PLATE XIII.
THE TABLE LAID OUT FOR THE SEVERAL GAMES.
The letters A, B, C, D, and E, on the diagram opposite, show the
position of the _spots_ on the billiard-table. In placing them a line is
drawn down the centre of the bed, from and to the middle nails or sights
in the head and lower cushions; another line is then drawn from the
centre sights in the _side_ cushions, across the table, and where the
lines intersect the spots are placed.
The spot at A, being next the head of the table, is, in the American or
four-ball game, the light red spot, and an imaginary line (G) across the
table at this point is the _string_; the spot at B is the dark red spot;
that at D is the white ball spot. The spot at C is the English spot,
which is twelve and a half inches from the _end_ or lower cushion, and
is used in playing the English game, but in this country it is generally
put about nine inches from the lower cushion.
The spot at D is used in two-ball pool, also, and is placed about five
inches from the lower cushion.
E shows the pin-pool spots, that in the centre being numbered five; each
of the others should be placed three inches from it, in position shown,
and measuring from the centre of each spot.
F shows the position of the balls in playing fifteen-ball pool. The
balls are placed in a triangular frame so as to insure exactness—the
base of the triangle being parallel with the end or lower cushion of the
table. The highest number, fifteen, should be placed on the deep red
spot at B.
Figures 1 and 2 show the positions of the semicircles or playing points
for the English and three-ball games.
In playing the English game, the semicircle is drawn from the white ball
spot with a radius of ten and one-half to eleven and one-half inches. In
England the spot is placed two feet four and one-half inches from the
cushion on the English 6 × 12 table.
The semicircle for the three-ball game is drawn with a radius of six
inches on the American table.
In playing the three-ball game, the spot A is occupied by the white
ball, and the spot B by the red. The semicircle 1 is drawn six inches
from A, and from within this limit the cue-ball must be delivered in
opening the game.
PLATE XIV.
THE OPENING STROKE.
The object of a good player is to keep the balls before him in such
manner that every stroke when completed shall leave another to follow.
DIRECTIONS.—The cue-ball is placed about three inches from either side
of the white spotted ball. In this diagram the left side is
employed. When the stroke is _perfectly_ made the course of the
balls and position left, will approximate the dotted lines, and at
the spots _g_, _h_, and _d_. With the ordinary player, perhaps,
the success of the carom will alone be sufficient, regardless of
which side the carom-ball is struck by the cue-ball. In this
diagram at the finish of the stroke the object-balls are in front
of the cue-ball for the succeeding stroke, whereas the result
generally produced from this opening carom is to place the
cue-ball _between_ the others. When one perfects himself at the
opening stroke, which can only be done with practice, the
direction of the cue and object balls will be easily mastered. The
strength of stroke must also be carefully considered and studied.
Cue-ball ¼ above, ⅛ right, object-ball ⅝ left; stroke, ½ in excess of
“medium.” Cue-ball cushions at _a_, _b_, effecting carom at point
_c_, about ½ or ¾ on the carom-ball from direction of point _b_.
The cue-ball after carom takes the direction of _c_, _d_, and
rests at or near _d_; the carom-ball travels to _h_, there
resting, and object-ball cushions at _e_, _f_, stopping finally at
_g_.
[Illustration]
[Illustration]
PLATE XV.
SIMPLE CAROMS.
_Illustrating the natural line of departure of the cue-ball from the
object-ball to the carom-ball with different degrees of strength._
_Diagram 1._—Cue-ball centre, object-ball ½ right; stroke, “medium.”
_Diagram 2._—Cue-ball centre, object-ball ½ right; stroke, “medium.”
_Diagram 3._—Cue-ball centre, object-ball ¾ right; stroke, “ordinary.”
Caroming on ball 2.
_Diagram 3._—Cue-ball centre, object-ball ¾ right; stroke, “hard.”
Caroming on ball 3.
Particular attention must be given to the different degrees of strength
of stroke.
It is necessary to learn these caroms thoroughly, as upon the principles
involved in them depend, to a great extent, all the strokes likely to
occur in a game of billiards.
[Illustration]
PLATE XVI.
DRAW AND FOLLOW STROKES.
_Illustrating the results attained by striking cue-ball above or below
its centre._
_Diagram 1._—Cue-ball ½ below, object-ball 15/16 left; stroke,
“medium,” effecting carom on ball 2. Ball 1 will return to corner,
gathering with ball 2. A wrist stroke. An easy, direct draw.
_Diagram 2._—Cue-ball ⅝ below, object-ball ⅞ right; stroke, “medium,”
caroming on ball 2, gathering ball 1 in corner with ball 2. An
easy quarter-spread draw.
_Diagram 3._—Cue-ball ⅝ below, object-ball 15/16 left; stroke,
“ordinary,” effecting carom on ball 2. Long draw stroke, somewhat
difficult.
_Diagram 4._—Cue-ball ¼ above, ⅛ left, object-ball ⅞ right; stroke,
“medium.” Ball 1 returns from end cushion, and gathers with ball
2. Follow gathering stroke.
_Diagram 5._—Cue-ball ½ above, ⅛ left, object-ball ⅞ right; stroke,
“ordinary,” effecting carom on ball 2, ball 1 gathering with ball
2 in corner. A follow stroke, driving ball around the table.
PLATE XVII.
GATHERING STROKES FROM PLAIN CAROMS.
_Illustrating the first step in gathering balls for a succeeding
stroke._
_Diagram 1._—Cue-ball ½ above, ¼ left, object-ball ⅞ right; stroke, ¼
less than “slow,” effecting carom on ball 2 at point _a_. This
stroke is played as a half follow, in order to gain the position,
although the carom can be easily effected by playing on ball 1, ¼
right, but this would spread them beyond position for the
succeeding stroke. The course and final resting-place of the
different object-balls are indicated in all the diagrams by the
dotted lines and spots, the heavy lines showing the course of the
cue-ball.
_Diagram 2._—Cue-ball ½ above, ⅛ left, object-ball 15/16 right;
stroke, “medium,” caroming on ball 2. A follow stroke. To insure
the cue-ball being held on its proper course, it is struck by the
cue just enough left of the centre to prevent the opposite twist
taking effect through carelessness; for if the cue-ball be struck
_at all_ to the right of centre, it will not follow the line laid
out for it. Forearm and wrist motion only required in this stroke.
_Diagram 3._—Cue-ball ½ below, _exact_, object-ball ⅞ left; stroke,
“slow.” Spread draw for position. Note in this diagram the curved
line of the cue-ball as it leaves the object-ball, and allow for
this curve in calculation.
NOTE.—That the balls may be placed _exact_ upon the table according
to the diagrams, the author suggests that the student follow the
plan here given: First refer to the diagram desired for practice. If
it be the one herewith (No. XVII.), in order to place ball 2 of
diagram 1, draw the direct right lines _a_, _b_ from the centre of
ball 2 to the nearest cushion surface at _c_, _d_, or from the
points _c_, _d_ to centre of ball 2. On the point where the lines
_a_, _b_ intersect, place ball 2. In this manner the student may
place any ball _exact_ in position that may be found in either of
the plates in this work. To calculate correctly the spot for the
placing of a ball, note carefully the distance from the _nearest_
diamond sights, at either _nearest_ cushion, to the point where each
line joins the cushion surface, which will be immediately opposite
the exact centre of the ball which is to be placed.
[Illustration]
[Illustration]
PLATE XVIII.
EAST COMPOUND ANGLES.
_Illustrating the angular gathering stroke—Effecting carom from the
various positions of object-balls 1, 2, 3, and 4, on ball 5, and
gathering all in corner near carom-ball._
_From ball 1._—Cue-ball ¼ above, 1/16 left, object-ball ⅝ left;
stroke, “ordinary.” The course of the cue-ball is marked by the
heavy line, that of the object-ball by the dotted line.
_From ball 2._—Cue-ball ¼ above, ⅛ left, object-ball ½ left; stroke,
“ordinary.”
_From ball 3._—Cue-ball ¼ above, ¼ left, object-ball ⅜ left; stroke,
“ordinary.”
_From ball 4._—Cue-ball ¼ above, ½ left, object-ball ¼ left; stroke, ½
greater than “medium.”
The natural line of departure from the object-ball, if the cue-ball be
struck centre at a ⅝ ball as stated, would be on the first cushion, to
the right of the heavy line indicated, or at spot _c_; this, of course,
would govern the point of contact with the second cushion, and result in
missing the carom. The use of the twist, however, gives it the direction
calculated more or less acute than natural.
The twist given the cue-ball is imparted, to some extent, to the
object-ball in impact, causing it to take the proper angles to gather as
desired. By some writers and theorists this statement is disputed, but
repeated experiments have shown it to be a fact beyond question.
The caroms illustrated could be effected by striking the cue-ball
centre, and contacting the object-ball nearer full; but in order to
bring this object-ball into position for next stroke, the twist is
applied, and the natural angle is sacrificed for a _false_ one, in order
to control the object-ball.
PLATE XIX.
PLAIN AND ONE-CUSHION STROKES.
_Further illustrating the cushion carom and twist stroke, gathering the
balls in a corner._
_Diagram 1._—Play on ball 1, cushion at _a_, carom on ball 2. Cue-ball
⅝ right, ¼ above, object-ball ½ right; stroke, ½ in excess of
“medium.” Object-ball cushions at _b_, _c_, gathering at _d_.
_Diagram 2._—Cue-ball ⅝ right, ½ below, object-ball ¼ right; stroke, ½
in excess of “medium.” Cue-ball cushions at _h_, effecting carom
on ball 3. Object-ball cushions at _e_, _f_, gathering at _g_.
_Diagram 3._—Cue-ball ¼ above, ¼ right, object-ball ⅜ left; stroke,
“medium.” A direct carom, gathering all the balls in the corner.
[Illustration]
PLATE XX.
TWO-CUSHION ROUND-THE-TABLE STROKE.
In effecting this carom and gathering the balls, cue-ball ¼ left, ¼
above, object-ball ½ left; stroke, “ordinary.” Cue-ball cushions
at _a_, _b_, effecting a carom on ball 2. Object-ball cushions at
_c_, _d_, _e_, resting at _f_, near ball 2.
There are many strokes resembling this one, where the balls are in a
somewhat similar position, and where the same cushions are used, from
either side the table. The cue-ball may be in a more direct line in its
bearing to the object-ball, or it may lie more away to the left. If the
former is the case less twist is required, not exceeding ⅛; but if the
latter, then it is increased, so as to perform the angle required.
In this stroke the value of thoroughly understanding the different
shades of “twist” is appreciated, and if comprehended fully there will
be no difficulty in executing these strokes from a mere glance at the
position of the balls.
[Illustration]
[Illustration]
PLATE XXI.
VARIOUS CAROMS FROM ONE POSITION.
_Illustrating one and two cushion caroms, effected with the cue-ball in
one position, by delivering the cue at different parts of the cue-ball._
_To carom on ball 2._—Cue-ball ¼ left, ⅛ above, object-ball ½ right;
stroke, “medium.”
_To carom on ball 3._—Cue-ball ½ left, ⅛ above, object-ball ½ right;
stroke, ½ in excess of “medium.”
_To carom on ball 4._—Cue-ball ⅝ left, ⅛ above, object-ball ½ right;
stroke, “ordinary;” effecting carom by reverse “English,” the
cue-ball taking but one cushion and straight line back to ball 4.
_To carom on ball 5._—Cue-ball ¼ right, ⅛ above, object-ball ½ right;
stroke, “medium.”
_To carom on ball 6._—Cue-ball ½ right, ⅛ above, object-ball ⅝ right;
stroke, ½ in excess of “medium.”
_To carom on ball 7._—Cue-ball ⅝ right, ⅛ above, object-ball ½ right;
stroke, ½ in excess of “medium.”
_To carom on ball 8._—Cue-ball ½ right, ½ below, object-ball ⅝ right;
stroke, “ordinary.”
_To carom on ball 9._—Cue-ball ⅝ right, ½ below, object-ball ⅝ right;
stroke, “ordinary.”
PLATE XXII.
THE FOLLOW CUSHION—“ENGLISH” OR “TWIST.”
_Illustrating caroms that are accomplished through the application of
excessive “English” and “follow” stroke; the execution being effective,
and from comparative safe position._
_Diagram 1._—Cue-ball ⅝ left, ¼ above, object-ball ⅞ right; stroke,
“medium,” caroming on ball 2. The object-ball passes behind ball
2, taking the direction of dotted line _b_ to _c_. The cue-ball
accomplishes the angle from _a_ to ball 2, through the excessive
twist applied. The natural angle for the cue-ball, after meeting
cushion at _a_, is in the direction of _d_, which it would take
were the twist not imparted.
_Diagram 2._—Cue-ball ⅝ right, ½ above, object-ball 15/16 left;
stroke, ½ in excess of “medium.” Cue-ball cushions at _a_,
effecting a carom on ball 2. The object-ball takes direction of
arrow. The player is cautioned to take the cushion at or below
_a_, otherwise the carom will not be effected.
[Illustration]
[Illustration]
PLATE XXIII.
CAROM BY CUSHION “ENGLISH” OR “TWIST.”
_Illustrating one-cushion caroms with the application of strong and
excessive twist to the cue-ball._
_Diagram 1._—Cue-ball ½ right, ¼ below, object-ball ½ left; stroke,
“slow.” Cue-ball cushions at _a_, twist carrying it to ball 2. The
object-ball taking direction of dotted line resting at spot _b_.
The natural angle from ball 1 to _a_ is represented by dotted line
_a_ to _c_, but the ½ “English” imparted to cue-ball accomplishes
the angle to ball 2 in excess of the natural.
_Diagram 2._—Cue-ball ⅝ left, ½ below, object-ball ¼ right, stroke,
“medium,” effecting carom on ball 2. The object-ball follows _d_,
_e_, at which latter it stops. The dotted line _a_ to _b_ is the
natural angle, and the line to _c_ is the real excessive angle
produced by ⅝ twist given cue-ball.
PLATE XXIV.
CAROMS BY ONE-CUSHION ENGLISH.
_Illustrating the natural and false angle carom._
Cue-ball ⅝ left, ¼ below, object-ball ¼ right; stroke “medium.” The
object-ball traverses _c_ to _e_, where it rests. The cue-ball,
twist excessive, cushions at _a_ and thence along _b_ to ball 2,
where it effects carom. The natural angle is _a_ to _d_.
The stroke is very effective and gathers the balls well.
[Illustration]
[Illustration]
PLATE XXV.
ONE-CUSHION REVERSE ENGLISH.
Cue-ball ⅛ above, ½ right, object-ball ½ left; stroke, ½ in excess of
“medium.” Cue-ball cushions at _a_, and by reverse twist effects
carom on ball 2. Object-ball cushions at _b_, _c_, resting near or
at _d_.
This stroke is a very effective one and may be played from various
positions. It requires much attention to master it, and the value of the
twist and strength must be familiar to the player. The skill is in the
judgment displayed in estimating quantity of twist necessary to effect
carom, as the cue-ball _can_ be made to come away from the cushion at
_a_ on an acute angle nearly parallel with the side cushion.
PLATE XXVI.
SERIAL ONE-CUSHION STROKES.
_Illustrating serial one-cushion caroms, with the application of either
“twists.”_
_To carom on ball 1._—Cue-ball ⅝ left, ⅝ below, object-ball ⅝ left;
stroke, “ordinary.” Object-ball cushions at _e_, _f_, _g_, resting
at _h_. Cue-ball cushions at _a_, caroms on ball 1.
_To carom on ball 2._—Cue-ball ½ left, ½ below, object-ball ½ left;
stroke, “ordinary.”
_To carom on ball 3._—Cue-ball ½ left, ½ below, object-ball ¼ left;
stroke, ½ in excess of “medium.”
_To carom on ball 4._—Cue-ball ⅛ left, ⅛ above, object-ball ¼ left;
stroke, ½ in excess of “medium.”
_To carom on ball 5._—Cue-ball ¼ right, object-ball ¼ left; stroke, ½
in excess of “medium.”
_To carom on ball 6._—Cue-ball ½ right, object-ball ⅛ left; stroke, ½
in excess of “medium.”
_To carom on ball 7._—Cue-ball ⅝ right, ⅝ below, object-ball ⅛ left;
stroke, ½ in excess of “medium.”
_To carom on ball 8._—Cue-ball ½ right, object-ball ⅞ left; stroke, ½
in excess of “medium.”
_To carom on ball 9._—Cue-ball ⅝ right, ¼ above, object-ball “full;”
stroke, “ordinary.”
The practice of these single-cushion carom strokes is of vast
importance, as the positions constantly present themselves during play.
When the pupil becomes familiar with the “breaks,” the carom is of easy
accomplishment.
[Illustration]
[Illustration]
PLATE XXVII.
SERIAL ONE-CUSHION STROKES.
_Illustrating how a carom may be effected from various more or less
difficult positions._
_From ball 1._—Cue-ball ⅝ right, object-ball ½ left; stroke, ½ in
excess of “medium.”
_From ball 2._—Cue-ball ½ right, object-ball ⅛ left; stroke, “medium.”
_From ball 3._—Cue ball ¼ right, object-ball ⅛ right; stroke,
“medium.”
_From ball 4._—Cue-ball ½ left, ¼ above, object-ball ½ left; stroke,
“ordinary.” Cue-ball cushions at _c_, _f_, _d_, _e_ effecting
carom on ball 5. The object-ball 4 doubles the length of the
table, resting at _h_. Ball 5 is placed the width of a ball from
either cushion. Ball 4 is placed in this diagram just off the
cushion that the pupil may avoid a kiss on account of it touching
the cushion. The carom may be made with ball 4 touching the
cushion.
PLATE XXVIII.
SLOWING CUE-BALL, DOUBLING OBJECT-BALL.
_Illustrating a very important stroke for position play._
_Diagram 1._—Cue-ball ½ right, ⅛ above, object-ball full centre;
stroke, “ordinary.” Object-ball cushions at _a_, _b_, _c_, resting
at _d_. Cue-ball cushions at _a_, effecting carom on ball 2. The
delivery ⅛ above gives a slow-follow motive power to cue-ball,
while the ½ English, delivered on right of cue-ball, causes the
latter to perform the obtuse angle from the cushion at _a_ to the
carom-ball. The object-ball is placed in line, so that it will
clear the carom-ball and perform the angles shown by dotted lines.
_Diagram 2._—Cue-ball ⅛ right, object-ball ⅛ right; stroke, ½ in
excess of “medium,” effecting carom on ball 2. Cue-ball cushions
at _a_, _b_, _c_. Object-ball takes direction of the arrow _e_,
the carom-ball being hit near full, takes direction of the arrow
_d_.
[Illustration]
[Illustration]
PLATE XXIX.
SLOWING CUE-BALL, DOUBLING OBJECT-BALL.
_Illustrating another fundamental stroke, that of doubling the
object-ball with a “slowed” cue-ball._
_Diagram 1._—To double the object-ball twice across the table by
playing as full upon it as is possible. Cue-ball ⅜ below, ½ right,
object-ball 15/16 left, effecting carom on ball 2. Object-ball
cushions at _a_, _b_, _c_, _d_, and joins ball 2 in corner.
Cue-ball is slowed so it barely effects carom. Stroke, “very
hard.”
_Diagram 2._—Gathering stroke, to double object-ball and effect carom.
Cue-ball ¼ below, 1/16 left, object-ball 15/16 right; stroke,
“ordinary.” Object-ball cushions at _a_, _b_, gathering at _c_.
The cue-ball travels very slowly to the carom-ball, speed merely
sufficient to effect carom.
These strokes appear in all parts of the table, and the player should
search for those he has practised, selecting always that which will give
the best result in position. He who displays the best judgment in thus
calculating will make the most successful player.
PLATE XXX.
SLOWING CUE-BALL DOUBLING OBJECT-BALL.
_Illustrating a stroke that is of difficult accomplishment but very
effective._
Cue-ball ¼ below, object-ball 15/16 left; stroke, “hard.” Object-ball
cushions at _a_, _b_, _c_, _d_, and rests beyond _d_. The
object-ball is struck nearly “dead” full to cross the table, as
the lines indicate; the cue-ball is “slowed” through the ¼ below
delivery, effecting carom on ball 2. This stroke requires much
practice, as the compound doubling of the cue-ball is of difficult
execution when combined with the “slowed” cue-ball.
Care should be used in the placing of the cue-ball for the execution of
the stroke.
[Illustration]
[Illustration]
PLATE XXXI.
COMPOUND ANGLES.
_A series of caroms with the object and cue-ball in same position,
illustrating the player’s control over the cue-ball._
_To carom on ball 1._—Cue-ball ¼ above, ¼ right, object-ball ⅝ left;
stroke, “medium.” The cue-ball is struck ¼ above, in order to keep
it from describing too great a curved line that it would do if hit
½ above, which latter delivery requires greater precision. If hit
below ¼ above, the ball will come away more toward the open table.
The cue-ball is also hit ¼ right, that it may be kept away from
the cushion in its course toward the carom-ball; if struck on left
side it would take cushion upon nearly every occasion. Put the
twist on the side opposite the direction the cue-ball will take
when it lies at this angle.
_To carom on ball 2._—Cue-ball ¼ below, ½ right, object-ball ⅛ left;
stroke, “ordinary.”
_To carom on ball 3._—Cue-ball ¼ below, ½ left, object-ball 1/16
right; stroke, “ordinary.”
_To carom on ball 4._—Cue-ball ¼ right, ½ below, object-ball ¼ right;
stroke, “ordinary.”
_To carom on ball 5._—Cue-ball ½ below, ½ left, object-ball ½ left;
stroke, “ordinary.”
_To carom on ball 6._—Cue-ball ¼ above, ¼ left, object-ball ⅝ right;
stroke, “medium.”
_To carom on ball 7._—Cue-ball ⅝ right, object-ball ¾ right; stroke,
“ordinary.”
_Again on ball 3._—Cue-ball ½ left, object-ball ¾ left, stroke,
“hard.”
PLATE XXXII.
COMPOUND ANGLES.
In the stroke illustrated, a ⅝ full delivery of the cue-ball on
object-ball 1 is absolutely necessary, with the cue-ball struck
_exactly_ ⅝ left centre.
Cue-ball ⅝ left, object-ball ⅝ left; stroke, “ordinary.”
If the cue is delivered below the centre of the cue-ball, with the
object-ball 1 touching the cushion, the cue-ball will rebound at an
acute angle that generally fails to effect the carom. The objective
point is the cushion at _b_, which insures the stroke, and if the angle
be always calculated from a point on the second cushion with the
cue-ball so delivered as to reach that spot, the remainder of the stroke
is assured and will take care of itself. That is to say, draw the angle
required from the object-ball to the first cushion, then from that point
to the second cushion.
[Illustration]
[Illustration]
PLATE XXXIII.
COMPOUND ANGLES.
_Illustrating a peculiar two-cushion stroke with the application of
twist and draw._
Cue-ball ¼ left, ⅝ below, object-ball ½ right; stroke, “medium.”
The purpose in striking cue-ball ⅝ below is to reach cushion at _a_ by
making no more than ½ on object-ball, driving it to _c_. The ¼ left is
given the cue-ball that it may perform the angle _a_ to _b_, which
accomplishes the carom. Greater twist would perform a more obtuse angle
to side cushion, striking at _e_.
PLATE XXXIV.
COMPOUND ANGLES.
_Illustrating a difficult two-cushion carom with application of extreme
draw and twist._
Cue-ball ½ below, ⅝ right, object-ball ⅞ right; stroke, “ordinary.”
The twist is the principal force exerted in this stroke, though aided by
the very full play upon the object-ball. A full ball on the object-ball
is required for two reasons, to throw it into position at _g_, and also
to reach the point _a_ with cue-ball, without the excessive draw being
applied, the twist performing the larger portion of the work.
The cue-ball cushions at _a_, _b_, effecting carom on ball 2, the latter
resting at or near h. Object-ball cushions at _c_, _d_, _e_, _f_,
resting at _g_.
The wrist and forearm are required for this stroke.
[Illustration]
[Illustration]
PLATE XXXV.
SLOWED AND TWISTED CUE-BALLS.
_Illustrating compound angles of cue and object balls._
_Diagram 1._—Cue-ball centre, object-ball 15/16 left; stroke,
“ordinary.” Cue-ball, being slowed, effects carom on ball 2; the
object-ball cushions at _a_, _b_, _c_, _d_, resting at _e_.
_Diagram 2._—Cue-ball ⅝ right, object-ball ⅛ left; stroke, ½ in excess
of “medium.” Cue-ball cushions at _a_, _b_, effecting carom on
ball 2. Object-ball cushions at _c_, resting at _d_.
[Illustration]
PLATE XXXVI.
THE “TWICE-AROUND-THE-TABLE” STROKE.
_Illustrating a fine cushion stroke with the balls in a straight line,
resulting in the so-called “twice-around-the-table” carom._
This stroke is played on account of the balls occupying a position
directly before each other, insuring a “kiss” should the “follow” be
attempted.
Cue-ball ⅛ below, ½ left, object-ball 1/16 right; stroke, “hard.” The
⅛ below prevents cue-ball jumping at instant of delivery. Cue-ball
cushions at _a_, _b_, _c_, _d_, _e_, effecting carom on ball 2.
Object-ball crosses the table twice, cushions at _f_, _a_, resting
at _g_.
Bear in mind the twist on the cue-ball aids the player in imparting
force after contact with the first cushion; so whilst _great speed_ of
cue-hand is necessary, it need not be conveyed by excess of muscle or
violent action of the body. The object-ball must be struck very fine,
about 1/16, so the resistance may be slight and not interfere with the
free run of the cue-ball.
[Illustration]
PLATE XXXVII.
FURTHER ILLUSTRATION OF THE “TWICE-AROUND” STROKE.
Balls in a line, that if a “follow” stroke were played a “kiss” between
object and carom ball would result; therefore the play as directed:
Cue-ball ⅝ right, ⅛ below, object-ball ⅛ left; stroke, “hard.”
Cue-ball cushions at _a_, _b_, _c_, _d_, _e_, effecting carom on
ball 2. Object-ball doubles the table, resting at _g_.
The object-ball must be struck but ⅛ in order to carry the cue-ball to
cushion at _a_ and to give proper direction to the former ball.
The quick movement of the cue insures speed to the cue-ball.
In order to reach the point _a_ with the cue-ball, which also gives
direction to ball 1, it is absolutely necessary to strike very fine on
the latter.
PLATE XXXVIII.
_Illustrating two extreme strokes, draw and twist._
_Diagram 1._—Cue-ball ⅝ left, ½ below, object-ball, “very fine,” 1/32
left; stroke, ½ in excess of “medium”. Cue-ball cushions sharp at
_a_, _b_, effecting carom on ball 2. Object-ball moving slowly,
having been cut _exceedingly_ fine, up table to _c_.
_Diagram 2._—Cue-ball ⅝ left, ⅝ below, object-ball 1/16 right; stroke,
“ordinary.” The point of aim on object-ball, 1/16 right, is to
prevent cue-ball striking cushion after leaving object-ball.
[Illustration]
[Illustration]
PLATE XXXIX.
“KISS” AND THREE-CUSHION CAROM.
_Illustrating a simple “kiss” and a carom through angles difficult to
accomplish._
_Diagram 1._—Cue-ball ½ above, ¼ right, object-ball 15/16 left;
stroke, “slow.” The balls here are in a direct line. After
delivery object-ball “kisses” carom-ball, throwing it to point
_a_, where the cue-ball has been carried by ¼ right, and carom is
effected.
_Diagram 2._—Cue-ball ⅝ left, ¼ below, object-ball, “fine cut,” 1/16
right. Cue-ball cushions at _a_, _b_, _c_, and receiving the
excessive twist describes angles shown, effecting carom on ball 2.
Object-ball rolls up table to _d_.
The carom is difficult; the cue-ball requires excessive English; ball 1
must be cut exceedingly fine.
PLATE XL.
SLOWED CUE-BALL.
_Illustrating a driving stroke with the cue-ball “slowed.”_
Cue-ball ⅛ below, object-ball 31/32 left; stroke, “ordinary.” Cue-ball
effects carom and rolls to _f_, carom ball rests at _e_, and
object-ball cushions at _a_, _b_, _c_, stopping at _d_. The ⅛
below delivery “slows” the cue-ball, imparting strength merely
sufficient to drive carom-ball to _e_ for position.
This is one of the most important strokes known in the game, and should
be mastered perfectly by the pupil.
[Illustration]
[Illustration]
PLATE XLI.
SLOWED CUE-BALL.
_Illustrating similar caroms from different positions._
_Diagram 1._—Cue-ball ⅛ below, object-ball 15/16 left; stroke, ½ in
excess of “medium.” Cue-ball caroms _slowly_ on ball 2.
Object-ball cushions at _a_, resting at _c_.
_Diagram 2._—Cue-ball ¼ below, object-ball 15/16 left; stroke, ½ in
excess of “medium.” Cue-ball caroms slowly on ball 2. Object-ball
cushions at _b_, resting at _c_.
_Diagram 3._—Cue-ball ⅜ below, object-ball 15/16 left; stroke,
“ordinary.” Cue-ball caroms by slowed ball. Object-ball cushions
at _d_, _e_, _f_, _h_, resting at _g_.
PLATE XLII.
ACUTE DRAW STROKES.
_Illustrating quartering “draw” strokes for position, driving
object-ball around table._
_Diagram 1._—Cue-ball ⅝ below, ¼ right, object-ball ⅞ right; stroke,
“ordinary.” Cue-ball caroms on ball 2. Object-ball cushions at
_a_, _b_, _c_, and rests in corner near ball 2. Allowance must be
made for curve of the cue-ball when it leaves the object-ball, and
it must be considered in calculating the imaginary line of
progress over the cloth of the cue-ball.
_Diagram 2._—Cue-ball ⅝ below, ¼ left, object-ball ⅞ left; stroke,
“ordinary.” Cue-ball describes acute curve on leaving object-ball,
and caroms on ball 2. Object-ball cushions at _a_, _b_, _c_,
gathering in corner near ball 2. Draw for the carom-ball as though
there was no cushion near by, for it is better to learn to do
entirely without this cushion assistance.
[Illustration]
PLATE XLIII.
EFFECTIVE ONE-CUSHION “DRAWS.”
_In illustration of very important one-cushion draw and twist strokes,
for position, also massé by playing well on outside of object for direct
draw._
_Diagram 1._—Cue-ball ⅛ below, ⅛ right, object-ball ½ right; stroke, ½
in excess of “medium.”
_Diagram 2._—Cue-ball ¼ below, ¼ right, object-ball ⅝ right; stroke, ½
in excess of “medium.”
_Diagram 3._—Cue-ball ½ below, ½ right, object-ball ⅝ right; stroke, ½
in excess of “medium.”
_Diagram 4._—Cue-ball ⅝ below, ⅝ right, object-ball ¾ right; stroke, ¾
in excess of “medium.”
Cue-ball cushions in each instance at points _a_. Object-ball in diagram
1 cushions at _b_, _f_, in diagram 2 at _c_, _f_, in diagram 3 at _d_,
_g_, in diagram 4 at _e_, _h_, all stopping at _i_, and cue-ball effects
carom on ball 2.
_Diagram 5._—A massé. Cue-ball ½ left, ½ _aft_, perpendicular;
object-ball ¾ right; stroke, “medium.” The cue-ball curves,
letting ball 1 through for position, and caroms on ball 2. This is
a direct curve massé, the cue-ball in centre of other balls, the
three being in a line about one inch from rail. Spot on cue-ball
indicates where it is to be struck by cue, looking down upon it.
The line of aim is the dotted line from _a_ to _b_.
[Illustration]
[Illustration]
PLATE XLIV.
DRAW WITH REVERSE AND NATURAL ENGLISH.
_Illustrating the cushion-draw with “English” or “twist,” driving
object-ball. Peculiar strokes, one of which requires considerable
practice, the reverse._
_Diagram 1._—Cue-ball ⅝ below, ½ right, object-ball ⅞ right; stroke, ½
greater than “medium.” Cue-ball cushions at _a_, effecting carom
on ball 2. Object-ball cushions at _c_, _d_, _e_, _f_, resting at
_g_.
_Diagram 2._—Cue-ball ⅝ left, ⅝ below, object-ball 15/16 right;
stroke, ½ in excess of “medium.” Cue-ball cushions at _a_, through
the strong draw delivery of the cue and having also the excessive
reverse twist in it, performs the obtuse angle from a to
carom-ball. Object-ball cushions at _b_, _c_, resting at _d_, the
balls here gathering. The delivery of the cue on the cue-ball ⅝
below and left is one that requires much practice to perfect.
PLATE XLV.
DOUBLING OBJECT-BALL.
_In illustration of important principles for position play, where other
easier methods present themselves for effecting caroms._
_Diagram 1._—Cue-ball ½ left, ⅛ below, taking cushion first at _a_,
then the object-ball, ¾ right, considered from point _a_ on
cushion; stroke, ½ in excess of “medium.” Cue-ball cushions again
at _b_, effecting carom on ball 2 which rolls to _d_. Object-ball
crosses table, cushions at _e_, stopping at _c_. This stroke is
played with the forearm and wrist.
_Diagram 2._—Cue-ball ⅝ below, ½ left, object-ball ¾ left; stroke, ½
in excess of “medium.” Cue-ball cushions at _a_, effecting carom
on ball 2 which stops at _c_. Object-ball cushions at _b_, _e_,
and rests at _d_. The quick wrist movement only is employed in
this stroke.
[Illustration]
[Illustration]
PLATE XLVI.
SERIAL CAROMS, ALSO TWIST AND “KISS” CUSHION FOLLOW.
_Illustration of a series of caroms effected with cue and object-ball
in one given position, also a peculiar “kiss” carom with balls in
a line._
_Diagram 1._—Cue-ball ⅝ left, ¼ above, object-ball 15/16 right;
driving it to cushion at _a_, _b_, a little beyond which it
contacts with carom-ball forcing it to point _d_, where the
cue-ball meets it and effects carom. Stroke, ½ in excess of
“slow.” Cue-ball cushions at _c_ with an excessive spinning twist.
_Diagram 2._—_To carom on balls 1 and 2_: cue-ball ⅜ right, ⅛ below,
object-ball ½ left; stroke, ½ of “slow.” Cue-ball cushions at _a_,
effecting carom on ball 2. Object-ball cushions at _b_, _c_,
resting at _d_.
_To carom on ball 3._—Cue-ball ½ right, ⅛ below, object ball ½ left;
stroke, ½ less than “slow.” Cue-ball cushions at _a_, and
object-ball cushions at _b_, _c_, stopping at _d_.
_To carom on ball 4._—Cue-ball ¼ left, ¼ below, object-ball ½ left;
stroke, ½ in excess of “ordinary.”
_To carom on ball 5._—Cue-ball ½ left, ¼ below, object-ball ½ left;
stroke, “slow.”
_To carom on ball 6._—Cue-ball ½ below, ½ left, object-ball ½ left;
stroke, “ordinary.” Cue-ball cushions at _a_, _e_, _b_, _g_.
_Again on ball 6._—Cue-ball ¼ above, ⅛ right, object-ball ¼ right;
stroke, “ordinary.” Cue-ball cushions at _e_, effecting carom by
one cushion on ball 6.
PLATE XLVII.
THREE-CUSHION AND CUSHION “KISS” STROKE.
_Illustrating a three-cushion driving stroke, together with a long
“kiss” carom, both effectively gathering the balls._
_Diagram 1._—Cue-ball ⅛ below, ⅝ left, object-ball ¾ right; stroke, ½
in excess of “medium.” Cue-ball cushions at _a_, _b_, _c_,
effecting carom on ball 2. Object-ball cushions at _d_, _e_,
resting finally at _f_, near ball 2. This is a stroke that occurs
often in the course of a game, the position being changed to the
other side of the table, possibly. Most players are content with
making the carom simply, and, with that only in view, merely “_cut
fine_” the object-ball, whilst, if they would play full upon it
with twist the stroke would be as surely effected, and a fine
set-up is left. The secret of the stroke is to throw the
object-ball at the point _d_ on _side cushion_ at corner, or as
near that as possible; excessive twist being given the cue-ball,
the carom is assured.
_Diagram 2._—Cue-ball ⅛ above, ⅛ left, object-ball ½ left; stroke,
“medium.” Cue-ball “kisses” directly on carom-ball, and
object-ball, springing from the cushion, rolls to _a_.
[Illustration]
[Illustration]
PLATE XLVIII.
KISS CAROMS.
_Illustrating peculiar “kiss” caroms with balls comparatively safe._
_Diagram 1._—Cue-ball ⅝ right, object-ball full centre; stroke,
“slow.” The excessive twist upon cue-ball causes the latter to
curve to the left whilst hitting the object-ball at the line of a
full ball. The twist of the cue-ball gives a slight _opposite_
twist to the object-ball, which in its turn communicates the
motion in a less degree to the carom-ball, causing the latter to
deflect from its natural course on leaving the cushion at _a_,
meeting cue-ball at _b_, the object-ball being carried to one side
by the excessive twist of cue-ball and the “kiss” from carom-ball.
A carom may be effected on left of balls by changing the twist
force to left side of cue-ball.
_Diagram 2._—Cue-ball ½ below, ⅝ right, object-ball ⅝ right; stroke,
“medium.” The carom can be made on either side of the balls by
changing slightly the direction.
_Diagram 3._—Cue-ball ¼ above, object-ball 31/32 left; stroke, ½ in
excess of “slow.” Object-ball strikes the carom-ball a hair off
its centre, taking direction _a_; the cue-ball follows, effecting
carom.
_Diagram 4._—Cue-ball ½ above, object-ball 31/32 right; stroke ½ in
excess of “slow.” Carom by double kiss at _a_.
[Illustration]
PLATE XLIX.
PECULIAR DRIVING STROKES.
_Illustrating difficult methods in effecting caroms, resulting in
position, from doubling object-ball._
_Diagram 1._—Cue-ball ½ above, ¼ left, object-ball 15/16 right;
stroke, “ordinary.” Cue-ball cushions at _g_, _d_, _e_, effecting
carom on ball 2. Object-ball cushions at _a_, _b_, _c_, resting at
_f_. This is a follow-cushion stroke, the cue-ball hugging
cushion.
_Diagram 2._—Cue-ball ⅝ right, ½ above, object-ball ⅞ left; stroke,
“ordinary.” Cue-ball describes curved line, effecting carom on
ball 2. Object-ball doubles the table, cushions at _a_, _b_, _c_,
resting at _d_.
Point the cue and object balls to cover the angles of dotted lines.
Deliver a quick wrist stroke, using care against foul.
PLATE L.
KISS CAROMS.
_Illustrating kiss caroms where there is an easy angle of division, and
another of a “kiss” to cushion, with reverse English, effecting neat
carom._
_Diagram 1._—Cue-ball centre, object-ball ½ left; stroke, “ordinary.”
Cue-ball kisses direct onto ball 2.
_Diagram 2._—Cue-ball ½ below, ⅝ left, object-ball ¾ right; stroke, ½
in excess of “medium.” Cue-ball takes cushion at _a_, and thence
to _b_, where carom-ball meets it, having been forced directly
down the cushion by kiss from object-ball. The balls are in such
position here that a fine stroke is impossible, and where a massé
is exceedingly difficult.
[Illustration]
[Illustration]
PLATE LI.
“KISS” AND “HUG” CUSHION STROKES.
_In illustration of several neat caroms through the “kiss” and follow
“hug” cushion strokes, from comparatively safe positions._
_Diagram 1._—Cue-ball ⅝ left, ¼ above, object-ball full; stroke,
“slow.” Carom-ball, kissed by object-ball, cushions at _b_,
returns to _a_, where cue-ball meets it and effects carom.
_Diagram 2._—Cue-ball ½ above, ½ left, object-ball ⅞ left; stroke,
“ordinary.” Cue-ball cushions _c_, _d_, _e_, effecting carom on
ball 2. Object-ball doubles table, takes cushion at _a_, resting
at _b_. This is termed a “following cushion hug stroke.”
_Diagram 3._—Cue-ball ⅝ left, ⅛ above, object-ball 15/16 right;
stroke, ½ in excess of “slow.” The cue-ball taking a curved line
on object-ball, forcing it out from the cushion that it may strike
the carom-ball on right of centre, thus making room for cue-ball,
the object-ball going to right. Carom-ball cushions at _b_,
meeting cue-ball on rebound at _a_, where carom is effected.
_Diagram 4._—Cue-ball ½ above, ¼ right, object-ball ⅛ left. Kissing
carom-ball to cushion at _b_, the cue-ball following and meeting
carom-ball at _a_, where carom is effected.
_Diagram 5._—Cue-ball ¼ above object-ball 31/32 left; stroke, ½ in
excess of “medium.” Object-ball kisses carom-ball to cushion at
_a_, upon its rebound it meets cue-ball at _b_.
[Illustration]
PLATE LII.
KISS AND MASSÉ CAROMS.
_Illustrating some very difficult “kiss” caroms, with balls in
comparative safe position._
_Diagram 1._—Cue-ball ⅝ _right_, ½ below, object-ball ¾ left; stroke,
½ in excess of “ordinary.” Cue-ball cushions at _a_, _b_, and _c_,
effecting a carom on ball 2. Object-ball is kissed out, resting at
_d_. The object-ball, in this stroke, is touching the cushion; the
cue-ball is about ¼-ball below, a right line from the former. The
carom is effected by a “kiss” from object-ball to opposite cushion
at _a_, _b_, and, with an excessive twist, the cue-ball performs
angles shown.
_Diagram 2._—Cue-ball ⅝ left, ⅛ above, object-ball 31/32 right;
stroke, “medium.” Cue-ball curves, forcing object-ball from the
cushion, permitting the ball to pass through and meet carom-ball
at a after the latter has rebounded from cushion at _b_.
_Diagram 3._—Massé. Cue-ball struck at spot ⅝ left, ½ forward.
Carom-ball is kissed by object-ball into corner at _b_, where
cue-ball meets it. Strength, “slow.”
_Diagram 4._—Cue-ball ⅝ left, ⅝ above, object-ball “full”; stroke, ½
in excess of “medium.” Cue-ball meets carom-ball at _a_ through
kiss.
PLATE LIII.
DOUBLING CUE AND OBJECT BALLS.
_Illustrating compound angles for gathering the balls well._
Cue-ball ¼ below, ⅛ left, object-ball ⅝ left; stroke, ½ in excess of
“ordinary.” Cue-ball doubles the width of the table, cushions at
_a_, _b_, effecting carom on ball 2. Object-ball cushions at _c_,
_d_, _e_, resting at _f_.
If the cue-ball is struck _above_ centre it will describe a curved line
from _a_ to _b_, thereby missing the carom, by taking the end cushion
and passing ball 2. The accuracy of this stroke is in delivering the cue
below the centre of the ball which causes the cue-ball to take a direct
line from each cushion.
[Illustration]
[Illustration]
PLATE LIV.
QUARTER AND DIRECT DRAWS.
_Illustrating very important methods for gathering of balls; also a very
neat follow “kiss.”_
_Diagram 1._—Cue-ball ½ below, object-ball ⅞ left; stroke, ½ in excess
of “medium.” Cue-ball effects carom on ball 2. Object-ball
cushions at _a_, _b_, resting at _c_.
_Diagram 2._—Cue-ball ⅝ below, object-ball ⅞ left; stroke, ½ in excess
of “medium.” Cue-ball effects carom on ball 2. Object-ball
cushions at _d_, _b_, resting at _c_.
_Diagram 3._—Cue-ball ⅝ below, object-ball 15/16 left; stroke, ½ in
excess of “medium.” Cue-ball effects carom on ball 2. Object-ball
cushions at _e_, _f_, and rests at _c_.
The above are all wrist-strokes, and should be played with a careful
delivery.
_Diagram 4._—Cue-ball ½ above, object-ball 31/32 left, the latter
striking carom-ball 31/32 right; stroke, ½ in excess of “slow.”
The object-ball kisses off carom-ball, taking direction of dotted line,
resting at or near _a_; the cue-ball effects the carom. Here the
carom-ball lies in corner touching two cushions. The three balls are in
a direct line.
PLATE LV.
“FINE-CUT” AND HUG-CUSHION STROKES.
_Illustrating difficult caroms from difficult positions, hugging the
cushions by cutting ball fine._
_Diagram 1._—Cue-ball ¼ left, ¼ above, object-ball ¼ left; stroke,
“ordinary.” Cue-ball cushions at _d_, _a_, _b_, _c_, effecting
carom on ball 2. Object-ball takes direction of dotted line.
_Diagram 2._—Cue-ball ¼ above, ⅛ right, object-ball ⅛ left; stroke,
“ordinary.” Cue-ball cushions at _d_, _a_, =b=, _c_, or possibly
the player may not be able to hug the cushion beyond one or two of
points indicated by the letters. Object-ball takes direction of
dotted lines. The angles in this diagram are more obtuse than
those in Diagram 1, and the object-ball lies away from the
end-cushion.
[Illustration]
PLATE LVI.
A DIFFICULT GATHERING STROKE.
_In illustration of a very effective two-cushion across-table stroke,
leaving good position._
Cue-ball ⅜ below, ¼ left, object-ball ½ left; stroke, “ordinary.”
Cue-ball cushions at _a_, _b_, effecting carom on ball 2.
Object-ball cushions at _e_, _c_, resting at _d_.
A carom may also be effected from object-ball 1 by direct kiss to ball
2. In this stroke: cue-ball ½ left, ⅛ above, object-ball ⅞ left; stroke,
½ in excess of “medium.”
[Illustration]
PLATE LVII.
EFFECTIVE ONE AND TWO CUSHION STROKES.
_Illustrating excellent position play, and gathering balls by peculiar
method._
_Diagram 1._—Cue-ball ½ left, ½ below, object-ball ½ left; stroke,
“medium.” Cue-ball cushions at _a_, _b_, effecting carom on ball
2. Object-ball cushions at _c_, crosses table, and rests at _e_.
The carom-ball rests at _d_.
_Diagram 2._—Cue-ball ½ below, ⅝ left, object-ball ⅛ left; stroke, ½
in excess of “medium.” Cue-ball cushions at _a_, effecting carom
on ball 2. Object-ball cushions at _b_, resting at _c_.
This stroke is very effective in gathering the balls, and may be readily
played, with care. Similar strokes are played with the first object-ball
lying well out toward the centre of the table, with the cue-ball
occupying a similar position in its bearings toward the object-ball. The
cue-ball leaves the cushion at _a_ sharp and in direct line to the
carom-ball.
[Illustration]
PLATE LVIII.
ACUTE DRAWS ALONG CUSHION.
_In illustration of very effective gathering strokes, drawing with twist
along a cushion._
_Diagram 1._—Cue-ball ⅝ below, ¼ right, object-ball 31/32 right;
stroke, ¼ in excess of “medium.” Cue-ball cushions at _a_,
effecting carom on ball 2, the latter resting at _f_; cue-ball
rests at _e_. Object-ball cushions at _f_, _b_, _c_, resting at
_d_. The secret in this stroke is in getting off the object-ball
sharp and clear to cushion at _a_. The cue-ball should travel
slowly to carom-ball from being struck so nearly full on
object-ball.
_Diagram 2._—Cue-ball ½ below, ¼ right, object-ball ⅞ right; stroke, ¼
in excess of “medium.” Cue-ball cushions slowly at _a_, effecting
carom on ball 2, which rests at _f_, and the cue-ball at _g_.
Object-ball cushions at _b_, _c_, _d_, resting at _e_.
[Illustration]
[Illustration]
PLATE LIX.
“KISS” CAROM, ALSO ONE AND THREE CUSHION DRAWS.
_Illustrating excellent strokes for position play, through the kiss and
acute draw._
_Diagram 1._—Cue-ball ½ below, ⅝ left, object-ball ½ left; stroke, ½
in excess of “medium.” Cue-ball cushions at _a_, _b_, _c_,
effecting carom on ball 2. Object-ball cushions at _d_, _e_,
resting at _f_.
_Diagram 2._—_A kiss carom._—Cue-ball ⅛ above, object-ball 31/32
right; stroke, ¼ less than “slow.” Carom-ball cushions at _b_,
where it meets cue-ball, and carom is effected.
_Diagram 3._—Cue-ball ¼ below, ⅛ left, object-ball ⅞ left; stroke,
“ordinary.” Cue-ball cushions at a, effecting carom on ball 2,
which rests at _b_. Object-ball cushions at _d_, _e_, _f_, _g_,
stopping at _c_.
PLATE LX.
BANK STROKES.
_In illustration of “bank” or cushion first effecting caroms which
neatly gather the balls._
_Diagram 1._—Cue-ball ¼ right, ½ below, object-ball ½ right,
calculated from point _a_; stroke, ½ in excess of “medium.”
Cue-ball cushions at _a_, taking object-ball ½ full, effecting
carom on ball 2. Object-ball cushions at _b_, _c_, resting at _d_.
This is a bank stroke, cue-ball played on cushion first before
striking any ball. Object-ball is at such a location in corner
that the stroke shown is the only practicable one.
_Diagram 2._—Cue-ball ⅝ right, ½ below, object-ball ½ left, calculated
from point _a_; stroke, ¼ in excess of “medium.” Cue-ball cushions
at _a_, strikes object-ball ½ full, cushions again at _b_, and
effects carom on ball 2. Object-ball cushions at _c_, resting at
_d_.
[Illustration]
[Illustration]
PLATE LXI.
“BANK” WITH “TWIST,” CUSHION-“MASSÉ” AND “DRAW”-CUSHION STROKES.
_Illustrating caroms from difficult “breaks,” which produce excellent
positions._
_Diagram 1._—Cue-ball ⅝ right, ¼ above, cushion first at _a_;
object-ball ⅞ left from _a_. Cue-ball cushions again at _b_,
effecting carom on ball 2; stroke, “medium.” This stroke combines
a very heavy twist with follow tendency, and, in order that the
two forces may be effective, the object-ball must be struck
exactly ⅞ left, as calculated from point _a_.
_Diagram 2._—A massé. Cue-ball ½ left of perpendicular centre, ⅛
forward in direction of object-ball, object-ball 1/16 right. Line
of sight being along dotted line _b_ to _a_. Cue-ball cushions at
_a_, effecting carom on ball 2 by a _treble_ curved line.
_Diagram 3._—Cue-ball ⅝ below, ½ right, object-ball full; stroke,
“ordinary.” Cue-ball cushions at _a_, effecting carom on ball 2.
Object-ball cushions at _b_, _c_, _d_, resting at _e_.
PLATE LXII.
INTRICATE CAROM.
_Illustrating a stroke which appears at first sight to be a “bank,” but,
from position of balls, a cushion hit before a ball will fail to effect
carom._
Cue-ball ⅝ right, ⅝ below, object-ball ⅛ left; stroke, “medium.” As
the object-ball lies from the cushion—a space ⅛ of a ball, less
than the width of a 2⅜ ball—it is impossible for the cue-ball to
pass behind it, as it would have to do in order to contact with
the cushion _first_; as it is, the contact with cushion and
object-ball is at the same instant. The cue-ball really takes two
cushions, but it is so instantaneous as to be imperceptible.
[Illustration]
[Illustration]
PLATE LXIII.
ACUTE AND “SPREAD”-DRAW.
_Illustrating effective gathering strokes from a “wide spread” and
direct draw._
_Diagram 1._—Cue-ball ⅝ below, object-ball ⅞ left; stroke, ½ in excess
of “medium.” Cue-ball effects carom on ball 2. Object-ball
cushions at _a_, _b_, resting at _c_.
_Diagram 2._—Cue-ball ⅝ below, object-ball 31/32 right; stroke,
“ordinary.” Cue-ball, by an acute draw, effects carom on ball 2.
Object-ball cushions at _d_, _g_, _e_, resting at _f_.
Positions similar to Diagram 1 frequently occur during play,
consequently the pupil should know the gathering angle to cushions _a_,
_b_, for any object-ball which may rest at any part of the table within
space between the spot at _h_ and side cushion at ball 1; the cue-ball
at all times played from behind the object-ball as shown.
PLATE LXIIIA.
SLOW “FOLLOW” CUSHION “TWIST” AND DRAW TWIST.
_Illustrating the “slowed follow,” while “driving” the object-ball
around table; also an acute draw two-cushion stroke._
_Diagram 1._—Cue-ball ⅝ below, ⅝ right, object-ball ⅞ right; stroke, ¾
in excess of “medium.” Cue-ball cushions at _a_, _b_, effecting
carom on ball 2. Object-ball cushions at _c_, _d_, _e_, resting at
_f_.
_Diagram 2._—Cue-ball ½ left, ⅛ above, object-ball “full;” stroke, ½
in excess of “ordinary.” Cue-ball cushions at _a_, effects carom
on ball 2. Object-ball cushions at _a_, _b_, _c_, _d_, resting at
_e_.
The cue-ball performs a slow twisting “follow,” the object-ball running
with speed. The “slowed” follow ball is executed through the delivery ⅛
above, which imparts _slight_ rotating power in the ball.
[Illustration]
[Illustration]
PLATE LXIV.
A FOLLOW WITH EXCESSIVE ENGLISH.
_Illustrating a one-cushion “follow twist,” doubling the object-ball._
Cue-ball ⅝ left, ¼ above, object-ball “full centre;” stroke,
“ordinary.” Cue-ball cushions at _a_, with excessive ⅝ twist,
effecting carom on ball 2. Object-ball cushions at _a_, _b_, _c_,
resting at _d_.
The player may find trouble in striking the object-ball dead full, where
he delivers the cue ⅝ left. A little practice will overcome all
difficulty.
[Illustration]
PLATE LXV.
EFFECTIVE GATHERING STROKES.
_Illustrating caroms accomplished with excessive “draw, reverse, twists,
and cushion,” driving the object-ball to position._
_Diagram 1._—Cue-ball ⅝ left, ⅝ below, object-ball full; stroke, ½ in
excess of “medium.” Cue-ball cushions at _c_ through draw and
twist delivery, effecting carom on ball 2. Object-ball cushions at
_a_, _b_, finally resting at _c_. An effective gathering stroke.
_Diagram 2._—Cue-ball ½ below, ½ left, object-ball ⅞ left; stroke,
“ordinary.” Cue-ball cushions at _a_, effects carom on ball 2 and
rolls to _i_. Object-ball cushions at _b_, _c_, _d_, _f_, resting
at _g_. Carom-ball cushions at _e_, crosses table, and stops at
_h_.
The space between balls 1 and 2 is nearly the distance which separates
the diamond sights.
PLATE LXVI.
“BANK”-STROKE CAROMS.
_Illustrating two methods of effecting the same carom, like principles
governing both strokes._
_First._—Cue-ball ¼ below, ½ left; cushions at _a_, _d_, strikes
object-ball at _f_, ½ right, calculating from point _d_; cue-ball
then cushions again at _g_, _h_, _i_, effecting carom on ball 2.
Object-ball takes direction of arrow. Stroke, “hard.”
_Second._—Cue-ball ¼ below, ½ left; cushions at _b_, _c_, hits
object-ball at _e_, ½ left, sighting from cushion at _c_; cushions
then at _j_, effecting carom on ball 2. Object-ball is driven
around table, cushions at _n_, _o_, _p_, resting at _l_. Stroke,
“hard.”
[Illustration]
[Illustration]
PLATE LXVII.
FOUR-CUSHION AND “BANK”-STROKE CAROMS.
_Illustrating caroms which gather the balls from difficult positions._
_Diagram 1._—Cue-ball ¼ below, ¼ right, object-ball ¼ right, sighting
from cushion at _a_. Cue-ball cushions at _a_, _b_, effecting
carom on ball 2. Object-ball cushions at _c_, _d_, resting at _e_.
Stroke, “ordinary.” The object-ball (1) lies near and cushions so
that cue-ball has not room to go around table and gather balls
after carom, therefore the bank stroke is employed.
_Diagram 2._—Cue-ball ½ right, ⅛ below, object-ball ¼ left; stroke, ½
in excess of “medium.” Object-ball is width of a ball from the
cushion. Cue-ball cushions at _a_, _b_, _c_, _d_, effecting carom
on ball 2.
Object-ball cushions at _e_, _f_, resting at _g_. Ball 1 _must_ be so
placed that the cushion at _a_ can be reached by cue-ball.
PLATE LXVIII.
REVERSE ENGLISH.
_Illustrating application of reverse twist when the object-ball lies in
difficult position for gathering._
_Diagram 1._—Cue-ball ⅝ right, ⅛ above, object-ball ½ left; stroke, ½
in excess of “medium.” Cue-ball cushions at _a_, effecting carom
on ball 2. Object-ball cushions at _b_, _c_, resting at _d_.
_Diagram 2._—Cue-ball ⅝ left, ⅛ below, object-ball ½ left; stroke, ½
in excess of “medium.” Cue-ball cushions at _a_, _b_, effecting
carom on ball 2. Object-ball cushions at _c_, _d_, _e_, resting at
_f_.
Caroms could be effected by cutting object-ball fine on right, but
gathering position for next stroke would then be sacrificed.
[Illustration]
[Illustration]
PLATE LXIX.
“KISS” AND “FINE” CUSHION CAROMS.
_Illustrating caroms from comparatively safe positions._
_Diagram 1._—Cue-ball ⅝ right, ¼ below, object-ball ⅛ right; stroke, ½
in excess of “slow.” Cue-ball cushions at _a_, _b_, effecting
carom on ball 2. Object-ball cushions at _c_, resting at or near
_d_.
_To carom on ball 3._—Cue ball ¼ right, ¼ below, object-ball ⅛
right; stroke, “medium.”
_Diagram 2._—Cue-ball ⅝ left, ½ below, object-ball ⅞ left; stroke, ½
in excess of “medium.” Cue-ball kisses from object-ball, takes
cushion at a, then, by ⅝ twist, runs to ball 2, effecting carom.
The object-ball lies in corner touching both cushions. When the
point _a_ is reached the stroke is assured, if the ⅝ “twist” has
been applied to cue-ball.
_To carom on ball 3._—Cue-ball ⅝ left, ½ below, object-ball
“full”; stroke, ½ in excess of “medium.” Cue-ball cushions at _b_.
Similar in principle to preceding stroke.
PLATE LXX.
A “FINE-CUT” BALL AND EFFECTIVE ONE-CUSHION GATHERING STROKES.
_Illustrating a seeming impossible “fine-cut” stroke, effecting carom at
extreme points, with application of either “twist”; also excellent
one-cushion position strokes._
_Diagram 1._—Cue-ball ½ below, ¼ left, object-ball ⅛ left; stroke, ½
in excess of “medium.” Cue-ball cushions at _a_, effecting carom
on ball 2. Object-ball cushions at _c_, resting at _e_.
_Diagram 2._—Cue-ball ½ below, ½ left, object-ball ⅛ left; stroke, ½
in excess of “medium.” Cue-ball cushions at _b_, effecting carom
on ball 2. Object-ball cushions at _d_, resting at _f_.
_Diagram 3._—Cue-ball ⅝ below, ⅝ right, object-ball _extremely_ fine,
1/32 left; stroke, “hard.” Cue-ball cushions at _a_, describes a
curve, and effects carom on ball 2 in corner. The strong right
twist given cue-ball counteracts opposite twist given by contact
with cushion, whilst the draw or retrograde force imparts a
tendency to return in direction from the impelling force, this
producing the curved line of progress.
_To carom on ball 3._—Cue-ball ¼ left, ⅛ below, object-ball 1/16
left; stroke, “ordinary.”
_To carom on ball 4._—Cue-ball ½ left, ⅛ below, object-ball ¼
left; stroke, “ordinary.”
[Illustration]
PLATE LXXI.
REVERSE ENGLISH CAROMS.
_In illustration of caroms through the application of the “reverse
twist,” performing curious angles thereby and gathering the balls._
_Diagram 1._—Cue-ball ⅝ below, ⅝ right, object-ball ⅛ right; stroke,
“ordinary.” Cue-ball cushions at _b_, from which it performs
curved line in effecting carom on ball 2. Object-ball cushions at
_c_, _d_, _a_, resting at _e_. The carom-ball crosses table,
cushions at _g_, resting at _f_. An acute wrist delivery is
necessary in order to impart extreme “draw-and-twist” to the
cue-ball.
_Diagram 2._—Cue-ball ⅝ left, ⅛ above, object-ball ¾ left; stroke,
“ordinary.” Cue-ball takes cushion at _a_, _b_, effecting carom by
reverse twist, on ball 2. Object-ball cushions at _c_, _d_,
resting at _e_.
This stroke is played to gather the object-ball at ball 2. If the
cue-ball is played around the table, imparting opposite twist, taking
cushions _a_, _b_, _d_, the object-ball will be “lost.”
[Illustration]
[Illustration]
PLATE LXXII.
ONE-CUSHION AND KISS STROKES.
_Illustrating a carom by “kiss” gathering the balls, also carom from
same position from one cushion._
Cue-ball ⅝ below, ½ left, object-ball ⅛ left; stroke, ½ in excess of
“medium.” Cue-ball “kisses” directly to ball 2. Object-ball is
struck ⅛ left, driving it to cushion _a_, _b_, resting at _c_.
Carom-ball takes direction _d_, after carom has been effected. The
object-ball must be hit with exactness to get it away from the
cushion to the points _a_, _b_, _c_.
Again, cue-ball ¼ left, ¼ above, object-ball ½ left; stroke, ½ in
excess of “medium.” Cue-ball cushions at _e_, effecting, carom on
ball 2. Object-ball takes direction approximating dotted line.
[Illustration]
PLATE LXXIII.
CLOSE DRAW.
_Illustrating a fair stroke where the balls are near a “freeze,”
effecting a “draw” and “English,” the cue-ball performing a concave
curve on its course to cushion._
Cue-ball ⅝ below, ⅝ right, object-ball ¾ left; stroke, “hard.”
Cue-ball describes curve, cushions at _a_, _b_, _c_, effecting
carom on ball 2, which rests at _h_, with cue-ball at _i_.
Object-ball doubles the width of table, cushions at _d_, _e_, _f_,
resting at _g_.
The carom could be made with a massé, but position would be sacrificed.
The close draw is played in order to gather the balls.
The stroke is an acute wrist and arm delivery, and should be given with
confidence.
PLATE LXXIV.
TWIST AND DRAW STROKES.
_Illustrating excessive twist and draw when the cue-balls rest on the
cushion._
_Diagram 1._—Cue-ball ⅝ below, ⅝ right, object-ball 15/16 left;
stroke, ½ in excess of “medium.” Object-ball cushions at _a_,
returning to _b_. Cue-ball, by excessive draw and twist, caroms on
ball 2.
The object in imparting excessive twist to cue-ball is to avoid cushion
in recoil. The object-ball is struck _slightly_ to the left, and the
twist overcoming the outward tendency this would naturally give to the
cue-ball, brings it back to a straight line.
_Diagram 2._—Cue-ball ⅝ right, ⅛ above, object-ball ½ left; stroke,
“medium.” Object-ball cushions at _c_, resting at _d_. Cue-ball
cushions at _e_, effects carom on ball 2.
In practising this stroke, the object-ball must be set about the
distance of ½ ball from the cushion.
If the ball be so set that it be hit too full it will throw the cue-ball
toward the corner at _a_; again, if it be struck too fine the cue-ball
will be thrown to the left of ball 2.
[Illustration]
PLATE LXXV.
THE KISS AND TWIST STROKE.
_Diagram 1._—Cue-ball ½ above, ¼ left, object-ball ⅞ right; stroke, ½
in excess of “medium.” Cue-ball by kiss effects carom on ball 2.
To reach the carom-ball in this stroke it is absolutely necessary
that the object-ball be struck ⅞ right, more or less will bring
the cue-ball short of or beyond the corner at ball 2.
_Diagram 2._—Cue-ball ½ below, ⅝ left, object-ball ⅞ right; stroke,
“ordinary.” Cue-ball by kiss cushions at _a_, _b_, effecting carom
on ball 2.
This latter diagram shows a comparatively difficult position from which
to effect a carom. The excessive twist completes the stroke. The proper
direction of aim must be first determined—in this diagram it is to point
_a_ on end cushion. The player is asked to observe the angle of cue from
the cue-ball to the cushion.
[Illustration]
[Illustration]
PLATE LXXVI.
CLOSE DRAW AND FOLLOW MASSÉ.
_Illustrating two of the most difficult of these two strokes—draw and
massé._
_Diagram 1._—Cue-ball ½ below, ⅝ right, object-ball ⅞ left; stroke, ½
in excess of “medium.” Cue-ball cushions at _a_, effecting carom
on ball 2. Object-ball cushions at _b_, resting at _c_.
This stroke is one-half draw with excessive twist, the latter actually
effecting the carom.
_Diagram 2._—Massé follow.—Cue-ball ½ forward, ½ left, object-ball
15/16 right; stroke, ½ in excess of “medium.” Elevation of cue
78¾°.
Cue-ball describes curve, and effects carom on ball 2. As the balls lie
in this diagram an ordinary plain massé is impossible, as the player
will not be able to reach the cue-ball from either side the table,
therefore the follow massé is resorted to. Through force of the massé,
the cue-ball curves out as shown, but returns to proper line, governed
by the excessive twist and massé.
CONDUCTING TOURNAMENTS.
FINDING THE NUMBER OF GAMES.—The first thing to know is the number of
games imposed by differing numbers of entries. There are several ways of
working this out. The quickest and simplest is a mental one. If the
number of entries is even, say 10, multiply the second highest term (9)
by one-half the highest—9 × 5 = 45. If odd, as 7, multiply that figure
by one-half the next highest—7 × 3 = 21 games. But, if a pencil is
handy, a quick enough way is to multiply the highest term, whether odd
or even, by the next highest, and then divide the product by 2, which
will show 253 games if there are 23 entries—23 × 22 506, halved. These
are regular games. No amount of figuring can forecast ties.
TIE GAMES.—When competition is for a championship, any tie for it must
be played off. Ties for other prizes may or may not be, as circumstances
dictate.
TIE GAMES SEPARATE.—Save when they involve a championship, tie games are
no part of the tournament proper, which ordinarily ends when all the
contestants have either played or forfeited an equal number of games.
Yet, while tie games for else than the championship will not serve to
determine other than special wagers, they are, nevertheless, records in
themselves, although without being a part of the tournament.
FORFEITURES.—In a tournament, every game begins with the first one, in
the sense of binding every player who has not previously been declared
out. It has always been an unwritten law of billiards that a withdrawer,
instead of canceling his games already played, forfeits those he has yet
to play. The former procedure penalizes the faultless for another’s
fault. It is also open to the objection that, in order to deprive one
winner of his record for high average or high run, the loser of the game
in which either was made may be induced to withdraw. Injustice is
possible even without collusion. Within two years, cancellation has
deprived one continuing player of his highest average, and another of
the highest average of all.
For amateur tournaments, a few Western roomkeepers have a rule of their
own, which cancels if the withdrawer has not played more than half his
games, and forfeits if he has.
GUARDING AGAINST FORFEITURE OR OTHER FAILURE.—Until a scheduled game is
started, the players of the next one in order should be on hand.
THE SANCTITY OF SCHEDULE.—A schedule once made out by due authority
should be adhered to, instead of being changed to suit some individual
caprice.
OPENING GAME.—Never let it be between the supposed best two players. For
some special reason, one such may be utilized, but not two without
inviting the almost certain penalty of a loss of public interest as the
games draw near their close.
RUSH THE LOSERS.—As far as practicable, play losers first in preference
to winners. If they are good losers, they will not object. In no other
way can the anti-climax be prevented of having one or more games to play
after the main prize has been won, or of requiring the leader to play
when there is nothing for him to win.
HANDICAPPING.—This, so often necessary, calls for a nice knowledge of
the contestants. Fixed rules are impossible. That one man has a chance
to sit long and think while the other plays, and perhaps not always
plays with as much ability as effect, makes billiards pre-eminently the
temperamental game. There must, therefore, be much guessing in the name
of handicapping. Not a few conductors of tournaments shirk their office
by happily inveigling their players into handicapping themselves.
One thing is to be cautioned against. As a rule, if the light-weighted,
with their imposts, about fairly balance the middleweights, they are apt
to prove too heavy for the heavyweights. To illustrate, A can give B 30
in 100, B give C 30, C give D 20, and D give E 20. A in practice can
possibly give C the 60 required by theory, but he can little better give
D 80 than he can, as theory requires, give E 100 in 100! Again, if there
are many entries, those with a light impost possess a decided advantage
in having so much more to learn than the others. The oftener they play,
the relatively better.
If A can give B 12 in 100, B give C 15, and C give D 23, then A should
give C 25 and D 44, and B give D 35. It is all merely a question of
multiplication, division, addition and subtraction, without being simple
enough to look easy in print.
The process multiplies together the odds A gives B and B gives C, as
12 × 15 = 180, which is to be divided by the number of points (100)
constituting game. The quotient, which is nearer 2 points than 1, is to
be reckoned as 2, and deducted from the 15 B gives C, leaving 13, which,
added to the 12 given B by A, makes 25 to be given by A to C. By a
similar process—multiplying together the 15 given by B to C and the 23
given by C to D (15 × 23 = 345), dividing by 100 and subtracting the 3
from the 38 (15 added to 23)—35 are what B should give D. What A is to
give D is ascertained by multiplying together the 15 (less 2) and the 23
(13 × 23 = 389), which, divided by 100, shows that 4 are to be deducted
from the added 13 and 23, leaving 32, which, added to the 12 A gives B,
makes 44 to be given by A to D.
SCORING TOURNAMENTS.—Owing to a faulty system of keeping track of games
played, not a few conductors of tournaments are temporarily at a loss to
determine with whom some contestants have yet to play. This formulary
covers everything:
───────────────┬────────┬────────┬────────┬────────
│ JONES. │ SMITH. │ BROWN. │ GRAY.
───────────────┼────────┼────────┼────────┼────────
│ │ 205 │ 250 │
Jones, 250 │ D. │6–25/30 │11–19/21│
│ │ 42 │ 38 │
───────────────┼────────┼────────┼────────┼────────
│ 220 │ │ 220 │
Smith, 220 │7–10/30 │ D. │9–13/23 │
│ 37 │ │ 41 │
───────────────┼────────┼────────┼────────┼────────
│ 175 │ 170 │ │ 190
Brown, 190 │8–15/20 │ 7–9/23 │ D. │ 5–5/37
│ 29 │ 31 │ │ 41
───────────────┼────────┼────────┼────────┼────────
│ │ │ 170 │
Gray, 180 │ │ │4–22/37 │ D.
│ │ │ 23 │
───────────────┼────────┼────────┼────────┼────────
Games Won │ I │ II │ I │
───────────────┼────────┼────────┼────────┼────────
Games Lost │ X │ │ XX │ X
───────────────┼────────┼────────┼────────┼────────
Total Points │ │ │ │
───────────────┼────────┼────────┼────────┼────────
Total Innings │ │ │ │
───────────────┼────────┼────────┼────────┼────────
General Average│ │ │ │
───────────────┼────────┼────────┼────────┼────────
│ │ │ │
───────────────┴────────┴────────┴────────┴────────
AVERAGE OF TOURNAMENT,——
Figures next to names stand for handicap, if any.
Figures standing alone in squares are for total first, average next,
and highest run last.
Winning and losing averages are both given, and in common fractions,
with the double purpose of showing which player led (in case of
later dispute), and of facilitating the making-up of general and
tournament averages when play is done.
When a game is over, add an I to Games Won and an X to Games Lost.
When tournament is finished add up totals, as well as innings (last
figures of those in middle line of squares), and compute single,
general and tournament averages decimally.
To find out who has yet to play, look for blank spaces exclusive of
those running obliquely and marked D. (for Jones of horizontal
column doubling with Jones of vertical). In the table are four
blanks, meaning two games to play—Gray with Jones and Smith.
To find out how many games have been played, add I’s and X’s
together, and divide by 2.
When I’s and X’s differ in their totals, there has been an error in
tallying games either won or lost.
SCORING FOR THE PRESS.—Care should be taken to begin with the score of
him who plays first. His winning then will mean that the innings were
unequal, while putting the winner’s score second will indicate equal
innings. Disregard of this rule, prevalent of late years, forces whoever
would verify the average to count up the innings in each score.
HOW TO FIGURE AVERAGES.
DECIMALS ARE BEST.—Divide total points by total innings. Thus, 300
points in 28 innings show 1020/28 in crude fractions, 10 and 5/7ths in
the lowest evenly reduced ones, and 10.71 (71/100ths) decimally. The
first system seldom gives an accurate idea at sight. In the second, the
fractions cannot always be reduced evenly, as above. Ordinarily, the
third is closest, briefest and clearest.
AVOID A JUMBLE.—Some computers mix themselves and others up by using all
three methods. Others, as a convenience, express the single average as
1020/28, and the general average not as 8170/175, to be consistent, but
as 8.97. This is akin to the barbarism of speaking in two languages at
once. There are others who, simply because it is so divisible, convert
the 8170/175 into 834/35, so that anybody seeking to prove the average
by finding the points and innings will have rare figuring as a
preliminary.
DECIMALIZING.—This is simply adding a cipher to the right-hand end of
every remainder after the dividend has no unused figure left. Adding a
cipher to the 20 in 1020/28 yields 7 and 4 over when divided by 28, and
now adding a cipher to the 4 will result altogether in 10.71, with 12
over.
Pay no attention to this remainder unless, if a general average, 10.71
seems to be a tie with some other general average. Such a tie will
rarely happen. Should it, add a cipher to the 12, and dividing the 120
by 28 will result in 10.714 (1000ths now, instead of 100ths), with 8
over. If there is still a tie, proceed as before, first making 80 of the
8.
GIVE AND TAKE.—Had the 10.71’s remainder been 14 or more, instead of 12,
which is less than one-half the innings, the average would change to
10.72. The arbitrary rule is to ignore the final remainder when it is
less than half the innings, but enlarge it and give it to the player
when it is half or more.
RECONVERSION.—If for any reason it be necessary to find the number of
innings, add ciphers (two will usually be enough in billiards) to the
points, and divide by the decimalized average. Thus 1071)30000(28
innings, with 12 over. To find the points on which a general average is
based, innings (50) and average (16) being known, multiply the one by
the other—16 × 50 = 800.
GENERAL AVERAGE.—A match of continuous points has but one average,
whether it be played in one session or half a dozen; but it is different
both in a tournament and in a match of several separate games, a
majority to win.
In computing the general average, avoid the easy error of adding all a
player’s game-averages together, and dividing the product by the number
of games. There is only one condition in which this will show the true
average, and that is when all the games have innings separately equal in
number, howsoever much the points themselves may vary.
Illustration of false and true:
Inn. Points. Game Average.
15 600 40
30 600 20
30 600 20
7 600 85.71
—— ———— ——————
82 82)2400(29.29 4)165.71(41.43
The average found by dividing by the number of games is grossly
extravagant.
LOSING AVERAGES.—Properly, the loser’s average can never be higher than
the winner’s. To concede that it can is to premiumize its maker’s
inefficiency. Setting out to win the opening shot, he had failed, which
is the only way, with fewer points, to make the seemingly higher
average. It is equally unfair, in a continuous game of several sessions,
to concede an average for a fraction of the game. By getting far behind,
one player is without limit on any night, while the other is stopped
every night by reaching the number of points assigned to every leader.
Except as personal compliments, losing averages are valueless. Their
apparent makers do not wholly make them. Much depends upon the other
man. The loser reaches a high figure largely because, having aimed to
cover a given number of points, he failed to do so. It has often
happened that a player with 50 to go has needed as many innings to make
them as he had taken to make his other 250. As a rule, losers “let down”
near the finish more than winners, and hence their average is dependent
less upon themselves than upon those who close the game.
BILLIARD RECORD:
A COMPENDIUM OF THE MORE IMPORTANT PUBLIC CONTESTS, MATCH AND
TOURNAMENT, AT BOTH CAROMS AND POOL.
COMPILED FROM THE MOST AUTHENTIC SOURCES BY THE
BRUNSWICK-BALKE-COLLENDER CO.
FOUR-BALL GAME
[Up to 1863, all play not otherwise described was at unrestricted
caroms, with 2⅜ balls, on a 6 × 12 ft. six-pocket table; from 1863
to 1869, on a 6 × 12 four-pocket, with the various restrictions
mentioned; from 1869 to 1873, chiefly on a 5½ × 11 four-pocket,
under a new system of counting; and from 1873 to 1876, almost
altogether on a 5 × 10 carom table.]
ABBREVIATIONS.—P., 2000—12.20—129; S., 1904—157, indicates winner’s
total, average, and best run, always in that order, together with
loser’s total and high run, without his average, which has never
been a record; W., games won in tournament; R., highest run; Av.,
best winning average; G. A., general (or grand) average; p. b.,
push-shot barred; c. b., crotching barred (carom table); j. b., jaw
barred (pocket table).
1854.
=First Contest in a Public Hall.= May 13th, Malcolm Hall, Syracuse, N.
Y.—Caroms with unrestricted hazards (pocketings), stake unknown. Joseph
N. White, 500; Geo. Smith, 484.
This was not technically a public contest, admission having been by
invitation only. Mixed caroms and hazards were last played
professionally on a six-pocket table by two lads in a hotel
billiard-room on Third Avenue, N. Y. City, in 1865, for a stake of $50 a
side. The winner is living, but has long been out of billiards. Maurice
Daly, then sixteen, was loser.
1858.
=First Match with an “Average” without Guessing.= N. Y. City, April
24th, $250 a side.—Totals, winning average and best runs: John
Seereiter, 1000—6.94—53; Bernard Crystal, 830—68. This was a
billiard-room or private match, and it is given here only because it was
the first in which score was kept in figures from beginning to end.
1859.
=First Technically Public Contest.= Fireman’s Hall, Detroit, Mich.,
April 10th.—$250 a side. Dudley Kavanagh, New York, 1000—8.47—177;
Michael Foley, Detroit, 989—87. This match was the first to which an
admission fee was charged.
* * * * *
=Michael Phelan= (New York) =vs. John Seereiter= (Detroit). Same hall,
April 11th, $5,000 a side, on table taken from Seereiter’s room (used
night before by K. and F.), but having a new cloth. P., 2000—12.20—129;
S., 1904—157.
Admission was five dollars, but this charge was rather to keep the wrong
persons out than to profit from letting the right ones in. Phelan was
out-nursed, but he outbetted the Detroiters, and both outgeneraled and
generally outbetted their representative.
1860.
=First Professional Tournament.= Phelan & Collender’s Union Square
Billiard Rooms (upper floor), N. Y. City, October 26–31st.—Invitation or
private tournament on a 6 × 12 carom table for two souvenir cues, one
given by Claudius Berger, of France. In the table below, a “Lost” column
is specially inserted because of a shortage of games, that between Lynch
and Geary (the latter substituting for Christian Bird, of Philadelphia)
being neither played nor forfeited. All games were 500 up but the final
and deciding one (Kavanagh, 1000—29.41—144; Tieman, 746—156).
W. L. R. Av. G. Av.
Dudley Kavanagh, N. Y. 4 0 144 29.41 20.49
Philip Tieman, Cincinnati 3 1 185 21.74 18.41
James Lynch, N. Y. 1 2 162 18.52 18.37
Joseph N. White, N. Y. 1 3 94 12.20 10.55
Michael Geary, Chicago 0 3 65 9.04
1861.
=First Public Match Between Western Players.= Wood’s Theatre,
Cincinnati, November 21st.—Philip Tieman vs. John Deery, both of
Cincinnati; $500 a side. T., 1000—12.25—106; D., 683—54.
1862.
=First Public Home-and-home Match.= Cleveland, O., March 6th.—First of
two games, each $500 a side. Dudley Kavanagh, N. Y., 1500—13.39—118;
Michael Foley, then of Cleveland, 1065—102. Return: Irving Hall, N. Y.
City, April 3d, F., 1500—9.43—99; K., 1466—108.
* * * * *
=Push and Massé Barred.= Half-way game, Kremlin Hall, Buffalo, N. Y.,
November 6th.—Also for $500 a side, but barring both push-shot and
massé. K., 1500—10—86; F., 1296—90.
This was the first public match from which the push-shot was excluded.
No other has ever barred the massé.
* * * * *
=M. Foley vs. Deery.= Irving Hall, N. Y. City, April 4th.—$250 a side.
F., 1000—11.24—66; D., 502—45. Same night, a private match was begun for
same amount, but in 100–point games, Deery winning the odd (11 to 10).
The two matches lasted from 8 p.m. to 8 a.m.
* * * * *
=Wm. Goldthwait vs. Deery.= Alston Hall, Boston, June 25th.—$250 a side.
G., 1500—9.87—99; D., 1270—79.
* * * * *
=First Barring of Crotch in Public.= Tucker’s Academy, San Francisco,
August 2d.—Championship of California and $100, carom table, c.
b.—_i.e._, crotching limited to three successive shots within an
imaginary line. Daniel Lynch, 1000—971—104; Joseph W. Little, 852—run
not known.
1863.
=Kavanagh vs. Goldthwait.= Irving Hall, N. Y. City, April 23d.—$500 a
side. K., 1500—14.42—125; G., 1282—130.
* * * * *
=First Public Tournament, First Formal Professional Championship
Anywhere, and First Four-pocket Table.= Irving Hall, N. Y. City, June
1–9th.—First prize, emblematic cue and a $750 Phelan & Collender
billiard-table; second, $250. Instead of the usual 6 × 12 six-pocket, a
6 × 12 four-pocket was used for first time in public. The highest run
was made by “jawing,” also for first time in public. Tieing in both high
run and high winning average, done by Kavanagh and Tieman, has yet to be
paralleled in a public tournament. Average of this one (seven games
apiece), 12.19. Points and money stake in all succeeding matches, 1500
and $500 a side.
W. R. Av. G. A.
D. Kavanagh, N. Y. 6 203 33.33 15.18
Louis Fox, Rochester 5 141 23.81 14.45
John Deery, N. Y. 4 313 16.13 11.41
Phil. Tieman, Cincinnati 3 203 33.33 14.48
John Seereiter, Detroit 3 114 13.16 10.22
M. Foley, Detroit 3 102 16.67 12.48
Wm. Goldthwait, N. Y. 3 185 17.24 11.46
Victor Estephe, Philadelphia 1 86 8.31 9.19
KAVANAGH VS. SEEREITER. First match, same hall, October 15th—K.,
1500—16.85—151; S., 715—57.
KAVANAGH VS. TIEMAN. Same hall, April 7, 1864.—K., 1500—12.29—152; T.,
1265—93.
KAVANAGH VS. GOLDTHWAIT. Hippotheatron, N. Y. City, June 9, 1864.—K.,
1500—17.44—154; G., 1425—117.
KAVANAGH VS. TIEMAN. Same hall, September 15, 1864.—K., 1500—14.56—147;
T., 927—139.
KAVANAGH VS. GOLDTHWAIT. Academy of Music, N. Y. City, January 20,
1865.—K., 1500—15.63—158; G., 1406—113.
KAVANAGH VS. FOX. May 16, 1865.—K., ill, forfeited.
FOX VS. DEERY. Washington Hall, Rochester, N. Y., September 7, 1865.—D.,
1500—16.67–166; F., 1465—276.
DEERY VS. PIERRE CARME. January 7, 1866.—C. paid forfeit.
DEERY VS. JOHN MCDEVITT. Cooper Institute, N. Y. City, March 13,
1866.—D., 1500—10.79—119; McD., 1145—95.
DEERY VS. JOSEPH DION, of Montreal. Same hall, May 23, 1866.—Dion,
1500—10.42—92; Deery, 1366—144.
DION VS. McDEVITT. Mechanics’ Hall, Montreal, October 5, 1866.—D.,
1500—25.86—258; McD., 1276—308.
DION VS. McDEVITT. Same hall, June 10, 1867.—D., 1500—19.73—616; McD.,
816—220. Run of 616 was the first case of “jawing” in a match contest
for any championship. It led at once to the abolition of “jawing” in
this series.
DION VS. EDMUND H. NELMS, Philadelphia. Same hall, September 15, 1867,
“jawing” then and thenceforth barred. N. paid forfeit.
DION VS. McDEVITT. Same hall, December 11, 1867.—McD., 1500—13.16—181;
D., 1488—291.
McDEVITT (residence changed from New York to Chicago) vs. MELVIN FOSTER,
N. Y. Library Hall, Chicago, April 8, 1868.—McD., 1268—21.49—293; F.,
1262—263. In fifty-ninth inning, F. protested against a decision.
Confusion followed, and the referee adjudged McD. winner while it was
still his turn to play. Declining to submit to arbitration, McDevitt
guaranteed the stakeholder against a possible suit-at-law, and was paid
the stakes.
McDEVITT VS. J. DION. Same hall, September 16, 1868.—McD.,
1500—166.67—1458; D., 407—261.
McDEVITT VS. GOLDTHWAIT. Crosby’s Music Hall, Chicago, December 22,
1868.—Fourteenth contest and seventeenth and last match. McD.,
1500—25—238; G., 1483—226.
On Christmas Day, 1868, there being no challenge pending, McDevitt
resigned the cue to its donors, Phelan & Collender, as a step toward a
new championship, push barred. The old style of game came thus to an
end.
* * * * *
=Best Record Average on a Six-pocket Table.= Union Hall, Indianapolis,
December 17, 1863.—$250 a side. McDevitt, 1500—17.24—148; Frank Parker,
661—68.
Excepting one at the three-ball game, this was the last public contest
at caroms on a six-pocket table.
1864.
=First Public Contest Prohibiting Both Pushing and Jawing.= Irving Hall,
N. Y. City, April 8th.—Informal match in aid of Workingwomen’s
Protective Union, 6 × 12 four-pocket. Michael Phelan, 1000—8.40—56;
Dudley Kavanagh, 965—40.
* * * * *
=First State Championship Tournament—An Unbeaten Amateur.= Allyn Hall,
Hartford, beginning August 16th.—Tournament for championship of
Connecticut. Games, 300 points up, save in the final one, which, between
Gershom B. Hubbell, of Hartford, and Geo. B. Hunt, of Bridgeport, was
500 points. The winner-in-chief was beaten by none but another
amateur—Lieut. J. B. Burbank, then stationed at New London Harbor, and
now a field-officer in the Fifth U. S. Artillery. Messrs. Burbank, Hunt
and Hewins tied for second and third prizes, purses of $50 and $25,
which the first two resigned to the professional, who is still such in
Hartford. First prize, the champion cue, to which, when the champion’s
term was up, was added the billiard-table. Average of tournament (five
games apiece, 6 × 12 four-pocket), 5.90. The matches following the
tournament were all played in Allyn Hall.
W. R. Av. G. A.
G. B. Hubbell 4 53 7.32 6.36
J. B. Burbank 3 50 6.98 6.34
M. H. Hewins 3 48 7.50 5.91
G. B. Hunt 3 46 7.14 6.05
W. C. Porter 1 55 6. 5.11
H. S. Keating 1 44 5.76 4.55
HUBBELL VS. MICHAEL WOLLAHAN. November 15th.—First match. H.,
1000—6.62—78; W., 921—47.
HUBBELL VS. HUNT. February 21, 1865. Hubbell, 1000—7.58—70; Hunt,
649—57.
HUBBELL VS. RALPH BENJAMIN. August 16, 1865.—H., 1000—6.13—58; B.,
956—33.
HUBBELL VS. BENJAMIN. March 27, 1866.—Fourth and last match. Hubbell,
who then acquired the emblem on time-limit, ran 154 to Benjamin’s 42,
averaged 10.87, and won by nearly 400 in 1000.
* * * * *
=First Championship of Pennsylvania.=—October 4–10, 1864, Sansom Street
Hall, Philadelphia.—500 points on a 6 × 12 carom, p. and c. barred.
Prizes, champion cue for first; silver plate, worth $100, for second.
Nelms beaten by Estephe and Montgomery only. Average of tournament
(seven games apiece), 8.23. Money stake in matches, $100.
W. R. Av. G. A.
Estephe 7 121 13.51 11.29
Nelms 5 108 13.12 9.55
Bird 4 64 11.60 8.94
Montgomery 4 74 9.26 7.64
Ryall 3 54 9.80 7.98
Plunkett 2 92 9.60 7.96
Palmer 2 57 10.20 7.70
Hewes 1 49 7.22[1] 5.83
Footnote 1:
Losing average.
ESTEPHE VS. RYALL. First match, same hall, December 13th.—E.,
1200—10.63—60; R., 966—76.
ESTEPHE VS. MONTGOMERY. Same hall, February 20, 1865.—E., 1200—16—109;
M., 525—44.
ESTEPHE VS. NELMS. Third and last match, Academy of Music, Philadelphia,
April 13, 1865.—E., 1200—15.38—78; N., 1161—155.
* * * * *
=First Annual Championship of Upper Canada.= November 21–26, 1864, Music
Hall, Toronto.—Games, 500 points, 6 × 12 four-pocket. Wm. Jakes beaten
by none but Samuel May, who won play-off with D. Miller. Two prizes for
place, and one for high run. Tournament unique in the approximate
uniformity of its high runs and averages at the style of game. Its own
average (six games apiece) was 5.99.
W. R. Av. G. A.
Jakes 5 60 8.20 7.56
May 4 64 7.58 6.01
Miller 4 48 7.81 6.70
Cronn 3 40 7.25 5.42
Brown 3 49 8.62 6.32
Cheseborough 2 40 5.62 5.43
Phillips 0 43 4.90
1865.
=First Public Contest on a 5½ × 11 Table (Four-pocket).= Grover’s
Theatre, Washington, D. C., January 23d.—$250 a side. Melvin Foster,
1500—19.23—170; John Deery, 1445—205. Return game, Irving Hall, N. Y.
City, February 11th.—F., 1500—16.13—137; D., 1124—122.
* * * * *
=Thomas Foley vs. Chas. A. Frink.= Metropolitan Hall, Chicago, January
29, $250 a side, 6 × 12 four-pocket. Foley, 1000; Frink, 872. Same terms
and hall, February 11th.—Foley, 1000—14.71—93; Frink, 537—47.
* * * * *
=Amateurs’ Sixteen-hour Contest for $2,000.= “Arena,” 185 Sixth Avenue,
N. Y. City, February 20–21st—Admission by invitation. Wm. N. Wickes gave
Wm. McKeever odds of “double discount,” best in 37 100–point games
“around the table”—i.e., mixed caroms and pocketings, latter limited to
three consecutive times from the one spot (6 × 12 four-pocket). Games
won: W., 20; McK., 14; W.’s extra one due to a dispute as to which had
won the 13th. Total points: W., 4981; McK., 2129. Winner’s general
average, 14.43. No intermission. Referee throughout, Peter D. Braisted,
Jr., color-sergeant Seventh Regiment.
* * * * *
=Mace, Bridge and Jaw Barred.= Music Hall, Milwaukee, Wis., March
11th.—$250 a side, 6 × 12 four-pocket, John W. Coon giving S. A. Tustin
odds of 200. C., 1000—14.08—112; T., 864—106.
* * * * *
=First Championship of Massachusetts.=—Bumstead Hall, Boston, March
13–18th.—Games, 300 points. Contestants all Boston professionals but Lee
W. Langdon, amateur, of Florence, Mass. Four prizes, all for place, went
to the first four as tabled. They also made the best four winning
averages, but in this order—W., 17.65; D., 12.50; T., 12; L., 7.89.
Average of tournament (seven games apiece), 6.72. Ensuing matches were
all played in Bumstead Hall.
W. R. G. A.
W. A. Tobin 7 127 11.17
R. E. Wilmarth 6 111 8.18
Ed. Daniels 4 68 7.90
L. W. Langdon 4 45 6.84
L. S. Brooks 2 108 5.53
F. E. Smith 2 53 5.62
F. A. Harding 2 47 4.88
John Peck 1 64 5.68
TOBIN VS. WILMARTH. First match, June 21st.—W., 1500—11.36—110; T.,
1439—134.
WILMARTH VS. DANIELS. October 18th.—D., 1500—9.74—80; W., 1020—58.
DANIELS VS. LANGDON. February 21, 1866.—D., 1500—8.61—129; L., 1252—50.
DANIELS VS. WILMARTH. June 21, 1866.—D., 1500—11.64—151; W., 911—115.
DANIELS VS. TOBIN. October 17, 1866.—T., 1500–10.14; D., 1292.
TOBIN VS. JOHN H. FLACK. June 28, 1867.—T., 1500—9.15—122; F., 1470—119.
TOBIN VS. DANIELS. October 31, 1867.—D., 1500—28.30—255; T., 628—101.
Series ended with seventh match. After that run of 255 and that average
of 28.30 on a 6 × 12 four-pocket, no one challenged the title of the
restored champion; and for that reason, also, there was no new
championship until, in 1869, there was a remodeled game.
* * * * *
=First Championship of Ohio.= Mozart Hall, Cincinnati, May 22–30, 1865.
Games, 300 points. Two prizes, gold-mounted cue and silver goblet. Tiers
for latter tied again, and presented it to Tony Honing, who had marked
the games. The winning averages of the five leaders, in this order,
were: 10.71, 12.50, 8.67, 15.79, and 8.57; but actually fourth and fifth
were Broga’s 10 and Turners 9.68. Average of tournament (seven games
apiece), 7.25. All matches were for $250 a side.
W. R. G. A.
H. Choate 5 111 7.78
F. Ackerman 4 76 8.60
W. Rivers 4 76 7.30
G. Griffey 4 92 7.43
J. Frawley 4 50 7.13
J. Broga 3 99 7.04
B. Beatty 2 62 5.74
S. Turner 2 77 5.93
CHOATE VS. FRAWLEY. Same hall, September 28.—F., 1000—9.01—90; C.,
874—74.
FRAWLEY VS. CHAS. DAVIS. Academy of Music, Cleveland, January 24, 1866.
F., 1000—11.36—291; Davis, 998–135.
FRAWLEY VS. CHOATE. May 31st.—C. forfeited.
FRAWLEY VS. ACKERMAN. Brainard’s Hall, Cleveland, September 25,
1867.—Fourth and last match, j. b. and game arbitrarily lengthened. F.,
1500—16.32—410; A., 1239—110.
* * * * *
=McDevitt vs. Goldthwait.= Mozart Hall, Cincinnati, May 31, 1865.—$1,000
a side.—McD., 1500—22.73—267; G., 10.86—16.71—96.
* * * * *
=First Championship of Illinois.= Smith & Nixon’s Hall, Chicago, June
14—21st.—First prize, gold-mounted cue; second, silver tea-service.
Lowell Mason, ill, withdrew without playing; Charles A. Frink, taking
his place, withdrew after playing and losing a game; and a Chicago
amateur, billed as “Davis,” filled out the Mason-Frink gap. Those who
reached double figures in their best winning averages were: F., 13.64;
R., 11.54; and Le B. and “Davis,” 10.34 each. The one victory credited
to M. W. Donahue was a forfeit from Chas. Masters. Average of
tournament, 6.55. Seven 300–point games apiece.
W. R. G. A.
T. Foley 7 101 8.57
J. Ferguson 6 50 6.98
A. Le Brun 5 76 7.35
H. Rhines 3 85 6.62
Cy. Coan 3 42 6.23
“Davis” 2 76 5.84
C. Masters 1 55 5.66
M. Donahue 1 51 4.90
Money-stake in all matches, $250 a side.
FOLEY VS. RHINES. Bryan Hall, Chicago, October 12th.—F., 1500—12.50—84;
R., 1061—47.
FOLEY VS. LE BRUN. Latter declared forfeit.
FOLEY VS. JOSEPH VERMEULEN. Chicago, June 27, 1866.—F., 1500—15.46—178;
V., 1002—126.
FOLEY VS. RHINES. Crosby’s Music Hall, Chicago, October 15, 1866.—Fourth
and last match of series. F., 1500—12.10—159; R., 1225—157.
Challenges ceasing, emblem eventually became the unbeaten Foley’s own.
* * * * *
=First Championship of All Canada.= Mechanics’ Hall, Montreal, July
12–19, 1865.—Tournament for gold-mounted cue for first, and a $75 silver
cup for second. Five 500–point games apiece. Average of tournament,
7.07.
W. R. G. A.
C. Dion 5 138 12.33
W. Jakes 4 70 7.32
S. May 3 130 8.37
A. Guillett 2 62 6.51
J. Rooney 1 44 5.15
H. McVittie 0 70 4.90
The only high winning averages passing 8.47 (Jakes’s) were Dion’s 20 and
May’s 12.50. This championship was simply nominal, as Joseph Dion was
clearly the Canadian premier, with his brother Cyrille easily second. It
was never played for again.
* * * * *
=Jos. Dion vs. Melvin Foster.= Mechanics’ Hall, Montreal, July
19th.—$1,000 a side in gold (U. S. currency still at heavy discount) D.,
1500—21.74—151; F., 1108—147.
* * * * *
=Champion of Canada vs. Champion of Massachusetts.= Mechanics’ Hall,
Montreal, July 20th.—First contest of a home-and-home match, $500 in
gold each game. C. Dion, 1500—12.71—109; Robt. E. Wilmarth, 1375—90. In
return game, set for Bumstead Hall, Boston, October 19, W. forfeited.
* * * * *
=Championship of Maine.= First tournament, Meonian Hall, Augusta,
September 4–9th. Games, 300 points. R. T. Williams, E. Godfrey, and C.
E. Smith were the prize-winners.
* * * * *
=Championship of Upper Canada.= Second annual tournament, Dallas Block,
Toronto. Games, 300 points, p. b. Messrs. May, Miller and Brown tied,
and the play-off gave Brown the championship and May the second prize.
Their best winning average and their general average in the regular
games were: Brown, 7.14 and 5.94; May, 9.38 and 6.92; Miller, 6.82 and
5.65. May won prize for high run, 79. The other contestants were Messrs.
Cheseborough and Phillips, the latter winning no game, and the former
beating only Phillips.
* * * * *
=Thomas Foley vs. John W. Coon.= Bryan Hall, Chicago, September 28.—$500
a side, Foley giving odds of 400. F., 1500—12.50—91; C., 1463—151.
* * * * *
=C. Dion vs. Ed. Daniels.=—Bumstead Hall, Boston, October 19.—$250 a
side. Dion, 1500—16.30—157; Daniels, 728—59.
* * * * *
=Dudley Kavanagh vs. Pierre Carme.= Irving Hall, N. Y. City, November
4.—Second game of match of three, every one for $1,000 a side, half
forfeit. (See Three-ball Caroms, October 5, 1865, for first.) Push-shot
barred, 5½ × 11 four-pocket table, 2–5/16 balls. K., 1500—25—132; C.,
1339—178. Third game, pushing and jawing allowed on 6 × 12 four-pocket,
set for December 4th, was forfeited by Carme.
* * * * *
=First Championship of Maryland.= Baltimore, December 11–13th. 6 × 12
carom, c. b. Five players. Winner, Glessner, whose best average was
about 8. No matches.
=First Championship of Virginia.= Norfolk, December 19–23d. Six
participants. W. Baldwin, beaten by S. D. Brough only, was winner, his
40 being the highest run of all, and his 4.61 the best general average.
W. BALDWIN VS. EDWARD BRYAN. Norfolk, Va., May 10, 1866.—Only match.
Bryan, 800—9.52—46; Baldwin, 429—49. By agreement, a 5½ × 11 four-pocket
instead of a 6 × 12, as in tournament.
1866.
=Pennsylvania Restores Push-Shot.= Concert Hall, Philadelphia, January
31 to February 4, 1866.—Second championship of State, 6 × 12 carom, c.
b., push allowed. Contestants: E. J. Plunkett, R. T. Ryall, Jas. Palmer,
J. B. Bruce, and H. W. Hewes. All games 500 up but deciding one, which,
between Ryall and Plunkett, was 1000 up; and in that the winner,
Plunkett, ran 251, highest of tournament. Ryall, in playing Hewes, had
made the next highest, 172. Palmer won third prize.
PLUNKETT VS. RYALL. Same hall, March 29th.—First match. R.,
1500—18.07—123; P., 629—50.
RYALL VS. ESTEPHE. Same hall, May 14th.—R., 1500—17.44—160; E., 1349—75.
RYALL VS. PLUNKETT. Same hall, June 29th.—P., 1500—18.52—115; R.,
823—117.
PLUNKETT VS. ESTEPHE. Sansom Street Hall, Philadelphia, August 28th.—P.,
1500—30—223; E., 1360—282.
With this match the series was discontinued. Restoring the push had
caused a division of sentiment.
* * * * *
=First Championship of Georgia.= Atlanta, February 12–21st.—300 points,
eight contestants. A. W. Crawford beat all; John P. Chapman, second
prize, $50 and gold watch; John Lloyd, third, $25 and a set of jewelry.
Their best runs and averages were: Crawford, 54 and 13.64; Chapman, 68
and 14.29; Lloyd, 96 and 12.50.
* * * * *
=Memphis, Tenn., Tournament.= February 14–24th.—500 points, six players.
Melvin Foster, N. Y., won first ($500) after a tie with F. A. Myers, of
Memphis ($300), while Wm. Brown was third ($200). The best winning
average and highest run, Foster’s 50 and 282, resulted from his “jawing”
the balls against Harry Choate.
* * * * *
=First Public Contest in United States Between Foreign Players.= Cooper
Institute, N. Y. City, May 24th.—Purse game for a testimonial benefit,
2–5/16 balls on a 5½ × 11 carom, p. b. J. Dion, of Montreal,
750—39.47—297 (by crotching); P. Carme, from France, 491—105.
* * * * *
=First Championship of Indiana.= Hamilton Hall, Fort Wayne, June 6–11th.
Games, 300 up. Morris beat McCarthy, but lost in playing off. Best four
winning averages: Morris, 12; McCarthy, 10.34; Capron, 9.33. Average of
tournament, 6.19. All players tied but one, the only case of the kind
among so many as seven at the four-ball game. No matches, McCarthy
passing unchallenged. Six games apiece, tournament averaging 6.19. This
was the first case of a championship tie.
W. R. G. A.
Tim McCarthy 5 73 8.19
Geo. Morris 5 67 6.84
J. O’Connell 3 43 5.28
Louis Capron 2 65 6.
W. T. McFarland 2 65 5.70
A. McCracken 2 154 6.35
C. Anderson 2 40 5.50
* * * * *
=Goldthwait vs. Deery.= Cooper Institute, N. Y. City, June 15.—$500 a
side. G., 1500—15.79—218; Deery, 1245—202.
* * * * *
=First Championship of Missouri.= Verandah Hall, St. Louis, June
14–20th.—Six 300–point games apiece. Winner beaten by Terrell only, and
beat Pearce in play-off. Best three winning averages—H., 60; B., 13.64;
Wade, 8.57. Average of tournament, 6.87.