre
diamond at _b_ on the end cushion, it will take its angle of
reflection directly on ball 2. Therefore, with ball 1 placed as
per diagram, with its edge surface at the line running from _c_ to
_a_, and the centre stroke on cue-ball on ½ right of ball 1, with
strength of stroke “slow,” the cue-ball will follow same angle
found in the bank and will carom on ball 2.
Regarding diagrams 2, 3, 4, and 5, follow the same directions as in
diagram 1, excepting, of course, in the necessary change of impingement,
owing to the difference in position toward the diamond sight _b_,
increasing the strength of stroke to cover the lines of the diagram.
Play to be made from ball 3 to 4, 5 to 6, etc., etc.
[Illustration]
PLATE VII.
PHILOSOPHY OF THE ENGLISH OR TWIST STROKE.
When “English” or “twist” is applied to the cue-ball in its course, it
is forced from a straight line and diverges to an extent that it will
pass around a ball placed in a direct line before it. The line of aim in
the diagram is a ½ ball right on the object-ball, cue-ball ⅝ left and ⅝
below; stroke, “medium.” This stroke is the application of the extreme
English and extreme draw, and is of such force as permits the combined
motions—impelling, rotating, retrograde, and diagonal—applied to the
cue-ball to act upon it. The distance from the starting-point of the
greatest point of divergence of a cue-ball is, of course, governed by
the strength of stroke applied.
The point _e_ is the natural destination of the cue-ball struck at
centre, upon ½ object-ball, and the difference in space between points
_e_ and _f_ may be made by striking the ball, as shown in the diagram,
for the reason that the cue-ball, diverging as it does from a straight
line, takes from the point _e_ a new direction, effecting a ½ stroke
upon the object-ball and rolling, as we have said, to point _f_.
The dotted line _d_ shows the direction in which the ball is forced by
being struck on the side, but the ball rotating in the opposite
direction to that which it is impelled, in consequence of the twist and
draw imparted, aided by the resistance through friction of the nap of
the cloth, serves to bring it back to the original point of aim, as
shown by the curved loop-line, _b_, which denotes twist.
[Illustration]
[Illustration]
PLATE VIII.
ILLUSTRATING CUSHION TWISTS.
This diagram illustrates the three principal strokes of the cue-ball on
the cushion, showing the effect of twist after contact of ball with the
cushion:
If the cue-ball be struck in the centre from point shown in the diagram,
upon the cushion at _a_, its natural course will be the line from _a_ to
_b_—stroke, “medium.” If ⅝ right and ⅝ below at _a_, it will take the
extreme angle indicated by the line _a_ to _d_—stroke, “medium.” If ⅝
left and ⅝ below at _a_, stroke, “ordinary,” it will effect the angle
from _a_ to _c_.
[Illustration]
PLATE IX.
CUSHION CAROMS BY CENTRE STROKE, ENGLISH OR TWIST, FROM ONE POSITION.
This plate gives simple examples of the cushion angles shown in previous
diagrams.
_To carom on balls 7 or 8._—Cue-ball centre, object-ball ¼ right;
stroke, “medium.” This is the natural or reflected angle.
_To carom on balls 2 or 4._—Cue-ball ½ right, ⅛ above, object-ball ¼
right; stroke, “medium.”
_To carom on balls 3 or 5._—Cue-ball ⅝ right, ⅛ above, object-ball ¼
right; stroke, “medium.”
_To carom on balls 6 or 9._—Cue-ball ⅝ _left_—a reverse
English—object-ball ¼ right; stroke, “medium.”
PLATE X.
COMPOUND ANGLES.
_Illustrating the manner of effecting a 1, 2, 3, 4, or 5 cushion carom._
Ball _a_, _a_ is introduced as an imaginary one from which the player
may make the mental calculation of the angles necessary to secure the
carom, as shown before in Plate VII.
After finding the angles place the ball 1 as in diagram, strike cue-ball
(2) ½ right, ¼ below, object-ball ½ right; stroke, “ordinary.” Cue-ball
cushions at _a_, _b_, _c_, _d_, and _e_, caroming on ball 3.
Should a ball be located at either of the points indicated as those
where the cue-ball contacts with the cushion, of course a carom would be
effected there as well.
[Illustration]
[Illustration]
PLATE XI.
THE CUSHION KISS.
_Illustrating the four kiss strokes possible by making stroke on
different points of the cue-ball and the object-ball ⅞ right._
_To kiss to cushion at c._—Where a ball may rest: cue-ball ½ above,
object-ball ⅞ right; stroke, “ordinary.” The cue-ball will
describe the curve line from ball 1 to _c_. Should player desire
to reach any point between _c_ and _e_ the ball 1 should be hit
from ⅞ to ¾ right. Judgment must be exercised as to the precise
fractional part and also the strength of stroke.
_To kiss to b._—Cue-ball ⅛ below centre, object-ball ⅞ right; stroke,
“ordinary.”
_To kiss to d_, the natural angle of reflection, cue-ball ½ below,
object-ball ⅞ right; stroke, “ordinary.”
_To a_, the acute angle, cue-ball ⅝ below, object-ball ⅞ right;
stroke, “hard.” The “draw” imparted to the cue-ball, together with
the kiss and the extreme velocity obtained from the cushion
resulting from the hard stroke, tends to rebound the cue-ball in a
direct line across the table.
PLATE XII.
PRACTICAL ILLUSTRATION OF THE MASSÉ STROKE.
_Illustrating the most difficult stroke that may be made without the
personal aid of a teacher._
_Diagram 1._—Cue-ball ⅝ aft of perpendicular centre, the line of aim
being direct at ball 1, the elevation of cue being at an angle of
78¾°; stroke, “medium.” This is a simple initial massé, the
cue-ball resting at _b_. It must be practised constantly to secure
proper hold on the cue-ball. The backward whirl given it by the
stroke acts instantly upon its contact with the object-ball,
because the impelling force is taken from the cue-ball and
imparted to the object-ball. Strength of stroke must be slight,
the weight of cue is almost sufficient. The fingers of the
bridge-hand, in the instance shown, must rest on the rail, with
the palm turned toward the cue-ball diagonally.
_Diagram 2._—Cue-ball, ⅝ aft of perpendicular centre, ¼ forward toward
the object-ball; stroke, ½ less than “slow;” the line of aim,
along dotted line _a_, from edge of cue-ball just off edge of ball
1. The weight of cue, through the gentle motion of the wrist, is
sufficient to effect the stroke.
_Diagram 3._—The balls here are at a distance from each other.
Cue-ball ⅝ left, ¼ forward perpendicular centre; object-ball,
“fine;” stroke; “slow;” line of aim on dotted line _a_.
_Diagram 4._—The distance here is further increased. Cue-ball, ⅝
right, ¼ forward perpendicular centre; stroke, “medium;” the line
of aim along dotted line _a_, from edge to edge, on account of
greater strength.
_Diagram 5._—Cue-ball ½ left, ¼ forward perpendicular centre; stroke,
“medium;” line of aim along line _a_; object-ball, “fine,” taking
direction of line _b_, and cue-ball cushions at point _c_,
effecting carom on ball 2.
[Illustration]
[Illustration]